{"title":"Featured products","description":"","products":[{"product_id":"a-bamana-couple-the-female-do-nyeleni","title":"A Bamana Couple, The female \"Do N'yeleni\"","description":"\u003cp\u003eA Bamana Couple, The female \"Do N'yeleni\" ( sometimes Jonyeleni in Lit.) statue from the village Njala in the Bougouni region, Mali, about 10 km from Massigue, standing on a flat base, sturdy short legs, a loin cloth, the torso prolonged, conical breasts, square shoulders, long thin arms, little hands, an elongated, curved neck, a small protruding mouth, a long nose and tiny round eyes, the hairstyle consists of a braid bent into a triangle, scarifications in the form of dots, lines and zig-zag lines; dark brown patina, an old stapled repair with a metal bracket on the right leg. The male sculpture with the same scarification patterns, a metal bracket at the torso, in the left hand an axe and in the right a basket, the elongated neck with a pronounced Adam´s apple, the fascial plane similar to the female figure but instead of the female headdress a goatee. The much more rare male figure is presented for the first time together with the well-known female type of this sculpture. \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/bamana.bougouni.region.photo.wj.jpg\" alt=\"\" width=\"184\" height=\"275\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/bamana.female.colley.jpg\" alt=\"\" width=\"172\" height=\"285\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/bamana.female.colley.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLeft: Photo wj, the same carver or workshop we collected in 2008, in front of the picture the \"chief de village\", who allowed us to purchase this large sculpture after a long \u003cspan lang=\"en\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" data-number-of-phrases=\"1\"\u003edebate among the male members of the village. Now in a Spanish Private collection.\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003eRight: Jean Paul Colleyn, wood fabric, 74 cm, Neighbourhood of Bougouni, Probably prior to 1940.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cmeta charset=\"utf-8\"\u003eHeight: 120 cm\u003cbr\u003eWeight: 13,2 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038024138991,"sku":"BBD015882","price":6000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD015882.jpg?v=1658059022"},{"product_id":"a-benin-animal-bronze-a-panther-is-hunts-an-antelope","title":"A Benin animal bronze, \"A panther hunts an antelope\"","description":"\u003cp\u003eA Benin animal bronze, \"A panther hunts an antelope\" in lost wax manner.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eProbably one of the most beautiful Benin animal bronzes that we have ever seen. The type of depiction is reminiscent of the first jungle painting that Henri Rousseau painted in 1905 and which is now in the Fondation Beyeler.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eRousseau's first jungle painting, Tiger in a Tropical Storm, was rejected by the Académie de peinture et de sculpture for their official Paris Salon, but he was able to show it at the 1891 Salon des Indépendants. Despite his increasing reputation, Rousseau continued to exhibit his works at the annual Salon des Indépendants, but The Hungry Lion was first shown at a third show, the Salon d'Automne, in 1905, alongside works by Matisse and Derain. Rousseau wrote a longer subtitle or caption to accompany his painting: \"Le lion, ayant faim, se jette sur l'antilope, la dévore. \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eLa panthère attend avec anxiété le moment où, elle aussi, pourra en avoir sa part. Des oiseaux carnivores ont déchiqueté chacun un morceau de chair de dessus le pauvre animal Versant un pleur! Soleil couchant.\" \"The lion, being hungry, throws itself on the antelope, [and] devours it. The panther anxiously awaits the moment when it too can claim its share. Birds of prey have each torn a piece of flesh from the top of the poor animal which sheds a tear. The sunsets. The magazine L'illustration printed a copy of the work in its edition of 4 November 1905, with works by Matisse, Derain, Cezanne and Vuillard\"\u003c\/span\u003e\u003c\/span\u003e Source Wikipedia.\u003c\/p\u003e\n\u003cp\u003eDimensions: 52\/ 26\/20 cm\u003cbr\u003eWeight: 6,2 kg\u003c\/p\u003e\n\u003cp\u003e\u003cimg height=\"441\" width=\"483\" alt=\"\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/rousseau.henri..png\"\u003e \u003c\/p\u003e\n\u003cp\u003eHenri Rouseau, Fodation Beyeler , \u003cem\u003e\u003cstrong\u003eThe Hungry Lion Throws Itself on the Antelope\u003c\/strong\u003e\u003c\/em\u003e (\u003cem\u003eLe lion ayant faim se jette sur l'antilope\u003c\/em\u003e) is a large painting created in 1905. Following \u003cem\u003eScouts Attacked by a Tiger\u003c\/em\u003e the previous year, \u003cem\u003eThe Hungry Lion\u003c\/em\u003e was the second jungle painting to mark Rousseau's return to this genre after a 10-year hiatus caused by the generally negative reception of his 1891 painting.\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038026006767,"sku":"WMJ02791","price":15000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/WMJ02791.jpg?v=1658059852"},{"product_id":"a-yoruba-veranda-post","title":"A Yoruba Veranda Post attributed to Agbonbiofe Adeshina","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Veranda post most likely by Agbonbiofe Adeshina (Efon-Alaye, c. 1880 - 1945). It seems to be an early work, we suggest a date well before 1912. The figures are not yet as \"sharp-edged\" as in his later work, the heads are still somewhat rounder and do not yet sit on the later gently curved neck. Everything seems a little squat, but Adeshina's very special expression is already clearly discernible. It is the curved hairline resp. head crest, the pursed lips, the horses' \"knobbly\" nose, their small ears, the beaded bridle. It is extremely unusual that the king was depicted twice on top of each other on a veranda post. This form of depiction is utterly unique. A truly special piece in a beautiful state of preservation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAgbonbiofe Adeshina also carved the posts for the Yoruba royal palace in Efon-Alaye (1912-1916), where they supported the roof of a veranda lining the king’s reception courtyard.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The sculptor Agbonbiofe was the most prominent of the Adeshina family of artists from the town of Efon-Alaaye, during the first decades of the 20th century.\" Saint Louis Art Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Most of the African master carvers remain unidentified. But some artists are known and are still remembered and celebrated today. Agbonbiofe, a member of the famous Adeshina carver family, is one of them.\" Minneapolis Institute of Art\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: \"Acquisitions of the Art Museum 1993\", Record of the Art Museum, Princeton University 53, no. 1 (1994): p. 46-95., pp. 93–94 (illus.) Peter Mark, \"Is There Such a Thing as African Art?,\" Record of the Art Museum, Princeton University 58, no. 1\/2 (1999): 7–15., p. 14, fig. 6 \"Selected checklist of objects in the collection of African art,\" Record of the Art Museum, Princeton University 58, no. 1\/2 (1999): p. 77–83., p. 83. Milwaukee, Wisconsin, Milwaukee Public Museum, Selections from The William W. Brill Colllection of African Art, 1969: 24, catalogue of the exhibition, Milwaukee Public Museum, May 5 - August 31, 1969 (for additional venues see bibliography, Milwaukee 1969). The Housepost with Mounted Warrior by Agbonbiofe Adeshina, For the Palace of the Alaaye of Efon, Efon-Alaaye, Ekiti, Nigeria Edwin and Cherie Silver, Los Angeles, acquired in 1971. John Pemberton III, Art and Rituals for Yoruba Sacred Kings, Art Institute of Chicago Museum Studies, Vol. 15, No. 2 (1998). Alisa LaGamma, Authorship in African Art, African Arts, Vol. 31, No. 4, Special Issue: Authorship in African Art, Part 1 (Autumn 1998). Alisa LaGamma, Beyond Master Hands: The Lives of the Artists, African Arts, Vol. 31, No. 4, Special Issue: Authorship in African Art, Part 1 (Autumn 1998).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOther pieces by Agbonbiofe Adeshina can be found at:\u003cbr data-mce-fragment=\"1\"\u003eMinneapolis Institute of Art\u003cbr data-mce-fragment=\"1\"\u003eSaint Louis Art Museum\u003cbr data-mce-fragment=\"1\"\u003eBritish Museum\u003cbr data-mce-fragment=\"1\"\u003eThe Cleveland Museum of Art\u003cbr data-mce-fragment=\"1\"\u003eAckland Art Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFurther information on request.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 222 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 46 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43536277078255,"sku":"_DSC6276","price":25000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC6276copy.jpg?v=1666873279"},{"product_id":"an-outstanding-terracotta-head-ori","title":"A terracotta head in the style of Ife","description":"\u003cp\u003eA fragmentary terra-cotta head in the style of Ife, which maybe represents an unknown young Oba. The work is characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accented edge. The portrait is of a relative youthful man. It is calm and dignified with the very full lips just a tiny little bit open. The nose is somewhat knobbly. It is particularly engaging - in quality and appearance, and with deep serenity. The art-historical importance of this piece lies in its distinctive sculptural style, in the tension between realism and abstraction. On one side it is naturalistic, portrait-like and on the other side it is classical and timeless. It is an idealized naturalism. The young man wears the typical crown of an Oba; inside you can see that the calotte of the small sculpture has been repaired with glue in recent times, this is not visible from the outside, further some smaller age cracks, a beautiful age patina.Incl. certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Bronzes and Terra-Cottas from Ile-Ife, H. Meyerowitz and V. Meyerowitz, The Burlington Magazine for Connoisseurs. Arts de L'Afrique Noire, Jean Laude, translated by Jean Decock, University of California Press Berkeley, 1966, 1. Paperback-Edition 1973. 2000 ans d’histoire africaine. Le sol, la parole et l’écrit. Mélanges en hommage à Raymond Mauny. Tome I. Paris : Société française d'histoire d'outre-mer. Ife and Raymond Mauny, by Thurstan Shaw, 1981.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eHeight: 20 cm\u003cbr\u003eWeight: 1,2 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46995122094403,"sku":"_XBD102618","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD102618.jpg?v=1690722818"},{"product_id":"an-unusual-bronze-head","title":"An  bronze head in the style of Benin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAn unusual bronze head in the Benin style, thin-walled and also \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi642\/pages\/_XBD118483.htm\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/jaenicke-njoya.com\/Bi642\/pages\/_XBD118483.htm\"\u003ewith an animal \u003c\/a\u003e- a fragmentary snail - on the hairstyle.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e(cf. Benin.Head with a pather on top) The neck covered with a coral cuff.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe mouth wide open.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe almond-shaped eyes and the scarifications on the forehead were originally provided with iron inlays, remnants of which appear to still be present in the inlays on the forehead.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eCrack-shaped erosions on the left side of the head, missing iron inlays and smaller defects on the nose and mouth as well as on the right side and only a fragmentary snail on top do not detract from the expressive beauty of this rare, bronze head in the Benin style. TL Analysis is available on request.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.head.panther.jpg\" width=\"308\" height=\"461\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.head.panther.jpg\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe form of the ears is probably the most important \"graph\" to identitfy similarties. of the same sculptor or its workshop.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 29 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47674357907779,"sku":"_XBD118497","price":2600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD118497.jpg?v=1704450850"},{"product_id":"an-ogboni-bronze-couple","title":"An Ogboni Bronze couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn Ogboni Bronze couple, Nigeria, sitting on a stool, the female is holding a small infant, the male holding two small tools, both figures look alike and vary on their genitalia, their thick cylindric neck carries the rounded head, composed of expressive features, a thin mouth, small nose and big round eyes, topped with a conical shaped head dress, with two bands falling on each side, both bodies are covered in inscribed shapes; some damage on the base, signs of use.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 69 cm \/ 70,5 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 7,4 kg \/ 8,1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47674472694083,"sku":"_XBD119100","price":1800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119100.jpg?v=1704452065"},{"product_id":"a-senufo-rhythmpounder-called-deble","title":"A Senufo Rhythmpounder, called Déblé, or a guardian sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Senufo Rhythmpounder, called Déblé, or a guardian sculpture Ivory Coast, Sikasso region, almost cubist-looking, standing on a cylindrical base, short legs, elongated torso, the navel surrounded by radially arranged scarification marks, rounded shoulders, very long arms slightly bent, the hands clenched into fists, thin protruding breasts, a gently curved long neck, an elongated head with an iroquois-like hair cut, the lips are presented as two short bridges, the nose is long and flat, the eyes are formed only as incisions and the ears are worked as rings, in whose middle is a deepening, cowrie shells hanging on the ears; mahogany-colored, shiny patina, traces of longlasting rituak use at the neck and at the arms, several small age cracks. Certificate of origin and providence.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"441\" width=\"291\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.deble.sothebys.com.jpg\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOn the 5th In May 1995, on Christies this Statue Senufo was offered, which is remarkable because of their unusual and masterful design.\u003cbr\u003e\u003cbr\u003eViewed from the side, the reduction of the face to a few elements is particularly clear. A horizontal incision marks the eye sockets, the face plane runs vertically downwards from there, also the bridge forming the nose and the mouth. As a result, the forward-pointing pine part typical of sculptures of the Senufo also points downwards and emphasises the rigour of the face.\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"444\" width=\"297\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.kunin.collrection.jpg\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAnother Senufo Rhythmpounder from the Sikasso region, former Kunin Collection.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cbr\u003eAfter a short swing, the posterior course of the lower jaw, which initially strives almost vertically upwards, passes into the curves of the back of the skull and the hairstyle, which contrast with the flat design of the face and thus create tension. The almost circular ears, placed like plates, on whose bottom metal earrings were attached, are one of the characteristic features of the style of the Sikasso region, in which Lem found these and other comparable sculptures.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVery attractive and testifying to the fine feeling of shape of the carver is the slight thickening in the middle of the neck, which forms a fine burr there and divides its length, which is largely concealed from a lateral view from a frontal point of view through the jaw part. Below the neck begins - viewed from the front - a game of curves and straights, of arches and swings. The power that is to be expressed in these statues is combined in this specimen with a certain lightness, which gives the impression of persistence in a movement for which there are few other examples in African sculpture. The two breasts fall far away from the body like cascades into the depths. It is thinner than the neck here and thus makes the swing of the shoulders even more noticeable. The arms growing from the shoulders point slightly backwards in the bend and end in stumps, on whose forward-pointing surfaces the fingers, in the typical design of the forge, are indicated only by notches. Seen from the side, the swings of the body are less spanding than from a frontal point of view. The head Looks particularly large by the hairstyle and dominates the body - a peculiarity of the African sculpture. Particularly beautiful is the refined design of the neck, the division of the necessary length by a slight thickening forming a fine ridge in the middle and the gentle transition into the spine.\u003cbr\u003e\u003cbr\u003eThe rear view shows a gentle inclination of the body to the side and a slight rotation of the head to the left. It is unlikely that this bending, which acts like a frozen movement, was created by a warp of the wood that was still fresh at the time the statue was made, because it does not have any of the cracks usually created during such a process. It is also difficult to imagine that a master of his craft has used an already curved piece of wood for the production of such an extraordinary and certainly important statue. It is therefore a deliberately used stylistic device that also distinguishes other specimens of these sculptures of the Senufo. The neck shows from this point of view a vertical thickening with a fine ridge, which forms a cross with the horizontal. The backbone is characterised by a deep notch that reaches down to the tail and separates the two buttocks on which the hands rest.\u003cbr\u003e\u003cbr\u003eNot to be overlooked is a stylistic discrepancy between the face and the torso up to the hip on the one hand and the hip itself with the legs disappearing in a base on the other. It may be perceived as a formal weakness from the point of view of a viewer accustomed to European art, but the person familiar with African art also wonders what this strange and only the statues of this type's own design is all about. The legs grow like two round woods from the buttock halves and disappear in a heavy base that does not really want to fit the finely crafted statue. While the head and body up to the hips have a relatively smooth and shiny surface, the legs and base clearly show the traces of the decks, which can only be seen in the upper area. An inability to find a qualitatively adequate solution for the design of the lower part for the lower part can be excluded from such Phosecure abilities in a sknitzer, may have been the basis of an intention about which one can only speculate.Burkhard Gottschalk writes that this is not a rhythm pounder (Débéle, do:ogèlè), but a very rare stationary used guardian figure. These sculptures are called propi:ibèlè, „children of the Poro\".\u003cbr\u003e\u003cbr\u003e\"Their membership of the Poro would be an explanation for our little knowledge of their significance, because this organisation, which largely determines the village world of the Senufo, is a secret society. ... Even rarer are the statues [propi:ibèlè] … of which it is only said that they belong to the Poro, because there is no reliable information about their use.“ Burkhard Gottschalk, Kunst aus Schwarzafrika. SENUFO. Unbekannte Schätze aus privaten Sammlungen, 2009, p.174, 179.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003ewj\u003c\/p\u003e\n\u003cp\u003eHeight: 117 cm\u003cbr\u003eWeight: 8,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47706250117443,"sku":"XBD120781","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD120781.jpg?v=1705066649"},{"product_id":"a-fragmented-relief-plaque","title":"A fragmented relief plaque","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA fragmented relief plaque, Benin, in the style Benin bronze plaque in lost wax technique, with a floral background carved inwards after the plaque is made, four nail holes ar the four corners of the plaque, the main figure is in the middle sitting on a donkey, his attire suggest he is an important figure, two smaller figures accompany him and hid his hands forward, two bigger figures are fanning him with large leaves, all figures have weapons on them, on the top there are small floating male figures and a little one hidden on the bottom right; signs of damage and oxidation.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" tab_name=\"Internal Data (eng)\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the expedition. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMore information can be found on digital benin: https:\/\/digitalbenin.org\/catalogue\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 48 cm\u003cbr data-mce-fragment=\"1\"\u003eWidth: 39 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 10 Kg\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765475787075,"sku":"_XBD119461","price":12.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119461.jpg?v=1706009212"},{"product_id":"figure-of-an-oni-ife","title":"Figure of an Oni, in the style of Ife","description":"\u003cp\u003eA bronze sculpture of an Ooni (Oba), who shows the traditional signs of dignity that the king wore during the classical period: a crown, a heavy pearl necklace around the neck, another chain hanging from the neck to the knees and a net of fine strings of pearls with two knots in the middle covering the naked chest. In his left hand he's holding a sign of authority representing a ram's horn filled with magical substances called \"ashe\" and in his right hand a sceptre whose archetype is made of pearls and cloth, both symbols of his authority and power. He also wears wide bracelets around his wrists. He has got a small, gently bulging belly. His robe, over which his belly bulges has a sloping hem. The face is round and full and very even with an expression of calm serenity and quiet dignity. The head of this figure measures more than a quarter of the figures´ length, a proportion that is particularly characteristic of West African sculpture; oxidised bronze. TL Analysis on request.\u003cbr\u003e\u003cbr\u003eLit.: Frank Willett: Ife. Metropole afrikanischer Kunst, Bergisch Gladbach 1967, S. 32 ff, Tafel 6\/7, S. 37.; Wunmonije Compound, Ife, Museum für Ife-Altertümer, Ekpo Eyo, Frank Willett: Kunstschätze aus Alt-Nigeria, Mainz 1983, S. 104 William B. FAGG: Bildwerke aus Nigeria, München 1963, S. 38 Elsy Leuzinger: Die Kunst von Schwarz-Afrika, Recklinghausen 1972, S. 145, Schätze aus Alt Nigeria, Ministerium für Kultur der DDR, Bode Museum 1985, S.117. Enid Schildkrout in: Dynasty and Divinity. Ife Art in Ancient Nigeria. Museum for African Art, New York, 2009, 4. Dynasty and Divinity. Ife Art in Ancient Nigeria. Museum for African Art, New York, 2009, 12, 22, Abb. 3. Ekpo Eyo, Frank Willett, Kunstschätze aus Alt-Nigeria. Verlag Philipp von Zabern, 1983, 20f., Abb. 44, 45, 50. Gernot Feucht, Early Nigerian bronzes under Scientific Scrutiny. In: Ife, Akan und Benin. Westafrikanische Kunst aus 2000 Jahren. Arnoldsche Art Publications, 2000. 29ff. (Abb. 10, Statue of a dignitary, Ife\/Nigeria). Frank Willett, Ife. Metropole afrikanischer Kunst. LübbeVerlag, 2. Auflage 1975, 20, 32, 59ff. (Bronzes from Ita Yemoo), 67ff. (lost-wax-method), Taf. 6 (Bronze Oni, Ita Yemoo). Taf. 7 (Bronze Oni, Wunmonije Compound). Taf. III and 10 (Bronze couple from Ita Yemoo). About the political significance of bronze images of dignitaries: Suzanne Preston Blier, Art and risk in ancient Yoruba. Cambridge University Press, 2017, 247ff., 337ff.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHeight: 58cm\u003cbr\u003eWeight: 9.5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765607973187,"sku":"_XBD119745","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119745.jpg?v=1708613196"},{"product_id":"a-bronze-plaque-in-the-style-of-benin","title":"A bronze plaque in the style of Benin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA bronze plaque in the style of Benin\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e, a \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ewide, rectangular plaque with side flanges b\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eackground surface decorated with river leaf patterns and polka dots, and two\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e nail holes at the bottom.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eShows a standing Oba facing forward, flanked by two high-ranking companions, who also face forward, one supports his left arm, the other holds an unidentified object in his hand,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ethe Oba wears a helmet-like beaded crown with spike-like appendages, a beaded collar partially covering the mouth, a sash over the chest and stomach, arm and ankles with beaded anklets, and a patterned wrap-around skirt with a passport mask on the right side of the belt.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe high-ranking companions dressed similarly: layered hairstyle, pearl necklaces, armbands and a wrap skirt tied over the right hip; \u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003eThe upper and lower rims are fragmentary, some bridges due to corrosion, but in general of relatively good condition in relation to other Benin plaques.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.oba.with.cpmpanions.jpg\" width=\"254\" height=\"380\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.oba.with.cpmpanions.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOba with high-ranking companions, former \"Königliche\u003cbr data-mce-fragment=\"1\"\u003eMuseum für Völkerkunde in Berlin, 1898\".\"\u003cspan data-mce-fragment=\"1\" tab_name=\"Internal Data (eng)\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the \u003cspan id=\"2\" role=\"button\" data-bs-toggle=\"popover\" data-bs-trigger=\"focus\" data-bs-title=\"\" data-bs-content=\"\" data-bs-html=\"true\" tabindex=\"0\" data-mce-fragment=\"1\" data-mce-tabindex=\"0\"\u003eexpedition\u003c\/span\u003e. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/span\u003e\"\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eSource: Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDimension: 45,5 x 38 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 9.4 kg\u003cbr\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765694415171,"sku":"_XBD100518","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD100518.jpg?v=1706015454"},{"product_id":"a-copy-of-a-bronze-head","title":"A bronze head","description":"\u003cp data-mce-fragment=\"1\"\u003eA bronze head in the style of Benin, depicting a young Oba, characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accentuated edge, here especially around the upper lip. There are grooves around the neck; the bronze is heavily encrusted with various layers of reddish brown patina, partly eroded, defects on the neck, several dents at the top of the head, four openings in the neck probably for nails, with which the head was originally attached to a wooden body.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSimilar bronze heads like the one of the Wunmonije Compound type are quite often found, which raises the question of their use. It is assumed that they were attached to a life-size wooden figure, possibly with movable limbs. These figures were dressed in the same way as the person depicted would have been. Perhaps the Oba was thus able to attend ceremonies and burials without being personally present. When a new Oba came into power perhaps only the bronze head was replaced.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„ … vier Öffnungen, die für Nägel bestimmt waren, mit denen man den Kopf wahrscheinlich ursprünglich an einem hölzernen Rumpf befestigt hatte.“ Frank Willet, Ife, pl. 3.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„Die lebensgroßen Bronzeköpfe aus Ife mögen für denselben Zweck an ähnlichen Körpern befestigt gewesen sein.“ Frank Willet, Ife, pl. 2.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Frank Willet, Ife. Neue Entdeckungen der Archäologie, 2. Auflage 1975, Tafel 2 und 3. H. Meyerowitz and V. Meyerowitz, Bronzes and Terra-Cottas from Ile-Ife, The Burlington Magazine for Connoisseurs (Oct., 1939). Arts de L'Afrique Noire, Jean Laude, translated by Jean Decock, University of California Press Berkeley, 1966, 1. Paperback-Edition 1973.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.marionette.jpg\" width=\"236\" height=\"310\" alt=\"Ife\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSource: Frank Willet, Ife, page 72.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cem\u003ePrice on request.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 32 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47794878251331,"sku":"_XBD100719","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD100719.jpg?v=1706448655"},{"product_id":"olowe-of-ise-is-considered-the-foremost-yoruba-carver","title":"A container most likely by Olowe of Ise","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Olowe of Ise is considered the foremost Yoruba carver of the twentieth century.  Born circa 1875 in Efon Alaye, Southern Ekiti, Olowe spent much of his long life in Ise, at the palace of the Arinjale, where he carved a series of veranda posts and many other sculptures commissioned by kings for their palaces, and by priests for their shrines, as well as ibeji figures for parents of deceased twins, and dolls for children.  He resided for four years at the palace of the Ogoga of Ikerre carving the magnificent doors and veranda posts which now may be seen in the collections of major museums in Washington, D.C., Chicago, London, and Munich.  In 1988, when I interviewed Olowe’s last surviving junior wife, Oloju-Ifun Olowe, she sang an oriki, a praise song or attributive name, in honor of Olowe, “leader of all carvers,...the master.\u003cbr data-mce-fragment=\"1\"\u003ehttps:\/\/jaenicke-njoya.com\/Bi502\/pages\/DSC07404.htm\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e: \u003c\/em\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ol0we.epa.mask.klinge%20collection.jpg\" width=\"282\" height=\"423\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ol0we.epa.mask.klinge%20collection.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA late work of Olowe, exhibited and sold Wolfgang Jaenicke Gallery 2021,\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn 1998 Roslyn A. Walker organized an exhibition at the National Museum of African Art, Smithsonian Institution and prepared a catalogue in celebration of Olowe of Ise: A Yoruba Sculptor to Kings.  Exhibition and catalogue revealed Olowe to be a prolific carver, as his oriki indicated, but also an artist with extraordinary skill and imagination.  When he was at the height of his ability and fame in the early decades of the twentieth century, there were other highly skilled carvers in the Ekiti area who were also masters in sculptural art: Agbonbiofe and Obembe of Efon Alaye in southern Ekiti; Bamgbose, Areogun, Bamgboye and Osamuko in northern Ekiti. They were all great carvers and artists, but not one worked with the artistic imagination that is to be found in the sculptures created by Olowe.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/olowe.of.ise.walker.jpg\" width=\"297\" height=\"399\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/olowe.of.ise.walker.jpg\"\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAdele Walker, Olowe of Ise, a Yoruba sulptor of kings,\u003cbr data-mce-fragment=\"1\"\u003eSmithsonian Institution, 1998.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTwo of Olowe’s most famous sculptures are similar in depicting a kneeling female figure holding a bowl, which is supported by smaller kneeling or standing figures from below and with additional figures on the lid.  In one instance, the figures are four dancing women.  On the other, two cocks face one another.  Beneath the bowl and held within its own space is a man’s head that freely rolls about.  One of the bowls is in the Walt Disney-Tishman African Art Collection; the other is in the collection of the National Museum of African Art.  Now there is a third, slightly smaller in scale but equally brilliant in its complexity of composition and excellence of condition.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTwo of Olowe’s most famous sculptures are similar in depicting a kneeling female figure holding a bowl, which is supported by smaller kneeling or standing figures from below and with additional figures on the lid.  In one instance, the figures are four dancing women.  On the other, two cocks face one another.  Beneath the bowl and held within its own space is a man’s head that freely rolls about.  One of the bowls is in the Walt Disney-Tishman African Art Collection; the other is in the collection of the National Museum of African Art.  Now there is a third, slightly smaller in scale but equally brilliant in its complexity of composition and excellence of condition.\u003c\/em\u003e \u003cem data-mce-fragment=\"1\"\u003eTwo of Olowe’s most famous sculptures are similar in depicting a kneeling female figure holding a bowl, which is supported by smaller kneeling or standing figures from below and with additional figures on the lid.  In one instance, the figures are four dancing women.  On the other, two cocks face one another.  Beneath the bowl and held within its own space is a man’s head that freely rolls about.  One of the bowls is in the Walt Disney-Tishman African Art Collection; the other is in the collection of the National Museum of African Art.  Now there is a third, slightly smaller in scale but equally brilliant in its complexity of composition and excellence of condition.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAs on the other bowls, we have the large female figure whose hands touch the sides of a large bowl which is lifted high by four kneeling female figures.  On the lid, four birds peck at a mound of feed; and a male head is imprisoned behind the figures holding the bowl.  The surface of the bowl and lid, as well as the base, is decorated with a variety of designs found on many of Olowe’s carvings, their decorative significance enhanced by Olowe’s careful painting.  He was one of the few artists who painted many of his carvings and was a superb colorist.  In a few places on the figures holding the bowl aloft, one can see two or three layers of paint due to slight surface abrasion.  There is an oil based paint of turquoise or light green with additional layers of paint used to apply various colors. The interior of the bowl and lid are not painted, although there is some surface variation giving evidence of use. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"438\" width=\"292\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/olowe.of.ise.ny.2004.jpg\"\u003e\u003cbr\u003eOlowe of Ise Bowlkeeper, exhibited and sold 2004 in NY\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOlowe’s genius as an artist was threefold.  He was skilled in the use of his tools, ifarabale, a master of composition, oju-ona, and addressed his subject matter with extraordinary insight, oju-inu.  The large bowl, with its elaborately decorated surface, is beautifully balanced by the slender, kneeling female figure whose long neck and soaring coiffure carries the viewer’s eye away from the bowl.  And yet, her face concentrates on the bowl, since she too is a container of power. The smaller figures below the massive bowl lift it with apparent ease, their bodies leaning out into the surrounding space, the hand of one reaching up to hold onto the mother’s arm, for they are the children of her offering.  Viewed from the mother’s back, which is skillfully incised and painted, strengthening the vertical line in relationship to the sphere of the bowl, one observes that her body leans a bit to the right. However, Olowe places her right hand a bit lower than the left hand on the bowl, thus catching its weight and thereby adding a graceful touch of motion to the composition.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn all three sculptures, Olowe is celebrating the aesthetic ideals of feminine beauty.  In his essay, “Osun: the Seventeenth Odu,” Rowland Abiodun (2001) cites the following Ifa verse collected by Wand Abimbola:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhiteness is the beauty of the teeth;\u003cbr\u003eJust as a long, graceful neck\u003cbr\u003eAnd full, erect breasts make the beauty of women.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat is striking in each of these sculptures is the way in which Olowe depicts the “long, graceful neck.”  A comparison of the three bowls reveals that Olowe extends the length of the neck in the sculptures in the Disney-Tishman and National Museum of African Art collections.  In each the neck is longer and narrower, enhancing the graceful curve that extends from her feet to the elaborate hairstyle with the suggestion of a tilt of the head toward the opposing birds or the dancing figures on the lid of the bowl.  To be sure, the latter sculptures are somewhat larger than the one presented here.  The sculpture in the National Museum of African Art is by far the most ambitious in its sculptural program and in the skillful and detailed carving of all of the figures.  In this work, Olowe is pushing the limits of his conceptual powers, his virtuosity in composition, oju-ona, for the sculpture virtually explodes into space.  The Disney-Tishman and present work are similar in total composition and in their depiction of the four smaller female figures lifting the bowl, the larger kneeling female figure and her soaring hair style.  However, as we have noted, in the length and narrowness of the neck and the larger birds on the bowl, the carving appears to be a development of the essential ideas of the smaller sculpture.  Hence, one might reasonably conclude that the present sculpture is the earliest of the three carvings.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBowls such as this one were used by Yoruba rulers to hold kola nuts, which were given to visitors as a gesture of welcome and friendship.  Often the guest and others present would chew kola while conversing.  The bowl may have been commissioned by its original owner, although it is more likely that it was a presentation gift to an elder or person of importance by one who wished to express his admiration or, perhaps, gratitude for favors rendered.  In the crowned town of Ila-Orangun, which borders on the Ekiti area, each year the carvers would compete in giving the Oba, ruler, a carving on the occasion of Odun Oro, the festival for the Oba’s crown.  It is remembered that on one occasion, the Oba was so impressed by the skill and artistry of a carver from Inurin’s compound that he gave one of his daughters to be a junior wife of the carver.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe sculpture has been in the possession of a family in England since the day it was brought by the present owner’s great uncle,  Edwin Holland, from Nigeria.  Holland was a Sergeant in the British Army, and was an engineer whose specific skill was telegraphic work.  He was appointed Assistant Superintendent for Telegraphs in Nigeria (later Posts and Telegraphs, Southern Provinces) on January 10, 1912 and remained in that position until 1919, when he returned to England. He died in 1929, at which time the sculpture came into the possession of the cousin of the present owner, from whom it was received.  It has never been out of the family.  This clearly suggests that the carving may be dated between 1910 and 1918, especially if it is the case, as suggested above, that this is the earliest of the three sculptures.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSource: John Pemperton III, 2004.\u003c\/p\u003e\n\u003cp\u003eHeight: 92 cm\u003cbr\u003eWidth: 55 cm\u003cbr\u003eWeight: 12,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47801772605763,"sku":"XBD121423","price":6000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD121423.jpg?v=1706605462"},{"product_id":"a-copy-of-the-crowned-head-of-lajuwa-ife-style","title":"A crowned head of Lajuwa in the Ife style","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA crowned head of Lajuwa, Ife style, who seized the throne of Ife after the death of Oni Aworo-kolokin. Encrusted oxidised patina of different layers, several small holes on the right temple and close to the ear, incl.certificate of origin and provenance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Nigeria's National Museum in Lagos we find a terra-cotta head which is called “Lajuwa” Head, found in the Ife Palace, Ile-Ife, 12th - 15th century. „ The head ... was said to have been kept in the king’s palace. It is called Lajuwa, who is remembered as the usurper who became king when Oni Aworokolokin died (Eyo and Willett 1980, p.103).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\" width=\"551\" height=\"440\" alt=\"Lajuwa, Art of Ife, National Museum Lagos, 1955\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLajuwa, Art of Ife (last photo), National Museum Lagos, 1955, Probably its represents the same person.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDescription: The portrait is of a relative youthful man. It is calm and dignified with the mouth shut. It is particularly engaging - in quality and appearance, and with deep serenity. Art-historical importance of this piece lies in its highly developed and distinctive sculptural style, in the tension between realism and abstraction. On one side it is naturalistic, portraitlike and on the other side it's classical and timeless. It is an idealized naturalism.\u003cbr data-mce-fragment=\"1\"\u003eThe work is characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accented edge. There are grooves around the neck.\u003cbr data-mce-fragment=\"1\"\u003eCondition report: Our bronze is produced in the lost wax casting method. It has two holes in the neck, one left and one right, most likely to fix the head on a wooden post. The head wears the crown by an Ife Ono.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 38 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 3,43 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47801796002115,"sku":"XBD121477","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD121477.jpg?v=1706606033"},{"product_id":"an-afo-bronze-stool-1","title":"An Afo bronze stool","description":"\u003cp data-mce-fragment=\"1\"\u003eAn Afo bronze stool, probably 18th to beginning 19th century, depicting two seated figures, one male playing an instrument, the other female carrying a bowl on her head, their backs are leaning on the base of the stool which is composed of two parts and has delicately molded shapes on it, both sinuous and clumpy patterns, the seat of the stool has stylized shapes and patterns around and on its top, two small heads on the sides; some holes in the stools base, in addition to some damage and dents.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The people living on the banks of the Niger and Benue Rivers share many social and artistic traditions. They are thought to have common ancestors known as the Akpoko people. Traditionally, they principally make their money by acting as trade intermediaries between the inland people and the people who inhabit the Niger River Delta.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Afo people settled north of the junction of the Niger and the Benue Rivers. Their Okeshi figures are used by members of the Alanya Beshi society during annual festivities related to fertility rites. They are carved as seated or standing female figures with overall linear body and face scarifications. Caryatid stools were also made. Recent studies have suggested that these sculptures, attributed to the Afo, may, in fact, have been carved by northern Nigerian tribes, themselves influenced by the Fulani people.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSource: Baquart, Jean-Baptiste. The Tribal Arts of Africa. New York: Thames and Hudson Inc. 1998. Print.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eHeight: 56 cm\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWidth: 25 cm\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWeight: 16 kg\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47801927336259,"sku":"_XBD119813","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119813_4f49e119-302e-444c-9586-61e2319ad0e4.jpg?v=1706608498"},{"product_id":"a-very-tall-mumuye-sculpture","title":"A very tall Mumuye sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA very tall Mumuye sculpture on a base, a protruding navel, sloping shoulders margining into thin arms, a long neck carries a small head with expressive features, the two large ears are in a square shape, the hair is pulled up as a mohawk, typical of Mumuye style; a ritual patina, insect damage and signs of age and intense use, beautiful old repairs. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“It was not until the late 1960s that statues from the Mumuye culture of northeastern Nigeria appeared on the European art scene. Their impact was immediate and profound: African art aficionados marvelled at Mumuye artists’ abstract interpretation of the human body, which recalled the approach to anatomy by artists of the Cubist and Expressionist movements. Indeed, anthropomorphic Mumuye figure sculptures demonstrate an astonishing range of variations, testifying to their makers’ unbridled creativity and limitless inventiveness.\u003cbr data-mce-fragment=\"1\"\u003eHere, a meticulous analysis of the extraordinary forms of Mumuye figures—paying attention to their striking inherent sense of motion—leads to a new style of classification that recognizes different workshops and even the hands of individual masters. A summary of the scant fieldbased studies discusses the figures’ primary role as emblems of status and rank, their connections to ancestral veneration, and healing and divination practices. Through a selection of masks and other objects, this book reveals the beauty of Mumuye figurative sculpture.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003eSource: Mumuye. Sculpture from Nigeria, The Human Figure Reinvented, by Frank Herremam, Texts by Constantine Petridis, 2016.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 222 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: very heavy\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47802443006275,"sku":"_PTC8930","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/PTC8930.jpg?v=1706614667"},{"product_id":"an-epa-elefon-mask-of-olowe-of-ise","title":"An Epa \/ Elefon mask of Olówè of Isè","description":"An Epa \/ Elefon mask of Olówè of Isè, before 1938. A drum-like headdress with opposing faces surmounted by a standing female figure wearing five rows of waistbeads and her chest and back decorated with scarification that signifies betrothal, in her right hand she carries a fowl and in the left hand a fly whisk, the genitalia are well emphasized, the neck is strongly elongated, the protruding eyes, the facial scarification and the teeth with the gap between the two incisors are painted white, she wears the irun agogo, or bride´s hairstyle which is pointed and high. The large figure is surrounded by six small female figures, five of which are standing and wearing three rows of waistbeads and one kneeling and wearing four rows of waistbeads, their eyes are also painted white. Four of the small female figures are holding their breasts in a gesture of greeting and devotion. From an old German collection.\u003cbr\u003eThis mask is strongly related to Olówè's group figure from the Charles and Kent Davis Collection and of course to the Epa mask from the same collection.\u003cbr\u003e\u003cbr\u003eLit.: Roslyn Adele Walker, Olówè of Isè. A Yoruba Sculptor to Kings, 1998, pp. 82-87. Bolaji Campbell. Reviewed Work: Olówè of Isè: A Yoruba Sculptor to Kings by Roslyn Adele Walker, African Arts, Vol. 33, No. 1 (Spring 2000), pp. 88-89. John Pemberton III, Art and Rituals for Yoruba Sacred Kings, Art Institute of Chicago Museum Studies, Vol. 15, No. 2 (1998), pp. 96-111, 174. Alisa LaGamma, Authorship in African Art, African Arts, Vol. 31, No. 4, Special Issue: Authorship in African Art, Part 1 (Autumn 1998), pp. 18-23. Alisa LaGamma, Beyond Master Hands: The Lives of the Artists, African Arts, Vol. 31, No. 4, Special Issue: Authorship in African Art, Part 1 (Autumn 1998), pp. 24-37, 89-90. Roslyn Adele Walker, Olówè of Isè: Anonymous Has a Name, African Arts, Vol. 31, No. 4, Special Issue: Authorship in African Art, Part 1 (Autumn 1998), pp. 38-47, 90. Nii Q. Quarcoopome, Three Works of Olówè of Isè, Bulletin of the detroit Institute of Arts, Vol. 85, No. 1\/4 (2011), pp. 42-51.\u003cbr\u003e\u003cbr\u003eHeight: 109 cm\u003cbr\u003eWeight: 10,3 kg","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47971294708035,"sku":"DSC07384","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/DSC07389.jpg?v=1709472124"},{"product_id":"an-attie-fertility-sculpture","title":"An Attie fertility sculpture","description":"\u003cp\u003eAn Attie fertility sculpture, Southern Ivory Coast, collected in the village Akoupé., lagoon people, feet on the ground, she is standing with her arms resting by her sides, protruding navel, pointed breasts, rounded shoulders, a long thick cylindric neck which becomes larger at the end, to support a rounded head composed of simple features, a thinly traced mouth, a relief nose and large coffee bean eyes, a smaller forehead, a beautiful hairdo pulled back in a bun, delicate carvings to suggest the texture of the hair, white beads around her waist; ages cracks, insect damage throughout, glossy by use, signs of ritual use.\u003c\/p\u003e\n\u003cp\u003eHeight: 91 cm\u003cbr\u003eWeight: 7,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396335284547,"sku":"XBD134832","price":480.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD134832.jpg?v=1715591558"},{"product_id":"a-fragmented-hemba-head","title":"A fragmented Hemba head","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eA fragmented Hemba head, placed on a stand, oval shaped head, the mouth and the end of the jaw, a pointed nose, two almond shaped eyes, a small forehead, ears positioned at a lower angle, the hair is pulled back in the Hemba style; some cracks, traces of use, signs of use. Certificate of provenance.\u003c\/p\u003e\n\u003cp\u003e“\u003cspan\u003eThe traditional African Hemba art, from territories long banned for a long time, was little known in the West until its triumphant appearance through collections in the early 1970s. Among the Hemba, ancestor worship takes precedence over other values of society and this priority is sensitive in sculpture. The artists, often grouped in workshops, perform images of their ancestors. These figures are ritually present during clan ceremonies. This statuary quality is often highlighted by a beautiful patina. Primarily, the Hemba tribal art was related to the Luba style, but for some time it has been recognized for its own qualities as a distinct style.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eReferences:\u003cbr\u003eRelics and effigy of ancestors, in CONGO River, Francois Neyt, Quais Branly Museum, p. 254-255\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/hemba.modgilani.png\" width=\"304\" height=\"455\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003eAmadeo Modigliani, Woman´s Head, The MET NY\u003cbr\u003e\u003cbr\u003e\"Die Skulpturen der Hemba zählen zu den bedeutensten Kunstwerken Schwarzafrikas; es sind vor allem Ahnenfiguren, singiti, die Kriegsfürsten, Gründer von Königsfamilien, oder lokale Häuptlinge darstellen und die in kleine Hüttengestellt werden.\" Schaedler, 180.\u003cbr\u003e\u003cbr\u003eLit.: K.-F. Schaedler, Lexikon afrikanische Kunst und Kultur, 180f. Evan Maurer, The Intelligence of Forms, 1991. Luigi Spina, Hemba, 2018. Francois Neyt, La grande statuaire hemba du zaire, 1977. Francois Neyt \/ Louis de Strycker, approche des arts hemba, 1975. Francois Neyt, South East Zaire, 1993, 163-181.\u003c\/p\u003e\n\u003cp\u003eHeight: 29 cm\u003cbr\u003eWeight: 2.4 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396373885251,"sku":"XBD135084","price":800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135084.jpg?v=1715591998"},{"product_id":"a-colourful-gelede-helmet-mask","title":"A colourful Gelede helmet mask","description":"\u003cp\u003eA colourful Gelede helmet mask, Yoruba, Nigeria, with an elaborated headdress, carved by a composition of different animals, like a snake, birds and antelopes, intertwined with circular discs. The helmet-like base of the mask has a goatee, beneath a full-lipped mouth, a broard nose, wide eyes with blackened pupils; some age cracks, signs of ritual use. Like nearly all Gelede masks carved from light wood.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The Gelede is performed by the Yoruba-Nago community that is spread over Benin, Nigeria and Togo. For more than a century, this ceremony has been performed to pay tribute to the primordial mother Iyà Nlà and to the role women play in the process of social organization and development of Yoruba society.\u003cbr\u003eThe Gelede takes place every year after the harvests, at important events and during drought or epidemics and is characterized by carved masks, dances and chants, sung in the Yoruba language and retracing the history and myths of the Yoruba-Nago people. The ceremony usually takes place at night on a public square and the dancers prepare in a nearby house. The singers and the drummers are the first to appear. They are accompanied by an orchestra and followed by the masked dancers wearing splendid costumes. There is a great deal of preparatory craftwork involved, especially mask carving and costume making. The performances convey an oral heritage that blends epic and lyric verses, which employ a good deal of irony and mockery, supported by satirical masks. Figures of animals are often used, such as the serpent, a symbol of power, or the bird, the messenger of the “mothers”. The community is divided into groups of men and women led by a male and a female head. It is the only known masked society, which is also governed by women. Although the Gelede has nowadays adapted to a more patriarchal society, the oral heritage and dances can be considered as a testimony of the former matriarchal order.\u003cbr\u003eTechnical development is resulting in a gradual loss of traditional know-how, and tourism is jeopardizing the Gelede by turning it into a folklore product. Nevertheless, the Gelede community shows great awareness of the value of their intangible heritage, which is reflected in the efforts put into the preparation work and in the growing number of participants.” Source: UNESCO “Oral heritage of the Gelede masks” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 55 cm\u003cbr\u003eWeight: 3,9 kg incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396394168643,"sku":"XBD135500","price":500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135500.jpg?v=1715592248"},{"product_id":"an-epa-ceremonial-mask","title":"An Epa ceremonial mask","description":"\u003cp\u003eAn Epa ceremonial mask, Nigeria, called \"the mask of Osun” has three levels. The first is the face, which is surrounded triangular protections, the face itself has a reddish tinge and is ornamented with black and white spots, the eyes are big and round, the nose wide and flat and the mouth is pouted and round; below the eyes are two rectangular holes that give the wearer visibility. Atop the head of the mask is the second level with three female figures kneeling on a platform with zigzag ornamentation; all with beaded necklaces and skirts. The two in the middle rest their hands on their breast while the one in the middle is resting her entertained hands on her lap; All with a reddish tinge and all but the one in the left face painted black; the top level of the mask is held up by their hair which is coiffed identically. The top level of the mask has a carving of the goddess Osun kneeling in the middle with her arms outstretched and holding a white tentacular figure on her right by its neck and a kneeling woman with waist beads and a skirt on her left. The female figure on the left of the sun has a similar coiffure to the goddess with a band around it similar to a crown. and is resting her hands on her breast. The goddess sun, with a blue tinge, has conical breasts, a protruding navel and beaded necklace. Her face is serene with large round eyes, wide nose and full lips. Signs of use. This type of mask is unique to the Ekiti subgroup, appearing during the Ijeshu festival to honor the god and ancestor of the town of Osi-Ilorin. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“An Epa mask is a ceremonial mask worn by the Yoruba people of Nigeria during the Epa masquerade. Carvings representing priests, hunters, farmers, kings, and mothers are usually depicted on the masks. They are used to acknowledge important roles within the community and to honour those who perform the roles, as well as ancestors who performed those roles in the past. When not being used during performances, Epa masks are kept in shrines where they are the focus of prayers and offerings from community elders.”\u003cbr\u003eSource: University of Birmingham\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 113 cm\u003cbr\u003eWeight: 6 kg (incl. stand)\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396433391939,"sku":"XBD135718","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135718.jpg?v=1715592707"},{"product_id":"a-female-senufo-figure-from-ivory-coast","title":"A female Senufo figure from Ivory Coast","description":"\u003cp\u003eA female Senufo figure from Ivory Coast, Korhogo region, sitting on a four-legged stool, her feet hang off the ground, a cylindrical torso with a protruding navel and conical breasts with three vertical scarifications on both of them, the thin arms extend from the shoulders and are carved in open work close to the body, armlets and bracelets at the elongated arms, a necklace with a triangular pendant at the neck, a columnar neck supports a large head, a pointed mouth beneath an elongated, slender nose, \u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003ewhich is framed by crescent-shaped eyes\u003c\/span\u003e, a threeparted, domed coiffure, starting in a knot on top of the forehead and extends to the neck, signs of ritual use, which is particularly expressed in a touch patina on the arms and the neck of the sculpture. Certificate of origin and provenance.  \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The Senufo produce a rich variety of sculptures, mainly associated with the Poro society. The sculptors and metalsmiths, endogamous groups responsible for making the cult objects live on their own in a separate part of the village. The attitude shown toward them by other Senufo is a mixture of fear and respect, owing to their privileged relationship with the natural forces that they are capable of channelling in a sculpture. During initiations, headpieces are worn that have a flat, vertical, round or rectangular board on top decorated with paint or pierced work. Many wood carvings of male figures depict these headpieces, sometimes on rhythm pounders used by young initiates, who beat the earth to call upon the ancestors to take part in the ceremony and purify the earth. The carvers also produce ritual female statues, including mother-and-child figures, as well as statuettes depicting bush spirits and supernatural beings and equestrian figures. Large statues representing hornbills (often seen also on masks) and used in the lo society as symbols of fertility are the standing birds called porpianong. Figures of the hornbill are used in initiation, and groups of birds on a pole are trophies for the best farmer. Figures of male and female twins and of horsemen are used in divination. These represent the spirit familiars enabling the divination process. The diviners themselves are women, forming the sandogo society. Shrine doors and drums are carved in relief, and small figures and ritual rings are cast in bronze.”\u003cbr\u003eSource: African Art Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 103 cm\u003cbr\u003eWeight: 4,4 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396453970243,"sku":"XBD135698","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135698.jpg?v=1715592939"},{"product_id":"a-yoruba-shango-staff","title":"A Yoruba Shango staff","description":"\u003cp\u003eA Yoruba Shango staff, from Nigeria of a woman kneeling on the staff that gas a circular base on top; her torso exposed with her hands resting on her breasts, rounded shoulders; on her neck a long necklace made of fabric with cowrie shells and straws connected in a string and dangle halfway to the staff past the base she is kneeling on; her face with a dreamy expression with a large mouth, wide nose and large downturned eyes; her head capped by a conical head-dress that supports an axe like coiffure. Signs of Use. Certificate of origin and Provenance.  \u003c\/p\u003e\n\u003cp\u003e“In Yoruba culture, hairstyles are often used to signify a person's social status, age, and gender. Different hairstyles can also be associated with different deities or spiritual beings. In the case of Shango, his hairstyles are meant to emphasize his connection to the spiritual realm and his authority as a powerful deity. Additionally, Yoruba woodcarvings often include intricate details and symbolism, and the hairstyles on Shango carvings may be a way to add texture and depth to the art. They may also be used as a way to make the deity appear more lifelike and dynamic. Overall, the inclusion of elaborate hairstyles on Yoruba Shango woodcarvings is likely a combination of cultural tradition, spiritual symbolism, and artistic expression.\"\u003cbr\u003e\u003cbr\u003eLit: Booklyn museum; Dallas - Museum of Art\u003cbr\u003e\"The oshe Shagon baton is carried in rite and procession by the god of Thunder's devotees.\"\u003cbr\u003e\u003cbr\u003eLit: Robert Plant Armstrong, “Oshe Shango and the Dynamic of Doubling,” African Arts, vol. 16, no. 2 (1983), pp. 28-32\u003cbr\u003e\"The Yoruba people are known for their remarkable skills in art and craft. The majority of their artifacts date back to the late 19th and mid-20th centuries, and are often attributed to a particular carver by name, which is an uncommon practice in African art.\u003cbr\u003e\u003cbr\u003eYoruba artists employ a diverse range of materials including leather, terracotta, bronze, ivory, wood, and glass, among others. Several lifelike bronze sculptures believed to have originated in the 12th century have been discovered.\"\u003cbr\u003e\u003cbr\u003eLit: Brooklyn Museum\u003cbr\u003e\u003cbr\u003e„Among the objects used to honour Shango is the oshe Shango, or dance wand. It is carried by Shango priests and devotees during public worship activities and enshrined on the deity's altar. ... The priestesses or female supplicants often depicted on oshe Shango represent Shango's benevolence as he bestows the blessing of children upon his faithful worshippers and protects children, especially twins (ibeji).“ Read more: Shango dance wand (\"Oshe\" Shango\").\u003cbr\u003eLit.: Dierk Lange: Der Ursprung des westafrikanischen Wettergottes Schango. In: Saeculum, 45, 1994, S. 213–238. Norma H. Wolff, D. Michael Warren, The Agbeni Shango Shrine in Ibadan: A Century of Continuity, African Arts, Vol. 31, (Summer, 1998). Richer Xavier, Joubert Helene, Dance with Shango, God of thunder, 2018.\u003c\/p\u003e\n\u003cp\u003eHeight: 50 cm\u003cbr\u003eWeight: 0,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396463702339,"sku":"XBD135878","price":700.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135878.jpg?v=1715593152"},{"product_id":"iy-ọba-a-queen-mother-brass-head","title":"Iy’ọba, a Queen mother brass head","description":"\u003cp\u003eA\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eQueen mother brass head, Iy’ọba, in the style of Benin, from Nigeria. The head with a large cylindrical collar that covers the chin; with small round lips poking over it, the shot pointed nose and the bulging eyes with oxidized iron inlays give it its distinct expression, the brows are striated; the cone shaped hood pointed forward and adorned with a corals. Signs of oxidations, some damages on the left side, where the bronze is partially broken. Certificate of Origin and Provenance.  \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“In the Benin kingdom, the iyoba, or mother of the oba (king), occupies an important and historically significant place within Benin's political hierarchy. The title was first conferred upon Idia, the mother of king Esigie, who used her political skill to save her son's kingdom from dissolution in the late fifteenth century. Ever since that time, queen mothers have been considered powerful protectors of their sons and, by extension, the kingdom itself. Because of the enormous esteem in which they are held, iyobas enjoy privileges second only to the oba himself, such as a separate palace, a retinue of female attendants, and the right to commission cast brass sculptures for religious or personal use.” Source the Met Museum, NY\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eTL Analysis available on request\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eHeight: 47 cm\u003cbr\u003eWeight: 6,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396485198147,"sku":"XBD135663","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135663.jpg?v=1715593462"},{"product_id":"a-female-debele-from-the-sikasso-region","title":"A female Débéle from the Sikasso region","description":"\u003cp\u003eA female Senufo Rhythm pounder - called Débéle - Mali, Sikasso region, uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the hips covered with cowrie shells, wide shoulders, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of a touch patina, the sculpture is still in the original condition like it was collected in situ. Normally these traces of use are washed off as soon as these objects arrive on the Western market.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981. A related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989, p. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79.\u003cbr\u003eAccording to Gottschalk, who tried to make a typology of the Senufo Déblé, these exemplars would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003cbr\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e\"While the former (fonombèlè), either because of a lack of ability for finer work (the fonombèlè are the blacksmiths in the Senufo society) or as a consciously used stylistic device, left the clear and powerful forms, the contrasting horizontals and verticals, largely as they were when they were defined\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eof the proportions, the kulibèlè (the traditional carvers) tried to ensure that the body parts flowed smoothly into one another, as long as they did not incorporate the style of their older brothers into their work or more or less copy it.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eSource: Burkhard Gottschalk\u003cbr\u003e\u003cbr\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 117 cm\u003cbr\u003eWeight: 6,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396493816131,"sku":"XBD135644","price":1400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135644.jpg?v=1715593649"},{"product_id":"a-chokwe-mask","title":"A Chokwe mask","description":"\u003cp\u003eA Chokwe mask, Angola, DRC, Zambia, made of wood and ornamented with beaded headband holding back the hair made of natural fibres. The face has a small open mouth showing teeth, small mouth and eyes squinted; it has scarifications on the forehead, temples, cheeks and chin. The back of the mask has a fabric to cover the wearer’s head. Signs of use. Certificate of origin and provenance.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e“…Chokwe trace descent through their mothers' lines. Pwo's joint performance with her male counterpart, Cihongo, brings fertility and prosperity to a community. The cultural ideals of these two iconic representations developed during the precolonial period continue to inspire contemporary artists in the region.” Source: Met Museum New York\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 30 cm\u003cbr\u003eWeight: 2,4 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396515148099,"sku":"XBD135352","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135352.jpg?v=1715593875"},{"product_id":"a-bamana-or-mianka-boliw","title":"A Bamana or Mianka \"Boliw\"","description":"\u003cp\u003eA Bamana or Mianka \"Boliw\" (fetish), Mali, Central Segou region, in shape of a so called \"Wantchi\", collected in the Bla region, 80 km Eastwards on the road to Burkina Faso.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording of Brett-Smith they are \"used by high-ranking male members of the feared Komo association to focus power from the spirit world. The unique heavily encrusted surface on these objects is the result of a compilation of a variety of sacrificial elements such as wood, bark, tree roots, cotton, animal hair, blood and other substances applied as an offering over to the spirits, collected in the Bamana region of Bla, 120 km from Segou together with a small sack-like fetish object.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThis object, called a boli (pl. boliw), once played a central role in the ritual life of a Bamana village. Such power objects are owned by male initiation associations whose members progress through induction processes that span decades. Over time, they attain esoteric knowledge that leads to a greater understanding of the natural and spiritual worlds. Opaque and mysterious to the uninitiated eye, boliw are safely handled only by those association members equipped with the most rarified skills and\u003cbr\u003eexpertise.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThe primary function of a boli is to accumulate and control the naturally occurring life force called nyama for the spiritual benefit of the community. Used as altars or carried during dance performances, they are complex creations created from esoteric recipes, or daliluw. Animal bones, vegetable matter, honey, and metal are packed around an interior armature of bamboo.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003ewrapped in white cotton cloth. They are covered with layers of mud and clay, and their surfaces accumulate sacrificial materials over time, including chicken and goat blood, chewed kola nuts, alcohol, and millet porridge. Each added layer of material lends the structure greater spiritual power.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eBoliw and their numerous ingredients have been interpreted in a number of different ways. It has been suggested, for instance, that the disparate elements of which boliw are composed symbolize the various parts of the universe, so that the whole can be read as a model of Bamana cosmological belief. It has also been noted that the boliw's sacrificial coatings are strikingly similar to the undigested contents of human stomachs, while the interiors of the boliw are made of materials generally associated with the body's exterior. For this reason, they have sometimes been interpreted as portrayals of animals and people turned inside out. While this example takes a vaguely bovine form, others are more representative of recognizable subjects, including human\u003cbr\u003efigures.\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003eSources: A History of Art in Africa - The Art of A Continent.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eFor related examples: s. Sarah Brett-Smith, The Making of Bamana Sculpture, Creativity and Gender, Cambridge University Press, 1994; 24\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 44 cm\u003cbr\u003eLength: 53 cm\u003cbr\u003eWeight: 15 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396537332035,"sku":"XBD135760","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135760.jpg?v=1715594065"},{"product_id":"a-fragmentary-terracotta-head-in-the-katsina-style","title":"A fragmentary terracotta head in the Katsina style","description":"\u003cp\u003eA fragmentary terracotta head in the Katsina style, Nigeria with a small face, long horizontal slits for eyes with eyebrow carvings over them, a small nose and narrow round mouth; the ears are carved high and the head has small protrusions for coiffure. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003eHeight: 20 cm\u003cbr\u003eWeight: 3,4 kg (incl. stand)\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756557087043,"sku":"XBD140541","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140541.jpg?v=1718284249"},{"product_id":"an-uhunmwu-elao-commemorative-head","title":"An Uhunmwu-Elao commemorative head","description":"\u003cp\u003eAn Uhunmwu-Elao commemorative head of an Ọba, in the style of Benin, casted in bronze, iron inlays as pupils, regalia of coral beads, a cap-like crown and a high collar of coral necklaces. On the round base to the left and right of the head is a small leopard, symbolizing the power and dignity of the Oba. Different layers of encrusted oxidations. Certificate of origin and provenance. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eAfter the death of an Oba, an altar was built for him in a closed courtyard of the Benin palace.\u003c\/span\u003e\u003c\/span\u003e \u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eOne of the most important objects on these altars were memorial heads of the deceased cast from brass.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eA carved ivory tusk once rose from the calotte of these commemorative heads. \u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eExtensive rituals and regular sacrifices at this altar by the successor confirmed his ties to the royal ancestors and increased his spiritual power.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e See Digital Benin, the Uhunmwu-Elao commemorative heads.\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eLit.: Felix von Luschan, Die Altertümer von Benin, Band 1, Berlin 1919, S. 355-358. Philip J. C. Dark: An introduction to Benin art and technology, Oxford 1973, S. 95.William Fagg, Bildwerke aus Nigeria, München 1963, S. 44. Armand Duchateau Benin. Kunst einer Afrikanischen Königskultur, München 1995, S. 45-53.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 47 cm\u003cbr\u003eWeight: 10,7 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756596703555,"sku":"XBD140483a","price":2600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140483a.jpg?v=1718284670"},{"product_id":"a-bronze-head-of-a-portuguese-in-the-style-of-benin","title":"A Bronze head of a Portuguese in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Bronze head of a Portuguese in the style of Benin, a large cylindrical neck, the face is composed of delicate features of a closed bulbous mouth, surrounded by a straight mustache and thin rectangular goatee, small pointed nose, two eyes, large, opened, with pupils showing, they both are looking downwards, the top of the head is adorned with a large three part hat, onto which are double wooden flange, which, according of Kathryn Wysocki Gunch, belong to the reign of Oba Orhogbua 1550 - 1578 and not of the reign of his father Oba Esigie 1504 - 1550; There is some damage done at the top of the headdress, of visible holes. Certificate of provenance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eKathryn Wysocki Gunch , The Benin Plaques. A 16th Century Imperial Monument.\u003cbr\u003e\"I tryed to construct a timeline according the pattern of the flanges. An attempt which tryed already Philip Dark and Frank Willet with other arguments based on the\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eappearance of the plaques\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHeight: 33 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWeight: 2,6 kg\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756646281539,"sku":"XBD136511","price":4000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD136511.jpg?v=1718285107"},{"product_id":"a-mumuye-vertical-mask","title":"A Mumuye vertical mask","description":"\u003cp\u003e \u003cspan lang=\"en\" jsaction=\"mouseup:BR6jm\" jsname=\"jqKxS\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb\" jsname=\"txFAF\" jscontroller=\"Zl5N8\" jsdata=\"uqLsIf;_;$10\" jsmodel=\"SsMkhd\"\u003e\u003cspan jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" jsname=\"W297wb\"\u003e\u003cem\u003eA Mumuye vertical mask, Nigeria, composed of two parts, first the rounded cavity of the helmet, the second half composed of the cylindric abdomen, protruding navel, widened chest, arms on both sides of the body, in a zigzag shape, the neck is long and thick, finishing is the head of abstract shape, composed of the two large square ears, a rectangular mouth showing teeth, a rounded element where two eyes are places; ritual patina, signs of ritual use, some damage at the base, some cracks.\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:BR6jm\" jsname=\"jqKxS\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb\" jsname=\"txFAF\" jscontroller=\"Zl5N8\" jsdata=\"uqLsIf;_;$10\" jsmodel=\"SsMkhd\"\u003e\u003cspan jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" jsname=\"W297wb\"\u003e\u003cem\u003eFrom hundreds of examples of primitive art exhibited in the British Museum, Moore has selected and drawn many works that are now considered to be among the highest quality African and Oceanic art ... The sculptor's eye recognized this as early as the mid-1920s.\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"1\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb\" jsname=\"txFAF\" jscontroller=\"Zl5N8\" jsdata=\"uqLsIf;_;$11\" jsmodel=\"SsMkhd\"\u003e\u003cspan jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" jsname=\"W297wb\"\u003eAlan, G.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"2\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb\" jsname=\"txFAF\" jscontroller=\"Zl5N8\" jsdata=\"uqLsIf;_;$12\" jsmodel=\"SsMkhd\"\u003e\u003cspan jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" jsname=\"W297wb\"\u003eWilkonson, page 608 ff, Primitivism in 20th Century Art, Prestel, edit.William Rubin, third ed., 1996\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"2\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb\" jsname=\"txFAF\" jscontroller=\"Zl5N8\" jsdata=\"uqLsIf;_;$12\" jsmodel=\"SsMkhd\"\u003e\u003cspan jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" jsname=\"W297wb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/moore.henry.mumuye.1922-24.BM.jpg\" width=\"340\" height=\"475\" alt=\"\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eBritish Museum, sketchbook of Henry Moore, of the 1920th\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eLit.: Frank Herreman and Constantine Petridis: The Discovery of Mumuye Art. In: Frank Herreman: Mumuye: Sculpture from Nigeria. The Human Figure Reinvented, Milan 2016, p. 9 (8-13).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 117 cm\u003cbr\u003eWeight: 11,8 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48786558026051,"sku":"XBD145316","price":2000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD145316.jpg?v=1718714017"},{"product_id":"a-grebo-mask-liberia","title":"A Grebo mask, Liberia","description":"\u003cp\u003eA Grebo mask, Liberia, of oval shape, protruding pointed mouth, long nose, two tubular eyes poking out, a bulging forehead split in-between with an elevated line, the discs of the eyes are painted white, the inside of the mouth red, the whole mask is glossy and the dark wood shines; glossy by use, encrusted patina on the forehead.\u003c\/p\u003e\n\u003cp\u003eThe masks that are created represent the spirits of the hidden world that dwells within the forests. Skilled initiates are responsible for their production, and they are used during special ceremonies for initiates and public festivals. This particular mask belongs to the category of plank masks with tubular eyes, which tend to have a more abstract appearance. The interest of cubist painters and modern sculptors in the abstract of the Grebo mask can be seen in some of their works, such as Picasso´s 1914 guitar.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Christopher D. Roy\/Thomas G.B. Wheelock: Land of the Flying Masks. Art and Culture in Burkina Faso\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The Grebo use several types of masks, some used for adult initiation or religious ceremonies. The most commonly seen is the war mask, used by warrior societies and formed in the shape of a plank with cylindrical eyes, numbering between two and twelve. The mask is danced in preparation for war and at the funerals of warriors.”\u003cbr\u003eLit: Second Face, Museum of Cultural masks\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/grebo.picasso.jpg\" width=\"261\" height=\"391\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Picasso Grebo Mask of 1912 and the sculpture \"Guitar\", created in\u003cbr\u003ethe same year.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The Grebo people inhabit the coast of Eastern Liberia and surrounding forests, and are a small ethnic group named after their migration from the Sahara region to Liberia, translating to \"leaping monkey people.\" Known for their ferocity in battle, the construction of their mask work reflects their warrior culture, with flat war masks featuring 3D tubular eyes measuring up to a meter in height. These masks make appearances not only during battles but also at pre-dance rituals and funerals of fallen warriors.\u003cbr\u003eAside from war masks, the Grebo also create tall, flat masks with large faces and painted \"buffalo horns,\" as well as masks that represent the ideal female, characterized by slitted eyes and a gentle expression. Both of these mask types are used during initiation rites and festive events.\u003cbr\u003eGrebo masks have notably influenced the works of Pablo Picasso, who, alongside Georges Braque, created Cubism, a style that portrays subjects in 2D while combining multiple perspectives into one image. Picasso purchased a Grebo mask in the early 1900s, which inspired him as he developed Cubism, culminating in one of his most well-known works, Les Demoiselles d'Avignon, featuring five nude women with angular bodies and faces inspired by the Grebo mask.\"\u003cbr\u003e\u003cbr\u003eLit: The Metropolitan Museum of Art\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 28 cm\u003cbr\u003eWeight: 2 kg incl. stand\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48786623496515,"sku":"XBD145642","price":500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD145642.jpg?v=1718715666"},{"product_id":"a-fragmented-terracotta-head","title":"A fragmented terracotta head","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA fragmented terracotta head, in the style of Nok, Nigeria, of oval shape composed of stylized features, slightly erased, an elongated jaw line, a half opened mouth, a pointed nose, two triangular eyes half opened with heavy eyelids, slim eyebrows, two ears on the sides of the face, a simple tree parted hairdo; some cracks throughout out the head, the back of the head is particularly more damaged.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48898091843907,"sku":"XBD143147","price":500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/0339dd83-7b8c-4d57-bb2a-e6565a55454d.jpg?v=1720435683"},{"product_id":"a-brass-rooster-in-the-style-of-benin","title":"A brass rooster in the style of Benin","description":"\u003cp\u003eA high-quality brass rooster in the style of Benin,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eỌkpa being a shortened version of Ọkporhu,.\u003c\/em\u003eprovenance, El Hadji Abdoulaye Ousmane, called \"Abdou Barré,\" Lomé Togo, Wolfgang Jaenicke, Germany, Berlin, Private collection, posted on a wooden stand,\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBronze cock which did not come into existence until after the introduction of the Iy’ọba title by Ọba Esigie. The first Iy’Ọba was Idia, and the Iy’ọba title is considered to be the greatest achievement of a Benin woman. It has spiritual significance and is placed at the altar of the Iy’ọba after her death. The Iy’ọba is referred to Ọkpa n’ Uselu. Source Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.cock.digital.benin.jpg\" width=\"287\" height=\"432\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003ePhoto: Digital Benin,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eEthnological Museum, State Museums of Berlin, Provenance British Colonial Military Campaign on Benin, February 1897 Webster (born Cutter), Eva Amarantha\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eNote: Returned from Leipzig;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eEdition: 17th-19th century, commissioned by the Igun Eronmwon or the Guild of Brass Founders in the Kingdom of Benin;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eownership before 1897 currently unknown;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eprobably plundered in connection with the British conquest of Benin in 1897;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003earound 1898 in the possession of the ethnographic dealer Eva Cutter, who married the dealer William D. Webster;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003esold to the Royal Museum of Ethnology in Berlin, 1898.\u003c\/span\u003e\u003c\/span\u003e, Source Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003eThe Benin brass cock, also known as the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin bronze cock\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin bronze cockerel\u003c\/strong\u003e, is one of the most iconic examples of African art, and it is part of the renowned Benin Bronzes. These works of art are a group of plaques, sculptures, and other artistic objects created by the Kingdom of Benin (located in present-day southern Nigeria) between the 13th and 19th centuries.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Kingdom of Benin, once one of the most advanced and powerful states in West Africa, is famous for its sophisticated art, which included bronzes, ivory carvings, and other fine works. The Benin artists were particularly skilled in casting with brass and bronze using the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elost-wax technique\u003c\/strong\u003e, a method that involves making a model out of wax, coating it with clay to form a mould, then melting the wax and pouring molten metal into the mould.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese works were commissioned by the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin monarchy\u003c\/strong\u003e, particularly under the leadership of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOba (king)\u003c\/strong\u003e, and served as symbols of power, prestige, and divine authority. The art often depicted scenes of court life, historical events, and animals.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe brass cock, which appears in the Benin bronzes, holds significant cultural and symbolic meaning. Cocks (roosters) were often associated with royal regalia and ceremonial life, and in many African cultures, the rooster is a symbol of courage, strength, and vigilance. It was sometimes linked to the divine and served as an emblem of the Oba's authority.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA brass cock, in particular, was often included in\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eritual contexts\u003c\/strong\u003e. It was believed to be connected to the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003espiritual power\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eof the Oba, symbolizing the king's connection to the gods and his ability to ward off evil. In some depictions, the cockerel would be represented as part of the ceremonial regalia or even as a figure that could serve as an offering to the gods.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Benin Bronzes, a collection of over 900 objects, include plaques, statues, and cockerels. The depiction of animals like the cock in Benin artwork reflected the kingdom's deep engagement with the natural world, as well as its emphasis on fertility, vitality, and strength. Brass cocks were often found in the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin Royal Palace\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand were part of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOba’s court regalia\u003c\/strong\u003e.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 48 cm incl. stand\u003cbr\u003eLength: 31 cm\u003cbr\u003eWeight: 6,6 kg\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi749\/pages\/XBD179173.htm\"\u003ejaenicke-njoya\u003c\/a\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52089608372547,"sku":"XBD179173","price":10.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179173.jpg?v=1736093791"},{"product_id":"an-outstanding-lobi-head","title":"An outstanding Lobi head","description":"\u003cp\u003eAn outstanding Lobi head, Kampti region, Burkina Faso, of a well-known carver, with a prominent small mouth, beneath a trapezoid nose, framed by almond-shaped eyes,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003ethe relief-like hairstyle is in harmony with the overall image of this head, which is also underlined by the curved shape of the extended, slightly curved \"neck\"\u003c\/span\u003e\u003c\/span\u003e. The greyish surface is partly encrusted by a scrification patina. Incl. metal stand.\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003cem\u003eAnother example of this workshop was offered by Sotheby's a few years ago, but it would not have the quality of this masterpiece.\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e(see last photo of this photo sequence)\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA \"Lobi head\" refers to a traditional sculpted wooden head or mask from the Lobi people, an ethnic group native to West Africa, particularly in Burkina Faso and parts of Ghana and Ivory Coast. The Lobi are known for their unique artistic style, and their carved wooden figures, including heads and masks, often have a highly stylized, abstract quality.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese sculptures are typically created for spiritual purposes, representing ancestral figures or deities, and they play an important role in the Lobi’s religious practices. The heads, often large and imposing, are thought to embody power, wisdom, and protection. They may also be used in rituals or ceremonies, serving as a focal point for invoking spirits, asking for blessings, or seeking guidance from the ancestors.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLobi art, in general, is known for its simplicity, bold lines, and expressive features, and these heads can sometimes appear quite minimalistic, with geometric shapes or elongated forms that evoke a sense of mysticism and reverence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 51 cm incl. stand\u003cbr\u003eWeight: 2,3 kg\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/jaenicke-njoya.com\/Bi749\/pages\/XBD179295.htm\" target=\"_blank\"\u003ejaenicke_njoya\u003c\/a\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi749\/pages\/XBD179295.htm\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52089742655811,"sku":"XBD179295","price":1760.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179295.jpg?v=1736094438"},{"product_id":"a-fragmentary-bronze-sculpture-in-the-style-of-tada","title":"A fragmentary Bronze sculpture in the style of Tada","description":"\u003cp\u003eA fragmentary Bronze sculpture in the style of Tada with an extremely smooth patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of an intolerant Islamism. The condition of the surface suggests that it was in the ritual use - like mentioned above - for many years., provenance Aboulaye Ousmane, called Abdou Barré, Lomé Togo, it was since a long time in his collection.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" height=\"374\" width=\"249\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/fragmentary%20tsoede%20bronze.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnother fragmentary Tsoede bronze, we collected a couple of years ago.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTom Phillips wrote in his book \"Africa, the Art of a Continent\" page 407, about the well-known version of this famous sculpture, which is obviously Ife related.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is without doubt the supreme masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally the head quarter or more of the height of the figure. The limbs and usually the torso are generally no more than cylinders, but here legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip a sash is tied around a folded cloth, perhaps the concerns of the wrappers. (There is a similar hip ornament in terracotta form a life-size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, which prompted William Fagg to suggest that it might have been intended to sit on a round stone throne (as cat. 5.66)...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUntil recently this piece was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it down to the river every Friday and scrubbed it with river gravel to ensure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance, Bernard Faggpersuaded the villagers that they were destroying the sculpture and with it the fertiliy they were trying to promote...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt is not clear why this piece and several others were found so far north. It may well be that its location indicates the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8\u003cbr\u003e\u003cbr\u003es. Tom Phillips, Africa Art, the Art of a Continent, page 407\u003cbr\u003eYoutube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cem\u003eA group of nine bronze sculptures had for a long time been known to exist in two villages on the River Niger, at Tada and on Jebba Island. The bronzes are referred to as the Tsoede bronzes because oral tradition says that the founder of the Nupe Kingdom, King Tsoede, who escaped from Idah in a bronze canoe, distributed these bronzes on his way to founding the present Nupe Kingdom which is believed to date from the sixteenth century.\u003cbr\u003eThe bronzes are divided into four groups. The first consists of the so-called Gara figures, two on Jebba Island, a male and a female, and one in Tada.\u003cbr\u003eThe second group consists of only the seated figure shown here, perhaps the most important naturalistic sculpture in Black Africa. Two other more recent-looking figures make up the third group, while the figures of two ostriches and an elephant form the fourth group. The male Jebba Gara figure better known as the Jebba Bowman and the Tada Gara male figure are believed to bear resemblance to Benin works because of the diadems on their foreheads which depict faces with snakes issuing from their nostrils, a common feature in Benin works. The Tada seated figure seems, in its naturalism and rigidity, to belong to the Ife school. The two more recent-looking figures from Tada have a combination of Yoruba and Benin traits while the ostriches and the elephant belong to a yet unidentified school. So, here we find at least four traditions of sculpture in bronze and their coming together suggests that they were accidentally assembled.\u003cbr\u003eAll the figures were still being used in rituals, in secondary contexts, in the places where they were located until they were temporarily taken into safety in the National Museum in Lagos. Source: Nigerianhouse\u003c\/em\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eWe know only two examples, one in an American private collection and one in Europe, which don´t have signs of violance like the well-known, in many books published fragmentary exemplare.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" height=\"426\" width=\"297\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tsoede.complete.sculpture.jpg\"\u003e\u003cbr\u003eIf the National Commission of Museums and Monuments in Abuja, Nigeria, is interested in this rare exemplare, we can speak about donation.\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cspan lang=\"en\"\u003e\u003cspan\u003eIt is important that such high-value works of art are protected from further destruction and not left at the mercy of Islamist terrorists.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSuch objects do not belong on the black market, but this dilemma should be discussed openly with all those who are committed to protecting cultural heritage.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eThis object was not stolen and is coming from the old private collection of the Heritage of El Hadji Ibrahim Abdoulaye, Cotonou, Benin, who passed away in 2022.\n\u003cdiv id=\"ow143\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-location=\"2\" aria-hidden=\"true\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"ow21\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eThe Tsoede (also called Tada-bronzes) are linked to the Benin Kingdom, one of the great African kingdoms, known for its advanced urban planning, political structure, and art. The bronzes were likely produced by the skilled metalworkers who inhabited the area and are now considered a key part of the rich artistic heritage of the Benin Empire. The works also hold substantial historical value, as they often served as ceremonial and symbolic purposes.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCharacteristics.The bronzes are renowned for their high level of craftsmanship and intricate detail. They are typically made using the lost-wax casting technique, which was a sophisticated method in which a wax model of the object is covered in clay and then heated to allow the wax to melt and drain, leaving a hollow mold for molten bronze to be poured into. This technique allowed for the creation of highly detailed and intricate sculptures.\u003cbr\u003eMany of the Tsoede bronzes depict human figures, animal motifs, or abstract symbols, and they were often used in royal or religious contexts, either as offerings or as part of the royal regalia. Some of the common themes include:\u003cbr\u003e1. Portraits of Royalty – These bronzes often feature depictions of kings or nobles, sometimes in elaborate attire or with symbolic regalia.\u003cbr\u003e2. Animal Motifs – Animals, especially elephants and leopards, were common subjects, reflecting their importance in the kingdom's symbolism and governance.\u003cbr\u003e3. Symbolism – The bronzes also depict symbolic elements tied to the spiritual and political life of the kingdom.\u003cbr\u003eSignificance\u003cbr\u003eThe Tsoede bronzes are considered one of the earliest examples of advanced metalwork in West Africa, and they stand as a testament to the region's long history of metallurgy, craftsmanship, and artistic expression. They are also part of the Benin Bronzes, a collection of plaques and sculptures that are historically important, though the term \"Benin Bronzes\" is often used more broadly to refer to the numerous works produced in Benin during the 13th to 19th centuries.\u003cbr\u003eThese bronzes are not only valuable for their artistic merit but also for what they tell us about the social and political organization of the Benin Kingdom, its religious practices, and its interactions with other cultures.\u003cbr\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eA few years ago we collected probably \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi419\/pages\/DSC02358.htm\"\u003ea recent figurin\u003c\/a\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi750\/pages\/XBD179657.htm#\"\u003ee\u003c\/a\u003e with an artificial patina in the same sitting position, which to this day has attracted a great deal of attention on the internet.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOne foot touched the ground and the other was parallel to it.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn this case arms and legs were intact and the figure held a snake in its hands.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"298\" width=\"244\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tada.seated.bronze.recent.png\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eIs it conceivable that the damage to the figure right presented here was intentional?\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe deformations of the arm swamps show more than mere erosion.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThey show - at least on the arms - clear signs of violence.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSnakes have been a symbol of power and domination for centuries, especially in traditional Africa.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIf a character is deprived of this symbol, it loses its magic power.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eCouldn't the missing left foot be interpreted in a similar way, in that the figure has lost its contact with the earth by breaking off the foot?\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis could perhaps be interpreted as another sign of de-ritualization.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"356\" width=\"243\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.tada.sculpture.well.known.png\"\u003e\u003cbr\u003eThis well-known Tada sculpture was described as:\u003cbr\u003e\u003cspan\u003e\"The style and the extraordinarily thin casting of this naturalistic figure point to its likely creation at Ife..\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight:60 cm\u003cbr\u003eWeight: 14,4 kg\u003cbr\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52090311934275,"sku":"XBD179657","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179657.jpg?v=1736096867"},{"product_id":"an-altar-of-king-ewuakpe","title":"An altar of King Ewuakpe","description":"\u003cdiv dir=\"ltr\"\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eThis altar group of King Ewuakpe is exemplary of the individualization of Benin's art.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIt was in the center of the memorial altar that Akenzua I erected for his father, and illustrates the eventful history of the king, his deposition, and reinstatement.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eEwuakpe is not depicted with the full insignia of royal power - like Akenzua I in his altar group - but with a European-looking hat.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHowever, he is wearing a large royal pearl and a high collar.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe two accompanying figures are unadorned; they are interpreted as the two slaves with whom, according to oral tradition, he left the palace alone after he was deposed.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe pestle in his right hand, decorated with powerful symbols, refers to the peaceful reconciliation of the reinstated king with the warriors and city lordss.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKing Ewuakpe was a historical figure from the Kingdom of Benin, an ancient and powerful kingdom located in what is now southern Nigeria. He is best known for his reign during the late 17th century, although the exact years of his rule are difficult to pinpoint due to the challenges in documenting Benin's history before European colonization.\u003c\/p\u003e\n\u003cp\u003eEwuakpe was one of the kings (called Obas) of Benin, succeeding his father, Oba Orhogbua. The Benin Kingdom, which flourished from the 11th century, was well known for its advanced political organization, its skilled craftsmanship (particularly in bronze casting), and its strong military. The kingdom’s capital was Benin City, located in present-day Edo State, Nigeria. Ewuakpe’s reign was marked by several significant events:\u003cbr\u003e\u003cbr\u003e1. Internal Struggles:\u003cbr\u003eLike many African kingdoms, Benin experienced internal struggles for power, and there were often rival factions vying for control. Ewuakpe’s reign may have been affected by these struggles.\u003cbr\u003e\u003cbr\u003e2. Political and Religious Changes:\u003cbr\u003eThe kingdom was also dealing with the influence of foreign trade and the arrival of European traders along the coast. This had an impact on the political and economic systems of the kingdom. While his reign was relatively short, King Ewuakpe played a significant role in continuing the legacy of the Benin monarchy, which was central to the kingdom’s prestige and authority.\u003cbr\u003e\u003cbr\u003e3. Legacy of King Ewuakpe\u003cbr\u003eThough not as famous as some other Obas of Benin, such as Oba Ewuare the Great or Oba Ovonramwen Nogbaisi (who famously resisted British colonial forces during the Benin Expedition of 1897), Ewuakpe's role in the kingdom's history remains part of Benin's rich and intricate history.\u003cbr\u003e\u003cbr\u003eThe Benin Kingdom is renowned for its Benin Bronzes, which are sophisticated metal sculptures created from brass and other materials. These bronzes are a testament to the artistic and cultural achievements of the Benin people during the time of the Obas, including those like Ewuakpe.\u003c\/p\u003e\n\u003cp\u003eLit.: Benin, Könige und Rituale, Höfische Kunst aus Nigeria, editir parbara Plankensteiner ua. page 470 ff.\u003c\/p\u003e\n\u003cp\u003eHeight: 56 cm\u003cbr\u003eLength: 34 cm\u003cbr\u003eWeight: 25,6 kg\u003c\/p\u003e\n\u003cdiv id=\"ow18\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52135374324035,"sku":"XBD179738","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179738.jpg?v=1736349611"},{"product_id":"a-bronze-sculpture-of-a-servant-in-the-style-of-benin","title":"A bronze sculpture of a servant in the style of Benin","description":"\u003cp\u003eA bronze sculpture in the style of Benin depicts a servant in Nigeria, holding a leopard on its shoulder and hand. The sculpture stands on flattened feet, covered with a short shirt. The naturalistic casted torso and arms are surmounted by an ovoid head with a decorated, cap-like coiffure.\u003cbr\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eThe sculpture has damage on the left side of the torso, which has resulted in a dent.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOtherwise, the figure is in exceptionally good condition.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSigns of age can be seen particularly in the figure's clothing, which we have reproduced using enlargements (s. the following photos).\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003eIt is difficult to classify this rare figure stylistically, as there are no comparable examples in the Digital Benin category \"eyo-oto\".\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eIn any case, this is an excellent quality Benin cast, which can be explained in terms of content in a larger overall context if one combines the symbol of the power of the leopard, which plays a major role in the court of the Oba, with a servant who carries this animal on his shoulder, possibly to his master - the Oba.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.panther.servant.jpg\" width=\"357\" height=\"425\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003cem\u003eSometimes customers ask us for reports on the age of bronzes.\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMost of the bronzes we buy do not have an age report and we judge our bronzes based on artistic aspects rather than necessarily on the time of creation.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBut every customer has different priorities.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eTo make your own judgment, almost all of our bronzes are extremely magnified, which allows you to judge the age with some experience.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOtherwise, we recommend that you contact an analysis institute of your choice, which may provide additional information on the age with TL analysis.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOur own \"prima vista\" analyses are not part of our agreements with our customers and we are also not responsible for incorrect assessments. It is best for each customer to choose a laboratory of their own choice if the age is important to them.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 64 cm\u003cbr\u003eLength: 27 cm\u003cbr\u003eWeight: 7,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52135434060099,"sku":"XBD179715","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179715.jpg?v=1736349929"},{"product_id":"a-rare-kulango-maternity","title":"A rare Kulango maternity","description":"\u003cp\u003eThis is a rare Kulango maternity, Ivory Coast, with an extremely domed hair-dress decorated with rows of beads and a natural brownish patina.\u003c\/p\u003e\n\u003cp\u003eHeight: 58 cm\u003cbr\u003eWeight: 700 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52135546618179,"sku":"XBD179697","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179697.jpg?v=1736350456"},{"product_id":"a-prampram-mask","title":"A PramPram mask","description":"\u003cp\u003eA PramPram mask, of oval shape carved out of one piece of light wood, composed in a minimal aesthetic of small orifices geometrically placed around two rounded eyes, and a round hollowed mouth, pierced through. provenance Baba Sylla, Ghana.\u003cbr\u003e\u003cem\u003e\u003cbr\u003eIt is the first PramPram mask, we have collected, never seen before in a publication. But no doubt about it: It´s authentic. May be\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003ecomparable to the masks of the Lobi, who also have no mask tradition, but whose altars still have masks.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003einfluenced by ethnic groups using masks in dance ceremonies.\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/baba.sylla.prampram.sculpture.jpg\" width=\"374\" height=\"352\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eBaba Sylla, once the dealer of Karl Heinz Krieg, Germany, who brought the first extremly rare PramPram sculptures to the West.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\"A great discovery were the so called \"\u003ca href=\"https:\/\/wolfgang-jaenicke.blogspot.com\/2017\/03\/so-called-prampram-sculptures-we-also.html?q=prampram\" target=\"_blank\"\u003ePrampram\u003c\/a\u003e\" sculptures, which are stylistically related to the Northern part of the small tribes in Northern Ghana and Togo, in particular the Moba. In my interview Baba Sylla, Accra, Ghana, isn't speaking about a \"tribe“, he named it \"a great family\", which seems to be incorrect under anthropological aspects, but it is a link to the fact, how small this \"tribe\" is or was in reality. May be this is the reason that these sculptures are unknown in literature. Only Karl-Heinz Krieg (short before his death) conducted unpublished researches with voice protocols close to the hut, where these sculptures were once part of a shrine. But a friend of him told me that Mr. Krieg had no possibility to access the hut.\"\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Dogbe, B.K. (1977). “The human form as a central theme in art” in Image (Journal of the College of Art), \u003ca href=\"https:\/\/youtu.be\/kTOW6F6bNfQ\"\u003eInterview with Baba Sylla\u003c\/a\u003e, the well known Antique dealer in Accra, Ghana, who collected these sculptures the first time.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/pram.pram.fieldphoto.krieg.jpg\" width=\"370\" height=\"328\" alt=\"prampram fieldfoto karl heinz krieg\"\u003e\u003cbr\u003e\u003cem\u003eFieldphoto, Karl Heinz Krieg, around 2010, \u003c\/em\u003ein front of the house of Baba Sylla with his\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"A great discovery were the so called Prampram sculptures, which are stylistically related to the Northern part of the small tribes in Northern Ghana and Togo, in particular the Moba. In my interview Baba Sylla, Accra, Ghana, isn´t speaking about a \"tribe“, he named it \"a great family\", which seems to be incorrect under anthropological aspects, but it is a link to the fact, how small this \"tribe\" is or was in reality. May be this is the reason that these sculptures are unknown in literature. Only Karl-Heinz Krieg (short before his death) conducted unpublished researches with voice protocols close to the hut, where these sculptures were once part of a shrine. But a friend of him told me that Mr. Krieg had no possibility to access the hut.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Dogbe, B.K., The human form as a central theme in art. In: Image (Journal of the College of Art), Kumasi 1977; Wolfgang Jaenicke, Neue Prampram Figuren entdeckt. Wolfgang Jaenicke, Interview with Baba Sylla, the well known Antique dealer in Accra, Ghana, who collected tese\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 25 cm\u003cbr\u003eWeight: 600 g incl. stand.\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52318658593091,"sku":"XBD180183","price":800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180183.jpg?v=1737549828"},{"product_id":"a-head-of-olokun-or-ooni-in-the-style-of-ife","title":"A head of Olokun or Ooni, in the style of Ife","description":"\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eProbably a \u003c\/span\u003e\u003c\/span\u003ehead of Olokun in the style of Ife, Nigeria,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eBut there are different opinions about this bronze head.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAnother opinion, based on oral tradition, assumes that this is the portrait of a Queen of the Ooni.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eLife sized and cast using a lost wax technique. A crown like headdress with a circular crest, and a tubular band that runs across the head ornamented with small studs running horizontally on the top and the bottom of the band. The face with a delicate features: almond shaped eyes, small nose and full lips, with refined overall patterns. The neck is ringed which is a sign of beauty across many Ife and Benin heads. The holes in the neck were used to attach it to a wooden marionette, as described and shown by Frank Willett, Ife, pages Signs of oxidation, the neck is partly fragmentary, Certificate of origin and provenance, incl. wooden stand.\u003c\/p\u003e\n\u003cp\u003e“According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods. Ife is located in Osun State in modern south-western Nigeria.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\" width=\"551\" height=\"440\" alt=\"Lajuwa, Art of Ife, National Museum Lagos, 1955\"\u003e\u003cbr\u003eThe terracotta head in Lagos has nearly the same size like our head. And shows probably Olokun or a Queen of the Ooni.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Ife began to develop as a city-state in the late first millennium, around AD 800 and became a leading political, economic and spiritual centre in the lower Niger region. Between 1100 and 1400 it floursihed as a commercial centre with access to the lucrative trade networks along the Niger River.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe art of Ife has produced a large corpus of sculptural works in terracotta, stone, brass and copper which were found at different sites in the city. Among these artworks the representations of humans are striking for their naturalistic style. This life-like modelling is unique in Africa and when objects from Ife were first presented to the western world they were compared with the classical traditions of Ancient Greece and Rome. It was even suggested that such heads were evidence that Ife was the site of the lost civilization of Atlantis. In fact the sculpture of Ife is today rightly seen as one of the highest achievements of African art and culture.” Source: British Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit:\u003cbr\u003eE. Platte, 2010, Head of a Ruler, London, British Museum Company\u003cbr\u003eE. Eyo and F. Willett, 1980, Treasures of Ancient Nigeria, London, Royal Academy of Arts\u003cbr\u003eJ. W. Langton, O. Akin Ige \u0026amp; T. Rehren \"Early Primary Glass Production in Southern Nigeria\" in Journal of African Archaeology, Vol. 4 (1), 2006\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cem\u003eThe Ife head of a queen refers to a sculpture from the ancient kingdom of Ife, one of the most significant cultural and artistic centers in pre-colonial West Africa. Ife, located in present-day southwestern Nigeria, was renowned for its advanced artistic traditions, particularly in the realms of metalworking, terracotta, and bronze casting.\u003cbr\u003eThe Ife heads, especially those depicting royalty and important figures, are some of the most iconic artifacts associated with the civilization. These sculptures often represent kings (Ooni), queens, and other high-ranking individuals, and they are noted for their intricate detail and naturalistic qualities, which set them apart from many other African art traditions.\u003cbr\u003eAn \"Ife head of a queen\" would likely be a highly detailed sculpture made from materials such as terracotta, brass, or bronze, featuring features like:\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.head.ooni.png\" width=\"335\" height=\"512\" alt=\"\"\u003e\u003cbr\u003eHead of an Ooni in the style of Ife, exhibited 2018\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi752\/pages\/www.wolfgang-jaenicke.com\"\u003eWolfgang Jaenicke Gallery\u003c\/a\u003e\u003cbr\u003ephoto: wolfgang-jaenicke.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1. Realistic facial features: The Ife heads are known for their lifelike depictions of human faces, showing an extraordinary level of skill and an understanding of human anatomy.\u003cbr\u003e2. Complex hairstyles and adornments: Queens and other women depicted in Ife art are often shown with elaborate hairstyles, crowns, or jewelry, reflecting their status and beauty.\u003cbr\u003e3. Symbolism of power: The queens represented in Ife art are likely symbols of divine authority or noble status, with their heads serving as representations of leadership and reverence within the community.\u003cbr\u003eThese heads are generally believed to represent royal figures from Ife's classical period, roughly from the 12th to 15th centuries. They were likely used for ceremonial or religious purposes, possibly associated with ancestral worship or the honoring of deities. Some of the most famous Ife heads have been unearthed from archaeological sites in the region, revealing a complex and highly developed culture.\u003cbr\u003eOne of the most famous examples of Ife sculpture is the \"Ife Queen Head,\" which stands as a testament to the artistry and cultural significance of the Ife people.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 32 cm without stand\u003cbr\u003eHeight: 38 cm incl. stand\u003cbr\u003eWeight: 4 Kg incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319005016387,"sku":"XBD180447","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180447.jpg?v=1737550647"},{"product_id":"a-fragmentary-baule-mask","title":"A fragmentary Baule mask","description":"\u003cp\u003eA fragmentary Baule mask, Ivory Coast.\u003cbr\u003e\u003cbr\u003eThe use of the Baule mask, for ritual and ceremonial performances: Baule masks are used in performances during important social events such as funerals, initiations, and agricultural festivals. The performances are accompanied by music, dance, and storytelling to honor ancestors, invoke blessings, or ensure community harmony.\u003cbr\u003eFor Entertainment and Social Commentary, as some masks are used in purely entertainment contexts, performing comedic or satirical roles during festivals. These performances may critique societal behaviors or celebrate communal values.\u003cbr\u003eFor mediation with the spirit world, as certain masks are believed to act as intermediaries between the living and the spiritual world. They are used to honor spirits or ancestors, ensuring their guidance and protection for the community. They have protective and purifying roles, and used in rituals to cleanse or protect the community from misfortune, illness, or malevolent spirits.\u003cbr\u003eInitiation Rites: Baule masks play a role in initiation ceremonies where young individuals are introduced to the secrets and traditions of adulthood.\u003cbr\u003e\"The Baule masks are not merely objects of beauty but active participants in a dynamic world, mediating between the human and the spiritual, the individual and the community, the past and the present.\"\u003cbr\u003e\u003cbr\u003eSusan Vogel, Baule: African Art, Western Eyes.\u003c\/p\u003e\n\u003cp\u003eHeight: 29 cm\u003cbr\u003eWeight: 1,7 kg incl, stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319090770243,"sku":"XBD180597","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180598.jpg?v=1737562212"},{"product_id":"a-kola-nut-container-in-the-style-of-benin","title":"A Kola nut container in the style of Benin","description":"\u003cp\u003eA Kola nut container in the style of Benin, the large head piece holds a container with a basic triangular shape, which is completely integrated into the fish shape with a lid. The entire surface consists of the fish scale ornament. The tail protruding from the right side of the mouth with pointed teeth shows a groove-like pattern. The idiosyncratic shape of the body with the rounded tail leading into the mouth is stabilised by a pair of crossed spikes, which are in turn laced at the crossing by a rope. Some age-related punctures in the lid and base of the interior, otherwise reddish-brown patina.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe phenomenon of the ouroboros or also uroboros, which already appeared in Ancient Egypt as a pictorial symbol, is illustrated with one for a snake biting its own tail, thus forming a closed circle with its own body.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn art historical research, an exhibition entitled \"Never ending stories\".\u003cbr\u003eThe Loop in Art, Film, Architecture, Music, Literature and Cultural History“\u003cbr\u003einteresting references to the theme of Ouroboros as a symbol of infinity and eternity circling within itself through the centuries and world cultures.\u003cbr\u003eIn the show, the alchemy of the Middle Ages, the book learning of the Renaissance, Buddhism, Germanic mythology, occidental Christianity and atheistic philosophy met.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.bronze.catfish.jpg\" width=\"367\" height=\"272\" alt=\"\"\u003e\u003cbr\u003e\u003cspan\u003eAnother Benin broze in shape of a catfish, s. our Beni exhibition 2018\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSimilar representations referring to this symbol appear in many cultures.\u003cbr\u003ePlato already described a \"spherical being with a circular shape protruding\u003cbr\u003eequally from the centre to all end points\" as the most perfect form. Ouroboros needs nothing outside itself, no nourishment, since its food is its own excretions, and it needs no organs of locomotion, since outside itself there is no place to which it could go. He circles in and around himself, forming the circle as the most perfect of all forms.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith regard to the figure described here and its function as a container,\u003cbr\u003ealchemical literature could provide information, because it makes the ouroboros the image symbol of a self-contained and repetitive process of transformationof matter,which in heating, evaporating, cooling and condensing a liquid is intended to refine substances, Duett In this process, the animal form closed into a circle is often replaced by two beings that connect the mouth and the end of the tail.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJorge Luis Borges discusses the ouroboros in his collection Unicorn,\u003cbr\u003eSphinx and Salamander - A Handbook of Fantastic Zoology, which he believes owes its fame to Scandinavian cosmogony. (Jorge Luis Borges, 1899-1986, Argentinian writer and librarian) Friedrich Nietzsche dealt with thoughts on the \"Eternal Return\" in many of his works. and the phenomenon of the ouroboros. In the often quoted fragment \"Allem Zukünftigen beißt das Vergangene in den Schwanz“ ( The Future Bites the Past in the Tail) from the collection of texts \"Nachgelassene Fragmente“ (The Fragments left behind), the forms these reflections into an aphorism. (Friedrich Wilhelm Nietzsche, 1844 - 1900, German philosopher, essayist, poet and writer)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit. Felix von Luschan \"Die Altertümer Benins\", Band 1, S. 370 - 371\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWidth: 33 cm\u003cbr\u003eHeight :12 cm\u003cbr\u003eWeight: 5,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319297274179,"sku":"XBD180743","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180743.jpg?v=1737552288"},{"product_id":"a-djenne-terracotta-vessel-1","title":"A Djenné terracotta vessel","description":"\u003cp\u003eA Djenné terracotta vessel, Mali, brown to reddish patina. Certificate of origin and Provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Djenné terracotta vessel refers to pottery that originates from the region around the ancient city of Djenné, located in Mali, West Africa. Djenné is famous for its rich cultural heritage and the ancient Djenné-Djenno archaeological site, which has been inhabited since around 250 BC. The area is renowned for its distinctive pottery traditions, especially its terracotta vessels.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDjenné terracotta pottery is typically handmade and features a range of shapes and sizes, from large storage jars to smaller ceremonial vessels. The pottery is often characterized by its smooth, reddish-brown surface and intricately molded or sculpted details. The designs can include geometric patterns, human or animal motifs, and sometimes abstract forms. The artisans of Djenné use traditional hand-building techniques, such as coiling, and burnish the pottery for a smooth finish.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHistorically, the terracotta vessels were used for practical purposes, such as storing water, grains, and other goods, but some pieces were also made for ritualistic or funerary purposes. The craftsmanship of Djenné pottery is an important reflection of the region's long-standing artistic and cultural traditions.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe style of Djenné pottery has influenced contemporary African art, and some pieces have become highly sought after by collectors and museums for their cultural and artistic value.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 24 cm\u003cbr\u003eWeight: 1,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52321967046979,"sku":"XBD181227","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181227.jpg?v=1737563052"},{"product_id":"a-guerre-mask-of-peace","title":"A Guerre mask of peace","description":"\u003cp\u003eA Guerre mask of peace, Ivory Coast, collected in the Danane West region, wooden spikes all around the half bottom of the face, red painted fabric around the back of the mask, encrusted, ritual patina; signs of use. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The border between Côte d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they are worn, such sculptures are spiritually charged. Male performers, gle-zo, experience a dream sent by the mask spirit that allows them to dance it. In performance, the masks are integrated into the hierarchical system that governs political and religious life.\u003cbr\u003eDan masks have been documented as the embodiment of at least a dozen artistic personalities. Among these are Deangle, who ventures into the village from the initiation camps to ask women for food; Tankagle and Bagle, who entertain through a range of aesthetically pleasing dances, skits, and mimes; Gunyege, whose mask is worn by a community's champion foot racers in competitions; and Bugle, who historically leads men into battle. This example's protruding eyes and row of carved horns on the forehead indicate that this is probably a kagle mask. Kagle masks are \"troublemakers\", meant to disturb village festivities with their erratic movements and agressive behavior. Intended to symbolize the brutal force of the bush and of savage, nonhuman creatures, the \"troublemaker\" is in fact a test of the solidity of social institutions. Its disruptive performance serves a social function by teaching the value of order and discipline through its negative example.\u003cbr\u003eOnce they are divorced from their performance contexts, mask forms are difficult to identify. Performances of Bete and Wee masks may span the careers of many generations of wearers, contributing to the increasingly sacred status of these objects. A masquerade's vitality may also be transferred from one mask form to another. Over time, any respected Dan mask may eventually be elevated to the category gunagle, the mask that represents a village quarter, or gle wa, a judicial mask”\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eLit: MET\u003cbr\u003e\u003cbr\u003eHeight: 47 cm\u003cbr\u003eWeight: 4,1 kg incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52321993982275,"sku":"XBD181235","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181235.jpg?v=1737563154"},{"product_id":"a-bronze-plate-in-the-style-of-benin-1","title":"A Bronze plate in the style of Benin","description":"\u003cp\u003eA Bronze plate in the style of Benin, Nigeria, depicting a high ranking, naked person,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eAt the edge there is a rosette, partly pierced through for hanging.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003cem\u003e\"The body adornment consists of coral foot cuffs and a coral collar, which identify them as high-ranking members of the royal court.\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBoth are only worn during certain ceremonial occasions.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWhile the layered hairstyle with the braided plaits is more common on Benin relief plates, the body adornment is rather rare.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIt probably refers to a body tattoo, but body painting is also possible.\u003cbr\u003e\u003cbr\u003eAs early as 1919, Luschan mentioned the difficulty of distinguishing between painting and tattooing on the very similar Berlin plate.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAt the time, he suspected that it was body painting that was applied for a particular festival.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn the Vienna catalog, this very plate is discussed again.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eUnfortunately, the author completely ignores the topic of body adornment and does not even name it. Instead, he devotes a large section to an anecdote that is supposed to be related to this plate.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAccording to this, the middle boy represents the crown prince Odogbo, the son of King Oba Ehengbuda (ca. 1578 - 1608). Because of his feminine features, there was a rumor that the boy was actually a girl.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eFor this reason, the Oba ordered his son to walk naked from Usulu, where he resided, to Benin with a retinue of his own age as proof of his masculinity.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis was to demonstrate that Odogbo was actually a man and could be considered as heir to the throne.\"\u003cbr\u003e\u003cbr\u003eCf.: Felix von Luschan: Die Altertümer von Benin, Volume 2, Berlin 1919, pp. 219-220. Barbara Plankensteiner (ed.): Benin.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eKings and Rituals.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eCourtly Art from Nigeria, Vienna 2007, p. 468.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/certificate.provenace.plate.jpg\" width=\"284\" height=\"487\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003encl. A Certificate of Provenance of the National Commission of Museums and Monuments (NCMM), Abuja, Nigeria. We suspect that this document was issued by the NCMM of a previous government or based on its original documents. We have not yet received a response to inquiries to the NCMM in Abuja from the current director, who has been in office since March 2024. In any case, this document is likely to be of considerable importance for provenance research, which has so far dealt almost exclusively with colonial injustice and its documentation.\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.%20naked.person.jpg\" width=\"242\" height=\"541\" alt=\"\"\u003e\u003cbr\u003eSource digital Benin, more items of this type of plate:\u003cbr\u003eDigital Benin Reference No.\u003cbr\u003e1900391, 211125, 211802, 8980115165, Af18980115169\u003c\/p\u003e\n\u003cp\u003eDimension:\u003cbr\u003eWeight:\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323227664707,"sku":"XBD180802","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180802.jpg?v=1737569554"},{"product_id":"a-bronze-relief-plaque-of-a-portuguese-soldier-in-the-style-of-benin","title":"A bronze relief plaque of a Portuguese soldier, in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA bronze relief plaque of a Portuguese soldier, in the style of Benin, Nigeria.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the \u003cspan id=\"2\" role=\"button\" data-bs-toggle=\"popover\" data-bs-trigger=\"focus\" data-bs-title=\"\" data-bs-content=\"\" data-bs-html=\"true\" tabindex=\"0\"\u003eexpedition\u003c\/span\u003e. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/span\u003e\"\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003eSource: Digital Benin.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Portugese%20soldier.png\" width=\"298\" height=\"440\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePlaque found on Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe relief brass plaques that used to decorate the Oba's (king's) palace are among the most well-known of all the royal arts of Benin. Although frequently described as 'Benin Bronzes' most plaques are made of leaded brass in various compositions.The Benin brass plaques represent a distinct and unique corpus of work, unparalleled elsewhere on the continent. They are cast using the cire perdue (lost wax) technique and show significant variation in the depth of the relief. Some of the plaques portray historical events or commemorate successful wars, while others are a vivid depiction of Benin court life and ritual. Several groups of plaques show clear stylistic similarities. William B. Fagg suggested that these plaques represent the work of master brass casters. Fagg, William, 1973, 'Nigerian Images', London: Lund Humphries Gunsch, Kathryn, 2018, 'Benin plaques: a 16th century imperial monument', London: Routledge, Taylor and Francis Group ~Read \u0026amp; Dalton 1899: \"Figure of a European armed with matchlock and sword. He wears a hat with a low plume, a sleeveless jerkin over a vest, with points upon the breast, and base like that in Af1898,0115.5. The short breeches are not so clearly represented. Round the neck is a high ruff. The sword has a guard differing from any of those previously figured. At each corner is a rosette in relief, as in Af1898,0115.5.\"\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003eHeight: 50 cm\u003cbr\u003eLentgh: 30 cm\u003cbr\u003eWeight: 6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323258827075,"sku":"XBD181404","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181404.jpg?v=1737569716"},{"product_id":"a-male-baule-sculpture-cote-divoire-collected-in-the-sakassou-region","title":"A male Baule sculpture, Cote d'Ivoire, collected in the Sakassou region","description":"\u003cp align=\"left\"\u003eA male Baule sculpture, Cote d'Ivoire, collected in the Sakassou region; a fine touch patina with signs of ritual use and age. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Susan M. Vogel: Baule: African Art Western Eye, 1997, p. 169 (169-187); Bernard de Grunne: Über den Baule-Stil und seine Meister. In: Eberhard Fischer\/Lorenz Homberger: Afrikanische Meister. Kunst der Elfenbeinküste, Zurüch 2014, p. 81-106; \u003c\/em\u003e\u003cem\u003eAlain-Michel Boyer: Baule. Visions of Africa, Milan 2008.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 52 cm\u003cbr\u003eWeight: 1,2 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323293659459,"sku":"XBD181651","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181651.jpg?v=1737569881"},{"product_id":"large-painting-in-acryl-untiteled","title":"Large painting in acryl, untiteled.","description":"\u003cp\u003ePierre Segoh, born on December 21, 1980, in Lomé, Togo, a large painting in acryl, untiteled, a rare early work from 2006.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Pierre Segoh, has been sharing his life between Africa and the rest of the world, between Lomé and Paris, for forty years.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"352\" width=\"235\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/pierre.segoh.amrouche.jpg\"\u003e\u003cbr\u003e\u003cem\u003e\"Big Bang\" a publication by Pierre Amrouche.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\"Pierre Akoété Segoh is a painter and emotion dissector who turned to art during a defining moment in his life. After the loss of his father at 17, he had to abandon his studies to support his mother and siblings. In the face of these challenges, art became both a means of survival and a form of self-affirmation, setting him on a journey of resilience and creative discovery.\u003cbr\u003eTwo pivotal moments shaped his artistic evolution: the first in 1998, when a painter-mentor encouraged him to deepen his exploration of painting, and the second in 2013, when a residency at “La Cité des Arts” in Paris broadened his perspective and refined his practice.\u003cbr\u003eSegoh describes his process as “an autopsy of my emotions and passions.” His art merges human and animal forms, symbolizing the inner conflict between primal instincts and aspirations for higher meaning. Rather than protest or denunciation, his work reflects inquiry and contemplation, drawing inspiration from Saint Augustine, Aristotle, and Martin Luther King Jr.\u003cbr\u003eWith exhibitions in Paris and Rotterdam, and an upcoming show in Marrakech, Segoh continues to create thought-provoking narratives from his atelier in the quiet, green suburb of Lomé, bridging personal experience with universal truths\".\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003eSource: UNX Art Net.\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003ePrice on request.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 257 cm\u003cbr\u003eWidth: 131 cm\u003cbr\u003eWeight: 9,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52603216396611,"sku":"XBD185650","price":1520.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD185650.jpg?v=1739957375"},{"product_id":"a-senufo-rhythmpounder-called-deble-1","title":"A Senufo Rhythmpounder, called Déblé.","description":"\u003cp\u003eA Senufo Rhythmpounder, called Déblé, Boundiali region, Cote d'Ivoire. Signs of ritual use; Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese large-scale statue are a very rare work of art among the Senufo, institutional style of professional sculpture, yet on some special occasions large works of art were commissioned by the male Poro society and also by their female counter equivalent society, the Tyekpa society. In the case of the Poro society, large statues of pairs were placed on public display near wooden shrines or shelters where the chosen society’s initiators gathered to celebrate and organize special events and funerals. The Poro society would commission statues such as this one to be carried and used in ritual processions or placed on the ground to serve as a focus point for the ceremonial dancers.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese statues might have also functioned as a large fetish figure or shrine-powered object to which ritual sacrifices were made on the statue. This type of sculpture was used in various ritual functions that would have taken place right before or after a Poro elder member died. The statue would have been carried by initiators of the Poro society who would visit the home of the deceased where sometimes the statue may have been placed beside the corpse of the deceased and covered in a shroud and shown to the public. The statue would then be carried in the funeral procession and accompanied the deceased to their burial place. There it was swung and pounded on the ground around the grave in a rhythmic manner in synchronized time to the music of the Poro society orchestra.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen the ceremony was complete and before nightfall, the grave was covered with soil as one of the Poro society’s members would perform the final gesture with the statue, leaping onto the grave and pounding the soil seven times. This pounding is to ensure that the spirit of the deceased person didn’t linger in the vicinity of the village compound.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eSource: Brauer Museum of Art.\u003c\/p\u003e\n\u003cp\u003eHeight: 123 cm\u003cbr\u003eWeight: 6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52603571044675,"sku":"XBD183798","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD183798.jpg?v=1739959168"},{"product_id":"a-female-bronze-sculptures-in-the-style-of-tada","title":"A female bronze sculptures in the style of Tada.","description":"\u003cp\u003e\u003cspan\u003eA female bronze sculptures in the style of Tada, Nigeria, which narative is connected with t he foundation of the Nupe based on the Tsoede Kingdom. standing with relatively large feet on a flat bronze base, strong legs, round belly, small heavy breasts, bent arms, a metal bracelet on each wrist, in her left hand she holds an object that has been interpreted in various ways but about which nothing tangible is known, around her neck a structured metal collar, a high, childlike, arched forehead, eyes with heavy lids, a small nose with wide wings, full, sensual, slightly open lips, the hairstyle is conical, bent forwards;\u003c\/span\u003e \u003cspan\u003eoxidized patina, minor damage to the feet of the large figure. traces of greenish oxidation and encrustation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Pogoson, Ohioma Ifounu, Another reconsideration of the origin of the Tsoede bronzes, West African Journal of Archaeology, Vol. 28, Issue 2, 1998, 97-111. Abiodun Enimola, History of Tsoede bronzes. Quarterly journal of the Kwara State Council for Arts and Culture. 1 (2) [1974]. Douglas Fraser, The Tsoede Bronzes and Owo Yoruba Art, African Arts, Vol. 8, No. 3 (Spring 1975). Published by: UCLA James S. Coleman African Studies Center. Situation Kunst (für Max Imdahl), Kunstsammlung der Ruhr-Universität Bochum. Douglas Fraser, The Tsoede Bronzes and Owo Yoruba Art, African Arts (1975) 8 (3), 30–91.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg height=\"464\" width=\"238\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tada.bronze.jpg\"\u003e\u003cbr\u003e\u003cem\u003eTada Bronze, Nigeria, Kunstsammlungen der Ruhr-Universität Bochum.\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cimg alt=\"\" height=\"371\" width=\"190\" src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/tada.bronze.buero.jpg\"\u003e\u003cbr\u003e\u003cem\u003eTwo other Tada sculptures in the same style...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cimg alt=\"tada sculpture gallery Wolfgang Jaenicke\" height=\"340\" width=\"186\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tada.sculpture.120.cm.jpg\"\u003e\u003cbr\u003e\u003cem\u003e...we collected in the last 20 years.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 111 cm\u003cbr\u003eWeight: 17,3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52603703230787,"sku":"XBD183978","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD183978.jpg?v=1739959918"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/collections\/featured.object.wolfgang-jaenicke.jpg?v=1713345659","url":"https:\/\/wolfgang-jaenicke.com\/collections\/featured-products.oembed?page=27","provider":"Galerie Wolfgang Jaenicke","version":"1.0","type":"link"}