一个木质雕塑 - Prampram - 迦納

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在歷史兵器、盔甲及非洲藝術領域擁有十年經驗。

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來自加納的木雕,標題為《A wooden sculpture》,產地Prampram,附支架,高172公分,重2.2公斤,品相一般。

AI輔助摘要

賣家描述

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.

賣家的故事

沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始,而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排;它暗示着多种可能。它更鼓励审视,而非崇敬,并早早教会雅尼克:物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。 在二十多年里,雅尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物,在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统,不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复接触逐步显现,这些接触逐渐发展为关系,并通过信任在多年里逐步建立。 马里成为这一经历的引力中心。2002年至2012年间,雅尼克在巴马科和塞古生活与工作,经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间,马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧,而是使人澄清:过去与现在并非彼此排斥,而是彼此锋利。 2012年的战争突然终结了这一篇章,像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起,雅尼克在洛美重新集结,地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起,柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面,由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。 雅尼克的实践之所以独特,不仅在于它的地理范围,更在于其内部的张力。现场考察与出处研究并行;商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作,将流通框定为一种道德过程,始终未完结。目标并非将物件从世界中移除并封存,而是让它们在世界中保持可解读的状态——允许它们继续发声,即使发声的条件在变化。 ------------ Galerie Wolfgang Jaenicke是一家位于柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵,他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。 据画廊自述,雅尼克 studied ethnology、art history 与 comparative law,在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴,而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。 他职业生涯一个特别重要的阶段在马里,约在2002年至2012年之间,在巴马科与塞古生活与工作,经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊,其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。 后来,与阿吉博·卡马特一起,雅尼克继续在洛美工作,随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩(Benin)及伊夫(Ife)相关的作品、诺克(Nok)雕塑、洞贡(Dogon)艺术、鲍勒(Baule)雕塑、塞努福(Senufo)物件及约鲁巴(Yoruba)材料。 雅尼克公开立场的一大鲜明特点,是他反复强调出处透明与归还辩论。在多份公开的物件记录中,画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表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讨论。 画廊维护着庞大的在线档案与目录,记录着数百件非洲物件,包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯(Fon)物件、莫巴(Moba)人像,以及其他西非材料。 对于研究非洲艺术贸易历史的学者而言,雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场,而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。 本文本基于AI信息
由Google翻譯翻譯

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.

賣家的故事

沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始,而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排;它暗示着多种可能。它更鼓励审视,而非崇敬,并早早教会雅尼克:物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。 在二十多年里,雅尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物,在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统,不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复接触逐步显现,这些接触逐渐发展为关系,并通过信任在多年里逐步建立。 马里成为这一经历的引力中心。2002年至2012年间,雅尼克在巴马科和塞古生活与工作,经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间,马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧,而是使人澄清:过去与现在并非彼此排斥,而是彼此锋利。 2012年的战争突然终结了这一篇章,像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起,雅尼克在洛美重新集结,地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起,柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面,由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。 雅尼克的实践之所以独特,不仅在于它的地理范围,更在于其内部的张力。现场考察与出处研究并行;商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作,将流通框定为一种道德过程,始终未完结。目标并非将物件从世界中移除并封存,而是让它们在世界中保持可解读的状态——允许它们继续发声,即使发声的条件在变化。 ------------ Galerie Wolfgang Jaenicke是一家位于柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵,他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。 据画廊自述,雅尼克 studied ethnology、art history 与 comparative law,在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴,而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。 他职业生涯一个特别重要的阶段在马里,约在2002年至2012年之间,在巴马科与塞古生活与工作,经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊,其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。 后来,与阿吉博·卡马特一起,雅尼克继续在洛美工作,随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩(Benin)及伊夫(Ife)相关的作品、诺克(Nok)雕塑、洞贡(Dogon)艺术、鲍勒(Baule)雕塑、塞努福(Senufo)物件及约鲁巴(Yoruba)材料。 雅尼克公开立场的一大鲜明特点,是他反复强调出处透明与归还辩论。在多份公开的物件记录中,画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表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讨论。 画廊维护着庞大的在线档案与目录,记录着数百件非洲物件,包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯(Fon)物件、莫巴(Moba)人像,以及其他西非材料。 对于研究非洲艺术贸易历史的学者而言,雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场,而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。 本文本基于AI信息
由Google翻譯翻譯

詳細資料

族裔/文化
Prampram
原產國
迦納
物料
Sold with stand
狀況
狀況一般
藝術品標題
A wooden sculpture
Height
172 cm
重量
2,2 kg
德國已驗證
6342
已售物品
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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