一件木雕作品 - Prampram - 加纳

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Julien Gauthier
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由Julien Gauthier精选

在历史武器、盔甲和非洲艺术方面拥有十年的经验。

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来自加纳的木质雕塑,标题为《A wooden sculpture》,产地Prampram,附带底座,高172 cm,重2.2 kg,状况一般。

AI辅助摘要

卖家的描述

Prampram staff, Southern region, Prampram town, Ghana. Incl stand.

This prestige staff or scepter, attributed to the very rare and confidential corpus of Prampram statuary (Ga-Dangme people, coastal region of southeastern Ghana), is characterized by a repetitive and highly ritualized vertical totemic structure.

The object takes the form of a long, vertical pole carved from a single block, onto which several stylized anthropomorphic figures are superimposed. This vertical, repetitive structure evokes the continuity of lineage, generational stacking, and the connection between the earthly world and the realm of the ancestors. Each figure embodies the minimalist aesthetic canon characteristic of sculptures from this region: a very elongated, slender body, arms close to the torso ending abruptly without detail for the hands, and simplified legs. The figures have ovoid or spherical heads mounted on long, cylindrical necks. The faces exhibit a strict economy of means: the eyes and mouths are simple, punctiform incisions, and the nose is reduced to a thin, straight vertical ridge. Between the different sections and at the base of each figure, the wood is punctuated by geometric bulges shaped like hourglasses or spools. On several segments, natural fiber collars or cord bindings are visible, a common ritual addition used to secure the object's magical or symbolic power. The lower part of the staff, just before the terminal sleeve inserted into the base, is carved with a helical twist motif. This spiral movement creates a dynamic break with the vertical rigidity of the rest of the piece.

Historical inquiry into the origins and migration history of the Prampram people situates this community within the broader ethnolinguistic constellation known as the Ga‑Dangme of southeastern Ghana. The Ga‑Dangme category designates a group of related peoples speaking varieties of the Kwa branch of the Niger‑Congo language family, with Dangme dialects spoken in the coastal plain extending from Kpone to Ada and including groups such as the Ada, Krobo, Ningo, Osudoku, Shai, and Prampram (identified in sources as the Gbugbla subgroup) and Ga dialects concentrated around Accra and Tema. The linguistic classification underscores shared structural affinities among these speech communities and reflects deeper historical connections across the region, forming the linguistic substrate of present‑day Ga‑Dangme identity.

Reconstruction of early migratory narratives among Ga‑Dangme groups relies principally on oral tradition, supplemented by historical linguistics and early colonial records. Multiple oral histories recorded in local archives and community memory posit a long series of migrations from the eastern reaches of Africa toward the Gulf of Guinea. These traditions, while variable in detail, describe ancestral movements from regions associated in cosmological accounts with zones as far east as Egypt and Southern Sudan, with subsequent sojourns in territories identified as Same in Niger and Ile‑Ife in present‑day Nigeria before westward movement into Benin, Togo, and ultimately the coastal plains of modern Ghana.

The historical layers embedded in these narratives cannot be uncritically equated with documented pre‑colonial migration events in the manner of written histories, but they constitute an indigenous archive of memory that complements archaeological, linguistic, and ethnographic evidence. These stories position the Ga‑Dangme — including the group ancestral to the Prampram community — as part of a long trajectory of movement along established trans‑Saharan and trans‑Sahelian routes, gradually descending the Niger River corridor and crossing the Volta River before arriving on the Accra plains by the thirteenth to fourteenth centuries.

Within Ghanaian historical geography, the Dangme groups, including the Prampram people, are understood to have coalesced into discrete communities in the Greater Accra coastal plains by roughly 1400 CE, with settlement patterns articulated around clan‑based landholdings and autonomous town structures. Dina Kropp‑Dakubu and other historical linguists note that the “in‑migration of the Ga‑Dangme‑speaking people… was probably complete by CE 1400” and that the distinctions between Ga and Dangme linguistic varieties crystallized over subsequent centuries of settlement and interaction with neighboring groups.

Sociocultural organization among Dangme societies reflects these deep histories of mobility and adaptation. Many Dangme communities, including Prampram, have traditionally structured kinship and land tenure through patrilineal descent, while maintaining complex ritual institutions and performative practices that reinforce social continuity. Ritual festivals such as Homowo, interpreted as an expression of agricultural resilience and communal memory of past hardship, are central to communal identity and trace shared cultural frameworks across Ga‑Dangme groups.

Early European sources from the seventeenth and eighteenth centuries provide further corroboration of the presence of Dangme communities at important coastal entrepôts during the pre‑colonial and early colonial eras. Historical records of trade and contact — for example, references in merchant accounts to towns identified as Ponnie (Kpone), Lay (Ningo), and Pompena (Prampram) — indicate that these communities were integrated into the emergent Atlantic economy, functioning as nodes in commercial networks linking interior producers with European traders.

Settlement in the Prampram area itself took shape against this backdrop of coastal exchange and local social evolution. Prampram (identified in colonial and later cartographic sources as Gbugbla) emerged as a distinct town entity with its own chiefly lineage and system of customary authority, engaging in fishing, small‑scale farming, and trade long before formal colonial administration. Its linguistic identity as Dangme and its integration into the regional festival calendar situate the community firmly within the cultural matrix of the Ga‑Dangme coastal societies.

While oral accounts often extend ancestral origins to ancient Near Eastern contexts, such as migrations from Israel in the first millennium BCE, these narratives should be read primarily as mytho‑historical frameworks through which the Ga‑Dangme peoples articulate notions of antiquity, spiritual lineage, and existential continuity rather than as literal geographic provenance verified by archaeological data. Such motifs — recurring in multiple African oral traditions — serve to anchor local histories in cosmological horizons that transcend immediate geographic memory.

Colonial encounter in the eighteenth and nineteenth centuries introduced new political dynamics but did not fundamentally alter the ethnic composition of the Prampram community, which remained rooted in its indigenous Dangme lineage. The town’s participation in coastal trade, including interactions mediated through European trading forts, expanded its economic reach while reinforcing its position within the network of Ga‑Dangme polities.

In sum, the provenance of the Prampram people is best understood as the cumulative outcome of long‑distance movements of Ga‑Dangme ancestors, processes of settlement and differentiation on the Accra plains, and sustained cultural reproduction through local institutions of language, ritual, and social organization. The interdisciplinary synthesis of oral tradition, linguistic classification, and historical documentation affirms that the Prampram community did not arise ex nihilo in the last centuries but emerged from deep historical roots within the dynamic ethnographic landscape of West Africa.

M. E. Kropp Dakubu, Korle Meets the Sea: A Sociolinguistic History of Accra (Oxford University Press, 1997). This work traces the emergence and spread of the Ga and Dangme languages across the coastal plain and analyzes migration traditions and historical contact with other groups; linguistic evidence is used to reconstruct aspects of ethnogenesis.
Carl Christian Reindorf, The History of the Gold Coast and Asante (originally published 1895; Ghana Universities Press edition). A seminal historical account by one of the earliest indigenous historians; it preserves local oral traditions and incorporates them into a cohesive narrative of Gold Coast history that includes references to coastal peoples and migration movements.
Victoria Ellen Smith (ed.), Voices of Ghana (Cambridge University Press, 2018). This anthology includes contributions on many Ghanaian ethnic traditions and oral histories, including material relevant to Ga‑Dangme cultural identity and historical narrative.
Joshua N. Kudadjie, “Aspects of Ga and Dangme Thought about Time as Contained in Their Proverbs.” In Time and Temporality in Intercultural Perspective, Brill (1996). A disciplinary study offering insight into Ga‑Dangme conceptualizations that intersect with historical reflection and cultural expression.

This information is created by AI and based on published ethnographic and art-historical sources.

卖家故事

沃尔夫冈·贾艾尼克的对非洲艺术的投入并非始于田野或市场,而是在一个更安静、更内在的空间——在父亲的文件、书籍与物件之间。关于德国前殖民地的档案并非为了讲出一个单一的故事;它暗示着多种可能。它邀请审视而非崇敬,并让贾艾尼克在早年就明白,物件从来不是沉默的。它们内部携带时间——断裂与延续以同样的形式共存——并请人像对待文本那样去解读它们。 二十多年多来,贾艾尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都不能完全概括他的实践形态。曾经较为随意地归在“部落艺术”范畴下的事物,在他看来从未是一个封闭或历史性的类别。它更像是一组活生生的传统,不断在当下进行协商。他的学术训练——民族学、艺术史与比较法——提供了一个语法;语言本身则在别处学得。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复的相遇逐步显现,逐步变成关系,并通过信任在多年里一点点建立起来。 马里成为这段经历的重力中心。2002年至2012年间,贾艾尼克在巴马科和塞古居住并工作,经营着Tribalartforum,一家俯瞰尼日尔河的画廊。这个空间抵抗简单的年表化叙述。雕塑与陶器与摄影共处同一房间,马利克·西德比(Malick Sidibé)的作品——70年代昔日马里的青年形象,充满自信与热情——与更古老的仪式形式并列挂着。其效果并非让人怀旧,而是澄清:过去与现在并不彼此抵消,而是相互锐化。 2012年的战争突然结束了这一阶段,正如战争常常所做的那样。但它并未消解这份工作。与阿吉布·卡马特(Aguibou Kamaté)一起,贾艾尼克在洛美重新集结,离许多物件的来源地更近,也离它们继续行走的路线更近。自2018年以来,柏林成为这张地图上的又一个节点。Wolfgang Jaenicke画廊现设在夏洛滕堡皇宫对面,由一支小型专家团队支撑。其重点,尤其聚焦于西非青铜器与陶土器——这类以土与火为塑造材料,又以记忆形式抵御轻易翻译的材料。 贾艾尼克的实践之所以与众不同,不仅在于它的地理范围,还在于其内部张力。田野工作与来源研究并行;商业活动与责任感被视为不可分割。与博物馆及学术机构的合作中,流通被框定为一种伦理过程,而非单纯的掠取。目标并非将物件从世界中移除并封存起来,而是让它们在世界中保持可读性——在其言语的条件改变之时,仍使它们继续发声。 ------------ Galerie Wolfgang Jaenicke 是一家驻柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具以及当代非洲艺术。由沃尔夫冈·贾艾尼克掌舵,他的工作结合了收藏、经销、来源研究、田野考察与档案文献记录。 据画廊自述,贾艾尼克学习了民族学、艺术史与比较法,在非洲艺术领域从业超过二十五年。他的活动通过在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与而发展起来。他并非将非洲艺术呈现为一个封闭的历史范畴,而是描述为由活生生的社区和不断变化的历史情境共同塑造的持续文化传统。 他职业生涯的一个特别重要阶段是在马里,约2002年至2012年间在巴马科和塞古居住、工作。在那里他经营Tribalartforum,一家将历史性非洲雕塑与当代非洲摄影结合起来的画廊,包括马利克·西迪贝的作品。2012年马里的政治与军事危机导致这一阶段的活动关闭。 随后,贾艾尼克与阿吉布·卡马特一起继续在洛美、多哥工作,然后在柏林夏洛滕堡宫附近建立画廊。画廊尤为强调西非青铜器、陶土器、与贝宁及伊菲相关作品、诺克(Nok)雕塑、道贡(Dogon)艺术、包雷(Baule)雕塑、塞努福(Senufo)物件以及约鲁巴材料等。 贾艾尼克公共立场的一个独特之处在于他反复强调来源透明度和赔偿辩论。在若干已发表的物件记录中,画廊明确讨论出口文书、联合国教科文组织公约、所有权历史以及与学者和赔偿研究人员的沟通等问题。这些陈述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛辩论。 画廊维持着大量线上档案与目录,记录着数百件非洲物件,包括贝宁与伊菲青铜器、诺克陶土、道贡雕塑、包雷人像、丰(Fon)物件、莫巴(Moba)人像及其他西非材料。 对于研究非洲艺术贸易史的学者而言,贾艾尼克代表了比约翰·J·克莱曼等人物更后期的一代经销商。克莱曼属于二战后纽约市场的1950年代至1970年代,而贾艾尼克的工作则受现代议题的影响:田野文档、来源研究、赔偿讨论、数字档案以及与西非网络与艺术家直接接触。 本文本基于人工智能信息
使用Google翻译翻译

Prampram staff, Southern region, Prampram town, Ghana. Incl stand.

This prestige staff or scepter, attributed to the very rare and confidential corpus of Prampram statuary (Ga-Dangme people, coastal region of southeastern Ghana), is characterized by a repetitive and highly ritualized vertical totemic structure.

The object takes the form of a long, vertical pole carved from a single block, onto which several stylized anthropomorphic figures are superimposed. This vertical, repetitive structure evokes the continuity of lineage, generational stacking, and the connection between the earthly world and the realm of the ancestors. Each figure embodies the minimalist aesthetic canon characteristic of sculptures from this region: a very elongated, slender body, arms close to the torso ending abruptly without detail for the hands, and simplified legs. The figures have ovoid or spherical heads mounted on long, cylindrical necks. The faces exhibit a strict economy of means: the eyes and mouths are simple, punctiform incisions, and the nose is reduced to a thin, straight vertical ridge. Between the different sections and at the base of each figure, the wood is punctuated by geometric bulges shaped like hourglasses or spools. On several segments, natural fiber collars or cord bindings are visible, a common ritual addition used to secure the object's magical or symbolic power. The lower part of the staff, just before the terminal sleeve inserted into the base, is carved with a helical twist motif. This spiral movement creates a dynamic break with the vertical rigidity of the rest of the piece.

Historical inquiry into the origins and migration history of the Prampram people situates this community within the broader ethnolinguistic constellation known as the Ga‑Dangme of southeastern Ghana. The Ga‑Dangme category designates a group of related peoples speaking varieties of the Kwa branch of the Niger‑Congo language family, with Dangme dialects spoken in the coastal plain extending from Kpone to Ada and including groups such as the Ada, Krobo, Ningo, Osudoku, Shai, and Prampram (identified in sources as the Gbugbla subgroup) and Ga dialects concentrated around Accra and Tema. The linguistic classification underscores shared structural affinities among these speech communities and reflects deeper historical connections across the region, forming the linguistic substrate of present‑day Ga‑Dangme identity.

Reconstruction of early migratory narratives among Ga‑Dangme groups relies principally on oral tradition, supplemented by historical linguistics and early colonial records. Multiple oral histories recorded in local archives and community memory posit a long series of migrations from the eastern reaches of Africa toward the Gulf of Guinea. These traditions, while variable in detail, describe ancestral movements from regions associated in cosmological accounts with zones as far east as Egypt and Southern Sudan, with subsequent sojourns in territories identified as Same in Niger and Ile‑Ife in present‑day Nigeria before westward movement into Benin, Togo, and ultimately the coastal plains of modern Ghana.

The historical layers embedded in these narratives cannot be uncritically equated with documented pre‑colonial migration events in the manner of written histories, but they constitute an indigenous archive of memory that complements archaeological, linguistic, and ethnographic evidence. These stories position the Ga‑Dangme — including the group ancestral to the Prampram community — as part of a long trajectory of movement along established trans‑Saharan and trans‑Sahelian routes, gradually descending the Niger River corridor and crossing the Volta River before arriving on the Accra plains by the thirteenth to fourteenth centuries.

Within Ghanaian historical geography, the Dangme groups, including the Prampram people, are understood to have coalesced into discrete communities in the Greater Accra coastal plains by roughly 1400 CE, with settlement patterns articulated around clan‑based landholdings and autonomous town structures. Dina Kropp‑Dakubu and other historical linguists note that the “in‑migration of the Ga‑Dangme‑speaking people… was probably complete by CE 1400” and that the distinctions between Ga and Dangme linguistic varieties crystallized over subsequent centuries of settlement and interaction with neighboring groups.

Sociocultural organization among Dangme societies reflects these deep histories of mobility and adaptation. Many Dangme communities, including Prampram, have traditionally structured kinship and land tenure through patrilineal descent, while maintaining complex ritual institutions and performative practices that reinforce social continuity. Ritual festivals such as Homowo, interpreted as an expression of agricultural resilience and communal memory of past hardship, are central to communal identity and trace shared cultural frameworks across Ga‑Dangme groups.

Early European sources from the seventeenth and eighteenth centuries provide further corroboration of the presence of Dangme communities at important coastal entrepôts during the pre‑colonial and early colonial eras. Historical records of trade and contact — for example, references in merchant accounts to towns identified as Ponnie (Kpone), Lay (Ningo), and Pompena (Prampram) — indicate that these communities were integrated into the emergent Atlantic economy, functioning as nodes in commercial networks linking interior producers with European traders.

Settlement in the Prampram area itself took shape against this backdrop of coastal exchange and local social evolution. Prampram (identified in colonial and later cartographic sources as Gbugbla) emerged as a distinct town entity with its own chiefly lineage and system of customary authority, engaging in fishing, small‑scale farming, and trade long before formal colonial administration. Its linguistic identity as Dangme and its integration into the regional festival calendar situate the community firmly within the cultural matrix of the Ga‑Dangme coastal societies.

While oral accounts often extend ancestral origins to ancient Near Eastern contexts, such as migrations from Israel in the first millennium BCE, these narratives should be read primarily as mytho‑historical frameworks through which the Ga‑Dangme peoples articulate notions of antiquity, spiritual lineage, and existential continuity rather than as literal geographic provenance verified by archaeological data. Such motifs — recurring in multiple African oral traditions — serve to anchor local histories in cosmological horizons that transcend immediate geographic memory.

Colonial encounter in the eighteenth and nineteenth centuries introduced new political dynamics but did not fundamentally alter the ethnic composition of the Prampram community, which remained rooted in its indigenous Dangme lineage. The town’s participation in coastal trade, including interactions mediated through European trading forts, expanded its economic reach while reinforcing its position within the network of Ga‑Dangme polities.

In sum, the provenance of the Prampram people is best understood as the cumulative outcome of long‑distance movements of Ga‑Dangme ancestors, processes of settlement and differentiation on the Accra plains, and sustained cultural reproduction through local institutions of language, ritual, and social organization. The interdisciplinary synthesis of oral tradition, linguistic classification, and historical documentation affirms that the Prampram community did not arise ex nihilo in the last centuries but emerged from deep historical roots within the dynamic ethnographic landscape of West Africa.

M. E. Kropp Dakubu, Korle Meets the Sea: A Sociolinguistic History of Accra (Oxford University Press, 1997). This work traces the emergence and spread of the Ga and Dangme languages across the coastal plain and analyzes migration traditions and historical contact with other groups; linguistic evidence is used to reconstruct aspects of ethnogenesis.
Carl Christian Reindorf, The History of the Gold Coast and Asante (originally published 1895; Ghana Universities Press edition). A seminal historical account by one of the earliest indigenous historians; it preserves local oral traditions and incorporates them into a cohesive narrative of Gold Coast history that includes references to coastal peoples and migration movements.
Victoria Ellen Smith (ed.), Voices of Ghana (Cambridge University Press, 2018). This anthology includes contributions on many Ghanaian ethnic traditions and oral histories, including material relevant to Ga‑Dangme cultural identity and historical narrative.
Joshua N. Kudadjie, “Aspects of Ga and Dangme Thought about Time as Contained in Their Proverbs.” In Time and Temporality in Intercultural Perspective, Brill (1996). A disciplinary study offering insight into Ga‑Dangme conceptualizations that intersect with historical reflection and cultural expression.

This information is created by AI and based on published ethnographic and art-historical sources.

卖家故事

沃尔夫冈·贾艾尼克的对非洲艺术的投入并非始于田野或市场,而是在一个更安静、更内在的空间——在父亲的文件、书籍与物件之间。关于德国前殖民地的档案并非为了讲出一个单一的故事;它暗示着多种可能。它邀请审视而非崇敬,并让贾艾尼克在早年就明白,物件从来不是沉默的。它们内部携带时间——断裂与延续以同样的形式共存——并请人像对待文本那样去解读它们。 二十多年多来,贾艾尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都不能完全概括他的实践形态。曾经较为随意地归在“部落艺术”范畴下的事物,在他看来从未是一个封闭或历史性的类别。它更像是一组活生生的传统,不断在当下进行协商。他的学术训练——民族学、艺术史与比较法——提供了一个语法;语言本身则在别处学得。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复的相遇逐步显现,逐步变成关系,并通过信任在多年里一点点建立起来。 马里成为这段经历的重力中心。2002年至2012年间,贾艾尼克在巴马科和塞古居住并工作,经营着Tribalartforum,一家俯瞰尼日尔河的画廊。这个空间抵抗简单的年表化叙述。雕塑与陶器与摄影共处同一房间,马利克·西德比(Malick Sidibé)的作品——70年代昔日马里的青年形象,充满自信与热情——与更古老的仪式形式并列挂着。其效果并非让人怀旧,而是澄清:过去与现在并不彼此抵消,而是相互锐化。 2012年的战争突然结束了这一阶段,正如战争常常所做的那样。但它并未消解这份工作。与阿吉布·卡马特(Aguibou Kamaté)一起,贾艾尼克在洛美重新集结,离许多物件的来源地更近,也离它们继续行走的路线更近。自2018年以来,柏林成为这张地图上的又一个节点。Wolfgang Jaenicke画廊现设在夏洛滕堡皇宫对面,由一支小型专家团队支撑。其重点,尤其聚焦于西非青铜器与陶土器——这类以土与火为塑造材料,又以记忆形式抵御轻易翻译的材料。 贾艾尼克的实践之所以与众不同,不仅在于它的地理范围,还在于其内部张力。田野工作与来源研究并行;商业活动与责任感被视为不可分割。与博物馆及学术机构的合作中,流通被框定为一种伦理过程,而非单纯的掠取。目标并非将物件从世界中移除并封存起来,而是让它们在世界中保持可读性——在其言语的条件改变之时,仍使它们继续发声。 ------------ Galerie Wolfgang Jaenicke 是一家驻柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具以及当代非洲艺术。由沃尔夫冈·贾艾尼克掌舵,他的工作结合了收藏、经销、来源研究、田野考察与档案文献记录。 据画廊自述,贾艾尼克学习了民族学、艺术史与比较法,在非洲艺术领域从业超过二十五年。他的活动通过在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与而发展起来。他并非将非洲艺术呈现为一个封闭的历史范畴,而是描述为由活生生的社区和不断变化的历史情境共同塑造的持续文化传统。 他职业生涯的一个特别重要阶段是在马里,约2002年至2012年间在巴马科和塞古居住、工作。在那里他经营Tribalartforum,一家将历史性非洲雕塑与当代非洲摄影结合起来的画廊,包括马利克·西迪贝的作品。2012年马里的政治与军事危机导致这一阶段的活动关闭。 随后,贾艾尼克与阿吉布·卡马特一起继续在洛美、多哥工作,然后在柏林夏洛滕堡宫附近建立画廊。画廊尤为强调西非青铜器、陶土器、与贝宁及伊菲相关作品、诺克(Nok)雕塑、道贡(Dogon)艺术、包雷(Baule)雕塑、塞努福(Senufo)物件以及约鲁巴材料等。 贾艾尼克公共立场的一个独特之处在于他反复强调来源透明度和赔偿辩论。在若干已发表的物件记录中,画廊明确讨论出口文书、联合国教科文组织公约、所有权历史以及与学者和赔偿研究人员的沟通等问题。这些陈述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛辩论。 画廊维持着大量线上档案与目录,记录着数百件非洲物件,包括贝宁与伊菲青铜器、诺克陶土、道贡雕塑、包雷人像、丰(Fon)物件、莫巴(Moba)人像及其他西非材料。 对于研究非洲艺术贸易史的学者而言,贾艾尼克代表了比约翰·J·克莱曼等人物更后期的一代经销商。克莱曼属于二战后纽约市场的1950年代至1970年代,而贾艾尼克的工作则受现代议题的影响:田野文档、来源研究、赔偿讨论、数字档案以及与西非网络与艺术家直接接触。 本文本基于人工智能信息
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详细资料

Ethnic group/ culture
Prampram
原产国
加纳
材质
Sold with stand
是的
状态
情况尚佳
艺术品标题
A wooden sculpture
高度
172 cm
重量
2,2 kg
德国经验证
6342
已售出的几件物品
99,51%
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

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