A terracotta sculpture - Losso - Togo (No reserve price)
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A pair of anthropomorphic terracotta sculptures attributed to the Losso people, from the Niamtougou region of Togo.
AI-assisted summary
Description from the seller
Anthropomorphic Terracotta Pair of Losso - Niamtougou Region, Togo
Culture: Losso (Nawdba), attributed
Provenance: Niamtougou Region, Northern Togo
Material: Fired clay, dark gray to blackish surface with light mineral deposits and partial pigment residues
Object Type: Two anthropomorphic terracotta figures with female physical characteristics, possibly a ritual pair
Dating: Not certain
Cultural Context: Figurative ceramics and religious traditions of the Losso people in the Doufelgou area, Northern Togo
Description
This remarkable terracotta pair from the Niamtougou region consists of two upright, nearly identical anthropomorphic figures. Their closed body forms and highly stylized facial features reveal a striking combination of geometric simplification and individual design. Both sculptures have elongated, almost cylindrical bodies that terminate in flat bases without elaborated legs. The arms are merely suggested by small lateral protrusions, while the female genitalia are clearly emphasized by plastically protruding breasts. The figure on the left is distinguished by a particularly elaborate head. Its comparatively large, rounded head is dominated by a complex, relief-like hairstyle, the surface of which exhibits numerous parallel incised lines. The spirally curled forms projecting laterally are especially striking; these may represent intricately braided sections of hair or a special headdress. The forehead is high and slightly domed, while the eyes are depicted as large, circular protrusions. The nose appears narrow and elongated, the mouth small and only weakly modeled. The body has a robust, almost columnar form with two clearly protruding breasts. The surface shows numerous small indentations, irregular incised marks, and larger light deposits, which are particularly prominent in the area of the face, shoulders, and torso. The figure on the right is considerably more restrained in its design. Her head is almost spherical, lacking any pronounced hairstyle. The eyes appear as circular protrusions, while the nose and mouth are only suggested by small, three-dimensional or indented forms. The ears are faintly visible at the sides. The elongated body is somewhat narrower and has two small, three-dimensional breasts. The surface is predominantly dark gray to blackish, articulated by irregular lighter patches and numerous small depressions. Both figures exhibit a comparable basic formal structure but differ significantly in the rendering of their heads and surfaces. This juxtaposition lends the pair a particular visual tension. The differing designs could allude to various individual or symbolic identities, although such a meaning cannot be definitively determined based solely on their outward appearance.
Art Historical Analysis
The Losso, whose self-designation is Nawdba, belong to the ethnic groups of northern Togo. Their traditional settlement area lies primarily in the Niamtougou and Doufelgou region, an area characterized by close historical and cultural ties to neighboring communities such as the Kabiyè, Lamba, and Moba. The material and artistic traditions of this region encompass various forms of wood sculpture, ceramics, and ritual object design. Anthropomorphic figures can appear in familial, communal, or religious contexts. The terracotta figures in question, with their elongated body forms, highly simplified anatomy, and emphasized female features, can be placed within the broader context of figurative ceramics from northern Togo. Particularly noteworthy is the combination of an almost entirely abstracted body design with a comparatively differentiated treatment of the heads. While the bodies of both figures are reduced to closed, cylindrical volumes, the faces, and especially the hairstyle of the figure on the left, exhibit independent sculptural detail. This differing emphasis on individual body parts points to a sculptural approach in which the head is highlighted as the central expressive element. The left figure possesses a particularly complex silhouette due to its spirally structured hair, while the right figure is characterized by its spherical head shape and the extensive reduction of ornamental details. The joint presentation of both figures suggests a possible functional or symbolic connection. Whether they were originally created as a matching pair remains unclear. It is impossible to determine the origin of the terracotta figures without documented provenance. Likewise, it remains unclear whether their differing design features stem from different workshops, individual artistic decisions, or differing iconographic concepts.
Symbolism and Female Iconography
The prominently displayed breasts of both figures suggest a female representation. Within numerous West African art traditions, female figures can be associated with notions of fertility, motherhood, social continuity, and the transmission of life. However, such meanings are culturally specific and cannot be readily applied to the terracotta figures in question. The female physical characteristics could indicate a particular social or religious significance of the figures depicted. The differing head designs are particularly interesting. The elaborately crafted hairstyle of the figure on the left could allude to a specific identity, social position, or ritual affiliation. Hairstyles play an important role in many African societies as an expression of age, social status, gender, and personal identity. The spiraling forms could therefore represent more than purely decorative elements. A definitive interpretation is not possible without local ethnographic examples for comparison. The figure on the right largely forgoes comparable ornamentation. Its spherical head shape and simplified facial features lend it a calmer, more abstract appearance. The juxtaposition of the two figures could point to different phases of life, social roles, or complementary symbolic attributes. It is also conceivable that the differences are simply expressions of individual artistic expression. The numerous small indentations on the body surfaces could be related to the manufacturing technique, deliberate surface texturing, or later alterations. An interpretation as body scars or ritual markings would not be certain without further investigation.
Possible Ritual Function
In the traditional religious beliefs of various communities in northern Togo, ancestors, local protective powers, and the relationship between living people and spiritual forces hold significant importance. Anthropomorphic figures can serve as material reference points for remembrance, protection, sacrificial rites, or familial continuity within such contexts. A corresponding function seems fundamentally plausible for the Losso terracotta figurines in question. Their feminine features might suggest a connection to notions of fertility or familial continuity, but such an interpretation cannot be considered certain. The nearly cylindrical bodies and flat bases indicate an upright placement. Whether the figures were originally used on a household altar, in a communal sanctuary, or in some other context remains unknown. The question of whether they were created as a pair or independently is also open. The dark gray surfaces and the light deposits could be due to different manufacturing and aging processes. The dark coloration, for example, could be related to reducing firing conditions, a subsequent surface treatment, or prolonged use. A definitive determination would require a materials science analysis. The visible signs of wear do not allow for a clear statement about repeated ritual treatments or the original function of the objects.
Art Historical Assessment
The exceptional artistic quality of this terracotta pair lies in the impressive combination of formal unity, sculptural simplification, and individual differentiation. Both figures possess an almost monumental presence, arising, regardless of their actual dimensions, from the consistent reduction of the human form to a few essential volumes. The elongated bodies create serene vertical axes, while the large heads effectively complete the compositions. The differing treatment of the skulls is particularly noteworthy. The left figure, with its spiraling hair, develops a dynamic, plastically complex silhouette, while the right figure, with its closed, spherical head, exudes an almost meditative calm. The plastically emphasized breasts create a clear connection between the two figures and underscore their shared anthropomorphic foundation. The dark gray surfaces, the light deposits, and the irregular depressions lend the sculptures a pronounced material vitality.Within the diverse figurative ceramics of northern Togo, these two works demonstrate a remarkable capacity for sculptural concision. Their art historical significance lies particularly in the combination of female iconography, geometric abstraction, and a potentially ritually influenced conception of the image. Presented together, the figures create a unique dialogic effect, the original cultural meaning of which, however, requires further research.
Literature
Kerchache, Jacques / Paudrat, Jean-Louis / Stéphan, Lucien: L'art africain. Paris: Citadelles & Mazenod, 1988.
Laude, Jean: The Arts of Black Africa. Berkeley / Los Angeles: University of California Press, 1971.
Roy, Christopher D. / Wheelock, Thomas G.: Land of the Flying Masks: Art and Culture in Burkina Faso. Munich: Prestel, 2007.
The publications mentioned provide general art historical foundations for African sculpture and the art traditions of the West African savanna. However, they do not directly address the Losso terracotta figurines from Niamtougou. In particular, the study by Roy and Wheelock primarily concerns neighboring cultural regions and serves solely for regional comparison. A more comprehensive scholarly analysis would require specific ethnographic studies of the Nawdba people as well as documented comparative objects from the Niamtougou and Doufelgou region.
Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective copyright holders are reserved.
Inv. No. MAZ34353
Informant: Petit Coulibaly
Height: 34 cm / 33 cm
Weight: 2,2 kg / 1,9 kg
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
Anthropomorphic Terracotta Pair of Losso - Niamtougou Region, Togo
Culture: Losso (Nawdba), attributed
Provenance: Niamtougou Region, Northern Togo
Material: Fired clay, dark gray to blackish surface with light mineral deposits and partial pigment residues
Object Type: Two anthropomorphic terracotta figures with female physical characteristics, possibly a ritual pair
Dating: Not certain
Cultural Context: Figurative ceramics and religious traditions of the Losso people in the Doufelgou area, Northern Togo
Description
This remarkable terracotta pair from the Niamtougou region consists of two upright, nearly identical anthropomorphic figures. Their closed body forms and highly stylized facial features reveal a striking combination of geometric simplification and individual design. Both sculptures have elongated, almost cylindrical bodies that terminate in flat bases without elaborated legs. The arms are merely suggested by small lateral protrusions, while the female genitalia are clearly emphasized by plastically protruding breasts. The figure on the left is distinguished by a particularly elaborate head. Its comparatively large, rounded head is dominated by a complex, relief-like hairstyle, the surface of which exhibits numerous parallel incised lines. The spirally curled forms projecting laterally are especially striking; these may represent intricately braided sections of hair or a special headdress. The forehead is high and slightly domed, while the eyes are depicted as large, circular protrusions. The nose appears narrow and elongated, the mouth small and only weakly modeled. The body has a robust, almost columnar form with two clearly protruding breasts. The surface shows numerous small indentations, irregular incised marks, and larger light deposits, which are particularly prominent in the area of the face, shoulders, and torso. The figure on the right is considerably more restrained in its design. Her head is almost spherical, lacking any pronounced hairstyle. The eyes appear as circular protrusions, while the nose and mouth are only suggested by small, three-dimensional or indented forms. The ears are faintly visible at the sides. The elongated body is somewhat narrower and has two small, three-dimensional breasts. The surface is predominantly dark gray to blackish, articulated by irregular lighter patches and numerous small depressions. Both figures exhibit a comparable basic formal structure but differ significantly in the rendering of their heads and surfaces. This juxtaposition lends the pair a particular visual tension. The differing designs could allude to various individual or symbolic identities, although such a meaning cannot be definitively determined based solely on their outward appearance.
Art Historical Analysis
The Losso, whose self-designation is Nawdba, belong to the ethnic groups of northern Togo. Their traditional settlement area lies primarily in the Niamtougou and Doufelgou region, an area characterized by close historical and cultural ties to neighboring communities such as the Kabiyè, Lamba, and Moba. The material and artistic traditions of this region encompass various forms of wood sculpture, ceramics, and ritual object design. Anthropomorphic figures can appear in familial, communal, or religious contexts. The terracotta figures in question, with their elongated body forms, highly simplified anatomy, and emphasized female features, can be placed within the broader context of figurative ceramics from northern Togo. Particularly noteworthy is the combination of an almost entirely abstracted body design with a comparatively differentiated treatment of the heads. While the bodies of both figures are reduced to closed, cylindrical volumes, the faces, and especially the hairstyle of the figure on the left, exhibit independent sculptural detail. This differing emphasis on individual body parts points to a sculptural approach in which the head is highlighted as the central expressive element. The left figure possesses a particularly complex silhouette due to its spirally structured hair, while the right figure is characterized by its spherical head shape and the extensive reduction of ornamental details. The joint presentation of both figures suggests a possible functional or symbolic connection. Whether they were originally created as a matching pair remains unclear. It is impossible to determine the origin of the terracotta figures without documented provenance. Likewise, it remains unclear whether their differing design features stem from different workshops, individual artistic decisions, or differing iconographic concepts.
Symbolism and Female Iconography
The prominently displayed breasts of both figures suggest a female representation. Within numerous West African art traditions, female figures can be associated with notions of fertility, motherhood, social continuity, and the transmission of life. However, such meanings are culturally specific and cannot be readily applied to the terracotta figures in question. The female physical characteristics could indicate a particular social or religious significance of the figures depicted. The differing head designs are particularly interesting. The elaborately crafted hairstyle of the figure on the left could allude to a specific identity, social position, or ritual affiliation. Hairstyles play an important role in many African societies as an expression of age, social status, gender, and personal identity. The spiraling forms could therefore represent more than purely decorative elements. A definitive interpretation is not possible without local ethnographic examples for comparison. The figure on the right largely forgoes comparable ornamentation. Its spherical head shape and simplified facial features lend it a calmer, more abstract appearance. The juxtaposition of the two figures could point to different phases of life, social roles, or complementary symbolic attributes. It is also conceivable that the differences are simply expressions of individual artistic expression. The numerous small indentations on the body surfaces could be related to the manufacturing technique, deliberate surface texturing, or later alterations. An interpretation as body scars or ritual markings would not be certain without further investigation.
Possible Ritual Function
In the traditional religious beliefs of various communities in northern Togo, ancestors, local protective powers, and the relationship between living people and spiritual forces hold significant importance. Anthropomorphic figures can serve as material reference points for remembrance, protection, sacrificial rites, or familial continuity within such contexts. A corresponding function seems fundamentally plausible for the Losso terracotta figurines in question. Their feminine features might suggest a connection to notions of fertility or familial continuity, but such an interpretation cannot be considered certain. The nearly cylindrical bodies and flat bases indicate an upright placement. Whether the figures were originally used on a household altar, in a communal sanctuary, or in some other context remains unknown. The question of whether they were created as a pair or independently is also open. The dark gray surfaces and the light deposits could be due to different manufacturing and aging processes. The dark coloration, for example, could be related to reducing firing conditions, a subsequent surface treatment, or prolonged use. A definitive determination would require a materials science analysis. The visible signs of wear do not allow for a clear statement about repeated ritual treatments or the original function of the objects.
Art Historical Assessment
The exceptional artistic quality of this terracotta pair lies in the impressive combination of formal unity, sculptural simplification, and individual differentiation. Both figures possess an almost monumental presence, arising, regardless of their actual dimensions, from the consistent reduction of the human form to a few essential volumes. The elongated bodies create serene vertical axes, while the large heads effectively complete the compositions. The differing treatment of the skulls is particularly noteworthy. The left figure, with its spiraling hair, develops a dynamic, plastically complex silhouette, while the right figure, with its closed, spherical head, exudes an almost meditative calm. The plastically emphasized breasts create a clear connection between the two figures and underscore their shared anthropomorphic foundation. The dark gray surfaces, the light deposits, and the irregular depressions lend the sculptures a pronounced material vitality.Within the diverse figurative ceramics of northern Togo, these two works demonstrate a remarkable capacity for sculptural concision. Their art historical significance lies particularly in the combination of female iconography, geometric abstraction, and a potentially ritually influenced conception of the image. Presented together, the figures create a unique dialogic effect, the original cultural meaning of which, however, requires further research.
Literature
Kerchache, Jacques / Paudrat, Jean-Louis / Stéphan, Lucien: L'art africain. Paris: Citadelles & Mazenod, 1988.
Laude, Jean: The Arts of Black Africa. Berkeley / Los Angeles: University of California Press, 1971.
Roy, Christopher D. / Wheelock, Thomas G.: Land of the Flying Masks: Art and Culture in Burkina Faso. Munich: Prestel, 2007.
The publications mentioned provide general art historical foundations for African sculpture and the art traditions of the West African savanna. However, they do not directly address the Losso terracotta figurines from Niamtougou. In particular, the study by Roy and Wheelock primarily concerns neighboring cultural regions and serves solely for regional comparison. A more comprehensive scholarly analysis would require specific ethnographic studies of the Nawdba people as well as documented comparative objects from the Niamtougou and Doufelgou region.
Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective copyright holders are reserved.
Inv. No. MAZ34353
Informant: Petit Coulibaly
Height: 34 cm / 33 cm
Weight: 2,2 kg / 1,9 kg
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
Losso
Country of Origin
Togo
Material
Terracotta
Sold with stand
No
Condition
Fair condition
Title of artwork
A terracotta sculpture
Height
34 cm
Weight
4.1 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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