A iron sculpture - Vere - 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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“A iron sculpture” is an original black iron anthropomorphic figure attributed to the Vere people, with provenance from Guso Village in the Jalingo Region of Nigeria.
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Description from the seller
Anthropomorphic Iron Sculpture of the Vere People - Jalingo Region, Guso Village, Nigeria
Culture: Vere (Verre), attributed
Provenance: Guso Village, Jalingo Region, Taraba State, Northeast Nigeria
Material: Wrought iron, dark brown to rust-colored oxidation patina, movable or suspended iron elements, incl stand.
Object Type: Highly abstracted anthropomorphic iron figure with a rod-shaped body and attached metal limbs
Dating: Uncertain
Cultural Context: Traditional ironworking and possibly ritual metal sculpture of the Vere people in the border region between Nigeria and Cameroon
Description
This exceptionally slender iron sculpture from the Vere cultural context is characterized by a radical reduction of the human form to a few basic forged elements. Its entire composition follows a strictly vertical axis formed by a long, narrow iron rod. This rod tapers to a pointed extension at the bottom, while the upper end transitions into a small, oval, slightly flattened head. The head sits atop a long, thin neck that transitions seamlessly into the shoulders. Below the neck, the iron widens into a small, almost triangular shoulder section, from which two long, laterally hanging elements are attached. These have flat, forged, slightly irregular surfaces and taper downwards before ending in wider, rounded tips. Their shape is reminiscent of elongated arms, the hands of which are not separately rendered. The two lateral links hang at different angles, lending a subtle sense of movement to the otherwise strictly axial figure. The central body remains almost entirely rod-shaped and shows no pronounced modeling of the chest, abdomen, or legs. In the middle section are two symmetrically arranged, outwardly curved iron bars, to which several smaller, elongated metal pieces are attached. These additional elements have varying shapes, including narrow, slightly twisted rods and wider, flat-forged pendants. They form a complex structure of closed and open shapes that stands out clearly from the linear austerity of the rest of the piece. Some of these elements appear to be connected by simple eyelets or bent iron ends. The lower half of the piece consists of a long, almost straight iron rod that tapers towards the end. The entire surface exhibits a uniform, in some places more pronounced, rust-brown oxidation with darker depressions and lighter, mineral-like deposits. Traces of the forging process remain visible in the slightly irregular contours and the varying degrees of wear on the metal. The modern black display base is not part of the original design.
Art Historical Analysis
The Vere, also called Verre, are an ethnic group in northeastern Nigeria and adjacent areas of Cameroon. Their historical territory lies primarily in the mountainous and savannah regions south of the upper Benue Basin. The region is characterized by extraordinary cultural diversity, in which different communities such as the Mumuye, Chamba, Jukun, and other neighboring groups developed distinct traditions of woodworking and metalworking. In these societies, iron was not solely a practical material for tools, weapons, and agricultural implements, but also held a special place within religious and social contexts. The production of forged iron objects required specialized technical knowledge and was associated in many West and Central African societies with particular notions of craftsmanship and material transformation. Due to its highly abstracted anthropomorphic design and forged construction, the present sculpture can be placed within the broader context of iron sculpture from the upper Benue region. Particularly characteristic is the consistent reduction of the human body to a vertical line, complemented by a few laterally attached or sculpted limbs. The head appears as a small oval element, while the long arms and the rod-like torso define the entire composition. This design differs fundamentally from naturalistic depictions of figures and follows an artistic logic in which the human form is represented by its essential structural features. The additional metal pendants in the midsection lend the figure a second, possibly symbolically significant, layer. However, their precise function remains unclear.
Attribution to the Vere is based on the transmitted provenance; a definitive stylistic identification using documented comparative objects would be necessary for a scientifically sound classification.
Symbolism and Material Significance
The sculpture's exceptionally elongated form opens up various possibilities for symbolic interpretation. The small oval head, the long neck, and the drooping arms clearly reveal the human figure despite its largely abstract nature. At the same time, the body possesses an almost rod-like form, reminiscent of a post, a sign, or an upright insignia. This combination of anthropomorphic representation and linear construction could indicate a special function within a religious or social context. The metal pendants attached in the central area are particularly noteworthy. They form a seemingly movable structure, the individual elements of which may originally have had acoustic, symbolic, or practical functions. If they were indeed freely movable, they could have produced sounds when the object was moved. However, such use cannot be verified based on the photograph. In various African ritual traditions, attached metal pieces can serve as symbols of special efficacy, as material offerings, or as components of complex protective objects. However, directly applying such meanings to the present Vere sculpture would be speculative. The tapered lower extension also warrants attention. Its shape could indicate that the object was originally set into the ground, a wooden base, or some other support. Whether it actually served as such a fixing remains unclear. The use of iron lends the sculpture a distinctive material presence. The forged metal combines technical strength with a surprisingly delicate, almost graphic design. The rust-brown surface and visible forging marks underscore the handcrafted nature of the work and make the material transformation of the iron comprehensible.
Possible Ritual Function
The sculpture's original use cannot be definitively determined without ethnographic documentation. Within various communities of the upper Benue region, anthropomorphic figures, metal objects, and other material symbols could have been used in religious, familial, or communal contexts. It is conceivable that they served as protective figures, components of altars, or symbolic objects within a local cult community. The tapered lower extension may have been intended for a fixed position, while the additional metal pendants could indicate special furnishings or repeated additions to the object. Use as a ceremonial symbol or portable insignia is also theoretically possible. However, there is no concrete evidence for any of these possibilities. Therefore, the designation as a ritual iron figure should be understood as a cautious functional classification. The visible oxidation patina indicates a change in the metal surface but does not allow for a reliable dating or a reconstruction of its original use. In particular, the extent of corrosion does not directly reveal the object's age. A more detailed examination of the forging technique, the joints, and any signs of wear could provide further clues about its manufacture and function.
Art Historical Appreciation
The exceptional artistic quality of this Vere iron sculpture lies in its extraordinary formal concentration. From just a few forged elements emerges a human figure of remarkable expressiveness, its effect largely determined by the interplay between vertical rigor and lateral movement. The small oval head forms a restrained upper termination, while the long arms rhythmically extend the slender silhouette. The metal pendants attached in the central area create a more complex sculptural structure and lend the work a particular visual tension. The figure appears simultaneously as a human representation, a linear symbol, and a spatial construction. The combination of technical simplicity and artistic precision is particularly impressive. The forged metal parts retain their handcrafted character, while their arrangement reveals a deliberately designed overall composition. The long, slender proportions give the sculpture an almost weightless appearance, which stands in striking contrast to the material solidity of the iron. Within the diverse metalwork of the upper Benue region, this work can be considered an example of consistently abstract figurative design. Its art historical significance lies particularly in the combination of anthropomorphic reduction, constructive clarity, and a possibly ritually determined material composition. However, its precise cultural and functional classification remains a subject for further research.
Literature
Fardon, Richard (ed.): African Languages, Development and the State. London: Routledge, 1994. This publication provides a broader ethnographic and regional studies background but does not specifically address the present iron sculpture.
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.
The publications mentioned serve to provide a general art historical and ethnographic context for African sculpture and its regional traditions. They do not constitute direct evidence for the present Vere iron figure. For further scholarly investigation, documented comparative objects from the upper Benue region, as well as specific ethnographic works on the Vere people and their metalworking traditions, would be particularly relevant.
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. MAZ34568
Informant: Amadou Dogo
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
Anthropomorphic Iron Sculpture of the Vere People - Jalingo Region, Guso Village, Nigeria
Culture: Vere (Verre), attributed
Provenance: Guso Village, Jalingo Region, Taraba State, Northeast Nigeria
Material: Wrought iron, dark brown to rust-colored oxidation patina, movable or suspended iron elements, incl stand.
Object Type: Highly abstracted anthropomorphic iron figure with a rod-shaped body and attached metal limbs
Dating: Uncertain
Cultural Context: Traditional ironworking and possibly ritual metal sculpture of the Vere people in the border region between Nigeria and Cameroon
Description
This exceptionally slender iron sculpture from the Vere cultural context is characterized by a radical reduction of the human form to a few basic forged elements. Its entire composition follows a strictly vertical axis formed by a long, narrow iron rod. This rod tapers to a pointed extension at the bottom, while the upper end transitions into a small, oval, slightly flattened head. The head sits atop a long, thin neck that transitions seamlessly into the shoulders. Below the neck, the iron widens into a small, almost triangular shoulder section, from which two long, laterally hanging elements are attached. These have flat, forged, slightly irregular surfaces and taper downwards before ending in wider, rounded tips. Their shape is reminiscent of elongated arms, the hands of which are not separately rendered. The two lateral links hang at different angles, lending a subtle sense of movement to the otherwise strictly axial figure. The central body remains almost entirely rod-shaped and shows no pronounced modeling of the chest, abdomen, or legs. In the middle section are two symmetrically arranged, outwardly curved iron bars, to which several smaller, elongated metal pieces are attached. These additional elements have varying shapes, including narrow, slightly twisted rods and wider, flat-forged pendants. They form a complex structure of closed and open shapes that stands out clearly from the linear austerity of the rest of the piece. Some of these elements appear to be connected by simple eyelets or bent iron ends. The lower half of the piece consists of a long, almost straight iron rod that tapers towards the end. The entire surface exhibits a uniform, in some places more pronounced, rust-brown oxidation with darker depressions and lighter, mineral-like deposits. Traces of the forging process remain visible in the slightly irregular contours and the varying degrees of wear on the metal. The modern black display base is not part of the original design.
Art Historical Analysis
The Vere, also called Verre, are an ethnic group in northeastern Nigeria and adjacent areas of Cameroon. Their historical territory lies primarily in the mountainous and savannah regions south of the upper Benue Basin. The region is characterized by extraordinary cultural diversity, in which different communities such as the Mumuye, Chamba, Jukun, and other neighboring groups developed distinct traditions of woodworking and metalworking. In these societies, iron was not solely a practical material for tools, weapons, and agricultural implements, but also held a special place within religious and social contexts. The production of forged iron objects required specialized technical knowledge and was associated in many West and Central African societies with particular notions of craftsmanship and material transformation. Due to its highly abstracted anthropomorphic design and forged construction, the present sculpture can be placed within the broader context of iron sculpture from the upper Benue region. Particularly characteristic is the consistent reduction of the human body to a vertical line, complemented by a few laterally attached or sculpted limbs. The head appears as a small oval element, while the long arms and the rod-like torso define the entire composition. This design differs fundamentally from naturalistic depictions of figures and follows an artistic logic in which the human form is represented by its essential structural features. The additional metal pendants in the midsection lend the figure a second, possibly symbolically significant, layer. However, their precise function remains unclear.
Attribution to the Vere is based on the transmitted provenance; a definitive stylistic identification using documented comparative objects would be necessary for a scientifically sound classification.
Symbolism and Material Significance
The sculpture's exceptionally elongated form opens up various possibilities for symbolic interpretation. The small oval head, the long neck, and the drooping arms clearly reveal the human figure despite its largely abstract nature. At the same time, the body possesses an almost rod-like form, reminiscent of a post, a sign, or an upright insignia. This combination of anthropomorphic representation and linear construction could indicate a special function within a religious or social context. The metal pendants attached in the central area are particularly noteworthy. They form a seemingly movable structure, the individual elements of which may originally have had acoustic, symbolic, or practical functions. If they were indeed freely movable, they could have produced sounds when the object was moved. However, such use cannot be verified based on the photograph. In various African ritual traditions, attached metal pieces can serve as symbols of special efficacy, as material offerings, or as components of complex protective objects. However, directly applying such meanings to the present Vere sculpture would be speculative. The tapered lower extension also warrants attention. Its shape could indicate that the object was originally set into the ground, a wooden base, or some other support. Whether it actually served as such a fixing remains unclear. The use of iron lends the sculpture a distinctive material presence. The forged metal combines technical strength with a surprisingly delicate, almost graphic design. The rust-brown surface and visible forging marks underscore the handcrafted nature of the work and make the material transformation of the iron comprehensible.
Possible Ritual Function
The sculpture's original use cannot be definitively determined without ethnographic documentation. Within various communities of the upper Benue region, anthropomorphic figures, metal objects, and other material symbols could have been used in religious, familial, or communal contexts. It is conceivable that they served as protective figures, components of altars, or symbolic objects within a local cult community. The tapered lower extension may have been intended for a fixed position, while the additional metal pendants could indicate special furnishings or repeated additions to the object. Use as a ceremonial symbol or portable insignia is also theoretically possible. However, there is no concrete evidence for any of these possibilities. Therefore, the designation as a ritual iron figure should be understood as a cautious functional classification. The visible oxidation patina indicates a change in the metal surface but does not allow for a reliable dating or a reconstruction of its original use. In particular, the extent of corrosion does not directly reveal the object's age. A more detailed examination of the forging technique, the joints, and any signs of wear could provide further clues about its manufacture and function.
Art Historical Appreciation
The exceptional artistic quality of this Vere iron sculpture lies in its extraordinary formal concentration. From just a few forged elements emerges a human figure of remarkable expressiveness, its effect largely determined by the interplay between vertical rigor and lateral movement. The small oval head forms a restrained upper termination, while the long arms rhythmically extend the slender silhouette. The metal pendants attached in the central area create a more complex sculptural structure and lend the work a particular visual tension. The figure appears simultaneously as a human representation, a linear symbol, and a spatial construction. The combination of technical simplicity and artistic precision is particularly impressive. The forged metal parts retain their handcrafted character, while their arrangement reveals a deliberately designed overall composition. The long, slender proportions give the sculpture an almost weightless appearance, which stands in striking contrast to the material solidity of the iron. Within the diverse metalwork of the upper Benue region, this work can be considered an example of consistently abstract figurative design. Its art historical significance lies particularly in the combination of anthropomorphic reduction, constructive clarity, and a possibly ritually determined material composition. However, its precise cultural and functional classification remains a subject for further research.
Literature
Fardon, Richard (ed.): African Languages, Development and the State. London: Routledge, 1994. This publication provides a broader ethnographic and regional studies background but does not specifically address the present iron sculpture.
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.
The publications mentioned serve to provide a general art historical and ethnographic context for African sculpture and its regional traditions. They do not constitute direct evidence for the present Vere iron figure. For further scholarly investigation, documented comparative objects from the upper Benue region, as well as specific ethnographic works on the Vere people and their metalworking traditions, would be particularly relevant.
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. MAZ34568
Informant: Amadou Dogo
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
Details
Ethnic group/ culture
Vere
Country of Origin
Nigeria
Material
Black Iron
Sold with stand
Yes
Condition
Fair condition
Title of artwork
A iron sculpture
Height
62 cm
Weight
1.2 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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