{"title":"Other Groups","description":"","products":[{"product_id":"an-akan-kuduo-vessel","title":"An Akan Kuduo vessel","description":"\u003cp align=\"left\"\u003eAn Akan Kuduo vessel, surmounted by a headstake with bulging slit-eye and a mouth in the same manner; oxidised reddish to greenish patina, small hole pierced through the forehead.\u003c\/p\u003e\n\u003cblockquote\u003e\u003cem\u003eOrnate, cast brass vessels known as kuduo were the possessions of kings and courtiers in the Akan kingdoms. Gold dust and nuggets were kept in kuduo, as were other items of personal value and significance. As receptacles for their owners' kra, or life force, they were prominent features of ceremonies designed to honour and protect that individual. At the time of his death, a person's kuduo was filled with gold and other offerings and included in an assembly of items left at the burial site.\u003c\/em\u003e\u003c\/blockquote\u003e\n\u003cblockquote\u003eThe elaborate form and complex iconography of this kuduo reveal the broad range of aesthetic traditions from which the Akan peoples have drawn to create their courtly arts. Goods from Europe and North Africa received in exchange for Akan gold, textiles, and slaves included vessels that may have partly inspired the design of this and other kuduo. The repeating bands of geometric patterns incised into the surface, as well as the elegantly flaring foot, body, and handle, may reflect Islamic influences. A latch mechanism on the exterior reflects the value of the materials kept within and alludes to the vessel's symbolic function of keeping its owner's kra secure.Metropolitan Museum, NY, Container (Kuduo) 18th -19th century.\u003c\/blockquote\u003e\nTL Analysis 250 Jahre + \/ - 26,5 % by Kotalla.\n\u003cp align=\"left\"\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search#!?q=Akan%20peoples,%20Asante\u0026amp;perPage=20\u0026amp;sortBy=Relevance\u0026amp;offset=0\u0026amp;pageSize=0\" target=\"_blank\"\u003eAkan peoples, Asante\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eTL Analysis 250 Jahre + \/ - 26,5 % by Kotalla.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eRelated exemplare\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi394\/pages\/DSC00401.htm\" target=\"_blank\"\u003etribalartforum\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003ca href=\"https:\/\/www.jaenicke-njoya.com\/Bi393\/pages\/DSC06352.htm\" target=\"_blank\"\u003etribalartforum\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003ca href=\"http:\/\/artkhade.com\/en\/object\/047171\/dFkrL9\/an-akan-kuduo-ghana\" target=\"_blank\"\u003eArtkhade\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e2.400 - 2.800.- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 40 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 4,2 kg\u003c\/p\u003e\n\u003cdiv class=\"\"\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003eThis object can be visited in the Gallery Wolfgang Jaenicke, Berlin. It will not be sent and\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003ecan only be picked up. The buyer can have the object for further analysis by its own account\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003ewithout significantly affecting the object in its substance. For this analysis the buyer can take samples before handover within a period of 14 days. The object is from an old African Collection.\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003eRestitution organizations and individuals who are intensively concerned with restitution issues \u003c\/span\u003e\u003c\/i\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003ewere informed about these objects. See also Cultural Property Protection Law (Kultur Gut Schutz \u003c\/span\u003e\u003c\/i\u003e\u003ci class=\"\"\u003e\u003cspan class=\"\" style=\"font-size: small;\"\u003eGesetz – KGSG).\u003c\/span\u003e\u003c\/i\u003e\n\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038019518703,"sku":"DSC00210","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC00210.jpg?v=1657915414"},{"product_id":"a-plank-mask-bedu-nafana-related","title":"A Plank Mask - Bedu - Nafana related","description":"\u003cp\u003eA Plank Mask - Bedu - Nafana related, Cote d'Ivoire\/Ghana\/Burkina Faso, wood, the triangular corpus painted in black, reddish and white like a chessboard, beneath a circular top, surmounted on two geometrical painted staffs - symbolizing the horns of a bush cow (Bravman) - decorated with pattern marks the mask as feminine characterized by a more elaborate disk-shaped superstructure, different layers of pigments; several authentic repairs with strips of metal plates, partly rusty.\u003cbr\u003e\u003cbr\u003eThe masquerade cult of the Bedu, which is keeping disaster, illness, and fertility at bay and is increasing the community´s sense of well-being, is still existing in an adapted way. Bibliography: Bravman: 1974, Freyer: 1974 et al for a related exemplare s. A Plank Mask - Bedu - Nafana related.\u003cbr\u003e\u003cbr\u003eThese spectacular masks, which can exceed 6 FEET in height, are known as \"Bedu.\" The dance in which they are used functions to rid the village of evil. The magnificence and geometric appeal of these masks represent one of the pinnacles of West African art, and they are eagerly sought after by collectors and decorators for their size and colourful, abstract appeal. The Nafana are a Gru-speaking people who are considered part of the Gurunsi group. Though they are a small culture--less than 50,000--they are scattered over parts of Cote d'Ivoire, Ghana, and Burkina Faso, and are mainly hunters and fishermen. They are justifiably famous for their huge \"bedu\" plank masks, which represent a bush cow. For more information, see ART OF AFRICA, by Kerchache, et al.\u003cbr\u003e\u003cbr\u003eThe Bedu masquerading tradition is limited to the region of Bondoukou. The mask type used goes back to early masks, called Sacrobundi, which were made by the Nafana. These were part of an institution that, in the nineteenth century, was disseminated in the Jaman kingdom, a Bron state, and the adjacent areas of what is today western Ghana. Under the influence of the Christian missionaries, the Sacrobundi mask dances were abandoned in the 1920 and 1930s. Yet at the same time, the first Bedu masks appeared among the Nafana, and were soon adopted by the Degha and Kulango. African masks from the Barbier Mueller Collection, Geneva, Iris Hahner-Herzog etc., Prestel, 2002: plate 19\u003cbr\u003e\u003cbr\u003e1.600 - 2.000,- Euro\u003cbr\u003e\u003cbr\u003eHeight: 189 cm\u003cbr\u003eWeight: 10,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038021615855,"sku":"DSC02391","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC02391.jpg?v=1658328463"},{"product_id":"a-male-keaka-sculpture","title":"A male Keaka sculpture","description":"\u003cp\u003eA male Keaka sculpture stylistically highly abstracted, standing on very robust, large feet, the legs slightly bent, arms slightly angled, the face triangular, merging into a beard, mouth, eyes and nose only indicated by minimal openings, on the head the suggestion of a coiffure by a handle-like form; dark patina with heavy encrustations.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Keaka, a subgroup of the Ejagham, live near the Cross River in Cameroon. Their art traditions have been little researched. In ethnographic and art historical literature, stylised, often very encrusted figures occur that are attributed to the Keaka and other Cameroonian groups such as the Mambila, Mbem, Mbo or Mfumte. \"njom\" a term for medicine among the Ejagham, are used by groups and individuals in combating witchcraft, such as assigning blame for an illness or death. Each figure has an individual name, which is usually lost when the figure is removed from its original context.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe literature on the art of these ethnic groups suggests a transitional style between the art of their neighbours, the Chamba and the Mumuye. According to Pierre Harter, these powerful statues are associated with ancestor veneration, while Baeke places them in the context of the medical rite so, referring to an extraordinary spiritual being (Lebas, 2012, p. 287). See Falgayrettes-Leveau (1996, p. 10) for a very comparable statue in the collections of the Musée Dapper.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e3.000 - 3.600,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 61 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 2,7 kg (incl. stand)\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038022697199,"sku":"BBD003731","price":3000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD003731.jpg?v=1658171045"},{"product_id":"a-rare-ibo-mask","title":"A rare Ibo mask","description":"\u003cp\u003eA rare Ibo mask, probably 19th century, blackened, partly encrusted patina, old, authentic repair on the right side, old German collection, incl. metal stand.\u003cbr\u003e\u003cbr\u003e1.500 - 1.800,- Euro\u003cbr\u003e\u003cbr\u003eHeight: 21,5 cm\u003cbr\u003eWeight: 800 g incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038022795503,"sku":"BBD002120","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD002120.jpg?v=1658169775"},{"product_id":"a-kran-guerre-mask","title":"A Kran \/ Guerre mask","description":"\u003cp\u003eA Kran \/ Guerre mask with rivets and a rest of raffia; dark brown to black patina, a damage on the top.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\"Östlich und westlich des oberen Cavally dehnt sich ein Kunstgebiet, das Völker zweier ganz verschiedener Sprachgruppen umfaßt und doch sowohl im Stil als auch in der besonderen Bedeutung der Schnitzereien eine Einheit bildet. Es handelt sich um die \"mande -fu\" sprechenden Ethnien der Konor und Guerze nördlich des Mount Nimba in der Republik Guinea und der Dan in Liberia und an der Elfenbeinküste, und um die \"kru\"-sprechenden Völker der Wè (Kran, Guere, Wobe) Bete, Niaboua, Oubi an der Elfenbeinküste. Der kundige Leser wird überrasscht sein, dass ich die zarte Kunst der Dan und die ungschlachte der Wè als Einheit auffasse, aber wir werden sehen...\"\u003c\/em\u003e \u003cem\u003eHans Himmelheber.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Masken der Wè und Dan Elfenbeinküste, die Sammlung des Schweizer Malers Charles Hug, Paris 1928-31 mit einem Beitrag zum Maskenwesen der Wè von Hans Himmelheber.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 45 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 5,3 kg (incl. stand)\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038022992111,"sku":"BBD000563","price":700.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD000563.jpg?v=1658171770"},{"product_id":"a-big-female-igbo-alusi-statue","title":"A big female Igbo Alusi Statue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eA big female Igbo Alusi Statue, Alusi are called protective deities of the Igbo, spirits that serve as protectors of a particular person, place, gender or profession, according to the Igbo understanding, Alusi are the children or representatives of the high god Chuku. Sometimes depicted as life-size wooden figures, their powers bring about good or destruction. Housed in elaborate enclosures, they are used for rituals. The largest figures in the shrine are “married couples”, male and female large figures, and smaller figures represent children, this figure, made of Iroko wood, the figure stands in frontal position on heavy feet in non-naturalistic form, legs slightly spread, arms symmetrically arranged to the sides, free from the torso, forearms stretched forward, open hands with palms facing the sky, elongated neck with the head sitting on top, very straight chin line with the mouth facing forward, Ichi scarification deeply incised on the temples and forehead, repeated application of chalk or redwood causes encrustation of the surface.\u003c\/p\u003e\n\u003cp\u003e1.400 -1.800,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 110 cm\u003cbr\u003eWeight: 7,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038023090415,"sku":"BBD003647","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD003647.jpg?v=1658058605"},{"product_id":"a-male-urhobo-statue","title":"A male Urhobo statue","description":"\u003cp align=\"left\"\u003eA male Urhobo statue, Nigeria, posted on a fragmentary base, sitting upright and rigidly on a one-legged stool, wearing large anklets, sturdy legs leading to prominent buttocks, accentuated genitals, a slender torso with a pointed navel and a deep vertical scarification mark, wearing a necklace with an amulet in front of his chest, rounded shoulders leading to bent arms, each decorated with a large bracelet, the very long cylindrical neck supporting an elongated head with a heart-shaped facial plane, an aggressively protruding open mouth with a wide row of teeth, a short nose with a broad tip, protruding eyes, on his wide forehead seven deep vertical scarification marks, the ears are set far down and have a hemispherical shape, on each side of the head three protruding ‘plaits’, wearing a round hat, the entire sculpture is carved from a single piece of very hard, heavy wood, traces of white kaolin, signs of age and ritual use, several cracks, the feet are broken off, incl. stand.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Perkins Foss, \"Urhobo Statuary for Spirits and Ancestors\", African Arts, July 1976, Vol. IX, No. 4, p. 18; Jean-Baptiste Bacquart: The Tribal Arts of Afric’, p. 93, fig. 8.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e1.500 - 1.800,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 75,5 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 5,9 kg (incl. stand)\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038023319791,"sku":"DSC09901","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC09901.jpg?v=1658328411"},{"product_id":"an-anthropomorphic-female-chamba-sculpture","title":"An anthropomorphic female Chamba sculpture","description":"\u003cp\u003eAn anthropomorphic female Chamba sculpture, Northern Nigeria, standing on inwardly turned feet and slightly bent legs, a funnel-shaped torso with a protruding navel, flat small and pendulous breasts, curved arms, the head decorated with the red seeds of fruit and dominated by an oversized bird's beak; the lower tip of the beak broken off and repaired, nearly black wood, partly shiny.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Chamba live in eastern Nigeria and in Cameroon -adjacent to the Dakka and Mumuye- and are estimated to have only about 20,000 members. The Chamba tribe is divided into small kingdoms and has extensive initiation rites. Their figures and masks show a preference for heavy abstraction and can be very strong in character and impressive in their execution.\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\"Similar to their Mumuye and Jukun neighbours, the Chamba venerate anthropomorphic statues of the male and female gender. As Fardon (in Berns, Fardon and Kasfir 2011: 231) explains, figural \"sculptures were highly versatile instruments in the Middle Benue. They might stand in particular for ancestors, or for a collectivity of the dead (ranging from those of a specific kin grouping to the dead generally), or for dangerous spirits that were taken to be human-like in appearance. In different contexts, the same anthropomorphic figure might evoke some or all of these types of being, and it might do so differently for participants, for onlookers, and for those excluded except by hearsay, who enjoyed more or less insight into what was taking place. To make the same point negatively, nothing we know about Middle Benue figures suggests that their unmodified formal properties especially suited them to one type of ritual use rather than another.\" And he continues (ibid.: 233): \"Aside from occasional, slight differences in size, Middle Benue male and female sculptures are similar, differentiated by features of the head (particularly coiffure, earrings, or headgear, which are treated as secondary gendered characteristics)\" Source: Myron Kunin Collection of African Art\u003c\/em\u003e.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003eLit.: K.-F. Schädler: Encyclopedia of African Art and Culture, Munich 2009; Jean-Baptiste Bacquart: The Tribal Arts of Africa' by Jean-Baptiste Bacquart, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e700 - 900,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 63 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 1,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038023647471,"sku":"BBD012147","price":700.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD012147.jpg?v=1658150745"},{"product_id":"a-dignitary-brass-lost-mould-casting-benin","title":"A Dignitary, brass, lost mould casting, Benin","description":"\u003cp\u003eA Dignitary, brass, lost mould casting, Benin, Nigeria.\u003c\/p\u003e\n\u003cp\u003e\"Standing figure with mitre-shaped headdress, high collar, neck ornament of leopard teeth and breast bell, the upper part of the body is covered with a leopard skin, he carries a short curved lance in his left hand and arm cuffs on both arms, the apron is richly decorated. Very good casting with exceptionally well worked out details, such as the coral rows of the headdress, the leather stripes underneath the leopard skin and the braided band motifs on the apron. The neck cord with leopard teeth as well as the leopard skin on the head indicates that this is probably an army commander.\u003c\/p\u003e\n\u003cp\u003e\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\"\u003eDue to the formal elements and comparisons with known similar representations in museum possession and above all the expertise of the laboratory expertise of the analytical laboratory AVENTIS, the figure can be described as an original Beninguss from the 17th century.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\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\"\u003eLiterature and comparative pieces by Luschan F., The Antiquities of Benin, Berlin 1919, p. 84, figs. 147, 130, 152 - 156. Philipps T (ed.), The Art of a Continent, Munich, New York 1995\/1996, p. 396, Göbel P., Art from Benin. African masterpieces from the Hans Meyer collection, Leipzig 1994, p. 62\". \u003c\/span\u003e\u003c\/span\u003e\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\"\u003eProf. Dr. Armand Duchateau, 11\/20\/2000. \u003c\/span\u003e\u003c\/span\u003eAuf Anfrage das Gutachten von Hoechst Aventis.\u003c\/p\u003e\n\u003cp\u003e40 000 - 60 000,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 46 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 5,8 kg\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.luschan.wuerdentraeger.png\" alt=\"\" width=\"333\" height=\"416\"\u003e \u003c\/p\u003e\n\u003cp\u003eLuschan, die Altertümer Benins , page 152 ff.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThis object can be visited during the auction in the Gallery Wolfgang Jaenicke. It will not be sent and can only be picked up. After the end of the auction, the highest bidder can have the object for further analysis by its own account without significantly affecting the object in its substance. For this analysis, the winner of the auction has a period of 14 days. The object is from an old African Collection. Restitution organizations and individuals who are intensively concerned with restitution issues were informed about the object. See also Cultural Property Protection Law (Kultur Gut Schutz Gesetz - KGSG).\u003c\/p\u003e\n\u003cblockquote\u003eAccording to the UNESCO Convention of 1970, a claim for repatriation expires one year after the authorities of a country of origin have learned where and with whom a cultural object is located. Wolfgang Jaenicke Gallery therefore always informs about every newly imported object. Especially about the bronzes from Nigeria shown on this page, which are published in the internet and are accessible to everyone. Organizations dealing with restitution issues, but also freelance art historians employed by the state, such as restitution experts like Benedicte Savoy, are regularly informed about objects in the Galerie Wolfgang Jaenicke. \\n \\nEvery buyer of an art object, regardless of whether it is made of wood, terra-cotta or bronze, must be aware that from a European legal perspective, traditional African art usually came from the respective African country of origin with insufficient export documents. Galerie Wolfgang Jaenicke, Berlin, tries to do justice to this dilemma by acting with the greatest possible transparency. The export policy of African states is problematic for art historical research since African and European dealers usually work covertly due to diffuse legal situations and important information that was passed on from trade to science before 1970 tends to be lost. \\n \\nIn case of uncertainties, please contact the managing director of Jaenicke-Njoya GmbH, Wolfgang Jaenicke. It is in the interest of the gallery to clarify any questionable situation with all available means.\u003c\/blockquote\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025973999,"sku":"BBD015762","price":40000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD015762.jpg?v=1658058821"},{"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-large-ibo-or-calabar-vessel","title":"A large Ibo or Calabar vessel","description":"\u003cp\u003eA large Ibo or Calabar vessel with three anthropomorphic heads wearing three-parted coiffures, which is more typical for the Ibo than for the Calabar, significant traces of use and age; fine ochre to reddish, smooth patina, a small piece at the rim is missing but in general of good condition.\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan title=\"\"\u003eThese terracotta vessels and terracotta figures from the Crossriver area - called \"Ntekpe\" by the Ibo - are considered \"children of the shrine and its deity\" and serve to protect it.\u003c\/span\u003e \u003cspan title=\"\"\u003eThe shrines are placed in small dwellings, at the entrance to the courtyard and in gardens near the house.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLit.: Schaedler, Karl-Ferdinand, Erde und Erz, 1979, p. 248 - 256.\u003c\/p\u003e\n\u003cp\u003e800 - 1.000,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 53 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 5,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038027546863,"sku":"DSC06090","price":800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC06090_026b1766-ab1d-49aa-96e6-b3b54b5980c8.jpg?v=1658410470"},{"product_id":"a-female-bete-sculpture","title":"A female Bété sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eA female Bété sculpture, Ivory Coast, standing upright in slightly forward tilted position, on large feet leading to very powerful legs and prominent buttocks, accentuated genitals, a columnar torso with a pointed navel and sagging breasts, strong shoulders terminating in powerful arms slightly bent and showing the palms of the hands, accentuated shoulder blades, notched back line, an elongated thick neck supporting a spherical head, a protruding mouth showing two rows of teeth beneath a triangular nose, the arched brows extending beyond a semicircle rings and forming circles under eyes, large coffee-bean shaped eyes, a domed forehead, almost spherical ears with a significant tragus, the figure covered with rhomboid and leaf-shaped scarification marks, the head capped by a striated four parted backswept coiffure; dark brown to blackened patina with remnants of white pigments, traces of age, ritual use, several cracks, damages on the legs, on the buttocks, on the right arm and on the backside of the head, incl. stand.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk: Kunst aus Schwarz-Afrika. Zeugnisse der Meisterschaft afrikanischer Schnitzer aus privaten Sammlungen. Band 2, Düsseldorf 2007.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 72 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 5.2 kg (incl. stand)\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43066582106351,"sku":"ABC09445","price":900.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC09445.jpg?v=1658323172"},{"product_id":"a-karan-wemba-mask","title":"A Karan-wemba mask","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eA Karan-wemba mask, Mossi nyonyosé, region de Kaya, village Boulsa, Burkina Faso, of stylized, hollowed oval form, a flat face with a vertical, jagged central ridge and triangular pierced eyes, surrounded by an incised zigzag line along the rim, surmounted with a carved head of an antelope with curved, striated horns beneath a typical female figure of the Mossi representing a female ancestor (tribe or clan mother), the figure has slightly bent legs ending up in a prominent buttock, a slender torso with a pointed navel and hanging, tapering breasts, rounded shoulders leading to arms slightly bent forward with wedge-shaped hands, shoulder blades are slightly emphasized, displays typical tribal scarification marks on the face and the body, wears two bells and colourful beads around the neck as well the waist, capped by a three-parted coiffure, the mask pierced through at the rim for attachment; carved from a single piece, shiny brown to blackened patina, traces of use and age, cracks.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Christopher D. Roy\/Thomas G.B. Wheelock: Land of the Flying Masks. Art and Culture in Burkina Faso. The Thomas G. B. Wheelock Collection, Prestel 2007; Tiziana \u0026amp; Gianni Baldizzone: Die Regenmacher. Maskenzauber und Stammesriten, Paris 2020; Till Förster: Skulptur in Westafrika. Masken und Figuren aus Burkina Faso. Sammlung \"Burkina Faso\" aus dem Morat-Institut für Kunst und Kunstwissenschaft, Freiburg im Breisgau, Bremen 1995.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 109 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2.3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43066602029295,"sku":"FXB07534","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FXB07534_014dce9b-8aa2-4813-8c4f-d540d95d352d.jpg?v=1658407157"},{"product_id":"an-akan-terracotta-head","title":"An Akan terracotta head","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eAn Akan terracotta head with a remarkable headdress, provenance: Abdulaye Ousmane, Lomé, Togo.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eRelated exemplare Jacche Kercache, Art Africain, page 128.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003emore info on request\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 22 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43066607436015,"sku":"BBD013152","price":400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD013152_10bf75a6-948c-4b24-b78b-48476f0f4cf6.jpg?v=1658411486"},{"product_id":"a-fragmentary-komaland-terracotta-head","title":"A fragmentary Komaland terracotta head","description":"\u003cp data-mce-fragment=\"1\"\u003eA fragmentary Komaland terracotta head, Northern Ghana, with large open mouth and protruding eyes.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Karl-Ferdinand Schaedler, Erde und Erz, 142- 146, Hans Scheutz, Die vergessene Kultur, Terracotten aus Nordghana, 2016, Wolfgang Jaenicke, The funeral sculptures of Komaland, Ghana.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e150 - 250,- Euro\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 10 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 500 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43411307561199,"sku":"_BBD041017","price":300.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD041017.jpg?v=1664190393"},{"product_id":"a-fragmentary-bronze-sculpture","title":"A fragmentary bronze sculpture","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eA fragmentary bronze sculpture of a royal messenger, probably Udo style, geeenish oxidised patina, the right arm is broken and fixed to the upper by a piece of wood. Included Certificate.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eTL-Test Kotalla 600 years +\/- 21,5 percent.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e6.600 - 7.600,- Euro\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 110 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 15,4 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43642564772079,"sku":"_PTW1302","price":4800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTW1302.jpg?v=1670225613"},{"product_id":"a-gan-necklace","title":"A Gan necklace","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cspan size=\"2\" style=\"font-size: small;\" data-mce-fragment=\"1\"\u003eA Gan necklace with two heads of a serpent; burial object, found in the region of Banfora, remnants of encrusted earth on intensive oxidised greenish patina\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cspan size=\"2\" style=\"font-size: small;\" data-mce-fragment=\"1\"\u003e1.000 - 1.200,- Euro\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cspan size=\"2\" style=\"font-size: small;\" data-mce-fragment=\"1\"\u003eDiameter: 20 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 970 g\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43764056097007,"sku":"_R222050","price":900.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/R222050.jpg?v=1675849034"},{"product_id":"1","title":"A fragmentary male Hemba statue","description":"\u003cp\u003eA fragmentary male Hemba statue, Eastern Zaire, standing upright, the hands touching the abdomen, emphasized genitalia; shiny dark brown patina with incrustations, some insect damage, the feet fragmentary.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\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.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\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\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872183845103,"sku":"_PTC1073","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1073.jpg?v=1679666136"},{"product_id":"2","title":"A very expressive female seated Urhobo sculpture","description":"A very expressive female seated Urhobo sculpture holding a mirror in her hand; partly covered with kaolin, some age cracks, and insect damage.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\"Urhobo artists commemorate women at various stages of their lives, making art for brides, mothers, and elders. Young Urhobo women, soon to move into their husbands´ households, are feted with extensive rites of passage. ... Statues representing nursing mothers (oniemo), usually included in communal shrines, allude to the generations that have descended from the founding families of a community. An image of an elderly woman in the form of both masks and figures is known as \"the mother of us all\".\" Perkins, 17.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLit.: Perkins Foss, Where Gods and Mortals Meet. Continuity and Renewal in Urhobo Art. Museum for African Art, 2004.\u003c\/em\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872208584943,"sku":"_PTC1004(1)","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1004_1.jpg?v=1679667375"},{"product_id":"3","title":"A fragmentary Jukun sculpture","description":"\u003cp\u003eA fragmentary Jukun sculpture in a sitting position, the conical eyes made of bronze; a wonderful brown patina, partly shiny, the feet, a part of an arm and the penis missing, some insect damage, signs of age and use. \u003cbr\u003e\u003cbr\u003e\u003cem\u003eYukun statues represent \"ancestors, as well as wives and slaves. They are displayed during funerals, agricultural ceremonies, and in times of danger. During these rites, the figures serve as an intermediary between the priest and the ancestor’s world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Jukun are an ethnolinguistic group or ethnic nation in West Africa, Nigeria. The Jukun are traditionally located in Taraba, Benue, Nasarawa, Plateau, Adamawa, and Gombe States in Nigeria and parts of northwestern Cameroon. They are descendants of the people of Kwararafa. Most of the tribes in the north-central regions of Nigeria trace their origin to the Jukun people and are related in one way or the other to the Jukuns.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eJukun, a people living on the upper Benue River in Nigeria, are commonly believed to be descendants of the people of Kororofa, one of the most powerful Sudanic kingdoms during the late European Middle Ages. The ruins of a great settlement to the northeast of the Jukun’s present location are thought to be those of the capital of that kingdom, but the claim has not been thoroughly investigated by archaeologists.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe population speaks the language of the Benue-Congo branch of the Niger-Congo family. The people comprise of a congeries of many smaller groups, each organized on a different basis, although polygynous extended families seem to be the dominant unit.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Jukun traditionally possessed a complex system of offices, which had both a political and a religious aspect; the priesthood practiced an involved form of religion marked by diurnal and annual rounds of ritual and sacrifice. The king, called Aka Uku, was—until he became a member of northern Nigeria’s house of chiefs in 1947—a typical example of a semi-divine priest-king.\" Brauer Museum of Art, Ancestral Statue.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872214581487,"sku":"_PTC1040(1)","price":2800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1040_1.jpg?v=1680786660"},{"product_id":"4","title":"A fragmentary Jukun sculpture","description":"A fragmentary Jukun sculpture standing upright, genitalia and navel emphasized a minimalistic, very expressive face; sacrificial patina, eroded wood, feet and hands missing, some insect damage, signs of age and use. \u003cbr\u003e\u003cbr\u003e\u003cem\u003eYukun statues represent \"ancestors, as well as wives and slaves. They are displayed during funerals, agricultural ceremonies, and in times of danger. During these rites, the figures serve as an intermediary between the priest and the ancestor’s world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Jukun are an ethnolinguistic group or ethnic nation in West Africa, Nigeria. The Jukun are traditionally located in Taraba, Benue, Nasarawa, Plateau, Adamawa, and Gombe States in Nigeria and parts of northwestern Cameroon. They are descendants of the people of Kwararafa. Most of the tribes in the north-central regions of Nigeria trace their origin to the Jukun people and are related in one way or the other to the Jukuns.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eJukun, a people living on the upper Benue River in Nigeria, are commonly believed to be descendants of the people of Kororofa, one of the most powerful Sudanic kingdoms during the late European Middle Ages. The ruins of a great settlement to the northeast of the Jukun’s present location are thought to be those of the capital of that kingdom, but the claim has not been thoroughly investigated by archaeologists.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe population speaks the language of the Benue-Congo branch of the Niger-Congo family. The people comprise of a congeries of many smaller groups, each organized on a different basis, although polygynous extended families seem to be the dominant unit.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Jukun traditionally possessed a complex system of offices, which had both a political and a religious aspect; the priesthood practiced an involved form of religion marked by diurnal and annual rounds of ritual and sacrifice. The king, called Aka Uku, was—until he became a member of northern Nigeria’s house of chiefs in 1947—a typical example of a semi-divine priest-king.\" Brauer Museum of Art, Ancestral Statue.\u003c\/em\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872223265007,"sku":"_PTC1058(1)","price":1800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1058_1.jpg?v=1679668082"},{"product_id":"7","title":"A high-aged male Jukun sculpture","description":"\u003cp\u003eA high-aged male Jukun sculpture partly covered with a thick sacrification patina, on his right cheek some small parts of the patina broke loose during transport from Nigeria to Lomé and were reattached in a nearly invisible repair (see photo sequence). The wood is extremely heavy, weathered, and eroded. Probably one of the oldest Jukun we collected in the last ten years.\u003cbr\u003e\u003cbr\u003eThis rare statue belongs to the core style of the Northeastern Jukun. According to Arnold Rubin's research (cf. A. Rubin, \"The Arts of the Jukun-Speaking Peoples of Northern Nigeria,\" PH.D. dissertation, Indiana University, Bloomington, 1969, p.81-83), these figures embody the spirits of the original ancestors, the deceased chiefs, their wives and their retinue.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYukun statues represent \"ancestors, as well as wives and slaves. They are displayed during funerals, agricultural ceremonies, and in times of danger. During these rites, the figures serve as an intermediary between the priest and the ancestor’s world.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Jukun are an ethnolinguistic group or ethnic nation in West Africa, Nigeria. The Jukun are traditionally located in Taraba, Benue, Nasarawa, Plateau, Adamawa, and Gombe States in Nigeria and parts of northwestern Cameroon. They are descendants of the people of Kwararafa. Most of the tribes in the north-central regions of Nigeria trace their origin to the Jukun people and are related in one way or the other to the Jukuns.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJukun, a people living on the upper Benue River in Nigeria, are commonly believed to be descendants of the people of Kororofa, one of the most powerful Sudanic kingdoms during the late European Middle Ages. The ruins of a great settlement to the northeast of the Jukun’s present location are thought to be those of the capital of that kingdom, but the claim has not been thoroughly investigated by archaeologists.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe population speaks the language of the Benue-Congo branch of the Niger-Congo family. The people comprise of a congeries of many smaller groups, each organized on a different basis, although polygynous extended families seem to be the dominant unit.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Jukun traditionally possessed a complex system of offices, which had both a political and a religious aspect; the priesthood practiced an involved form of religion marked by diurnal and annual rounds of ritual and sacrifice. The king, called Aka Uku, was—until he became a member of northern Nigeria’s house of chiefs in 1947—a typical example of a semi-divine priest-king.\" Brauer Museum of Art, Ancestral Statue.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872233226479,"sku":"_PTC1426(1)","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1426_1.jpg?v=1679668735"},{"product_id":"8","title":"A Jukun shoulder mask","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA Jukun shoulder mask with fixation holes on both long sides. This raises the question of whether it is really a shoulder mask, also considering the heavyweight. This consideration naturally leads to questioning the function of a shoulder mask in the famous Jukun in the MET. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA certain resemblance to the famous piece is unmistakable, it probably comes from the same region, but certainly from a different carver, and the extremely weathered condition of the wood of our piece cannot be compared with the relatively good state of preservation of the famous sculpture in the MET. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eCertain types of masks were made in large numbers, and in addition to the truly great, ingenious master carvers, there were also many carvers who had to make their works not only for daily use in ancestor worship but also for the many festivals that took place throughout the year. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eExtremely heavy dense wood strongly weathered, one ear was broken off and was reattached by our restorator.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eSee the Jukun shoulder mask, which was published in Elsy Leuzinger´s Die Kunst von Schwarz Afrika (Zürich, 1970) and was \"featured on Jacques Kerchache New Years´ Card of 1971\" (Bruno Claessens, in his blog), published also in the JK book \"Art of Africa\" plate 514 and was late purchased by the MET NY and described as \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\".\u003ci\u003e.enigmatic and arresting creation of a Jukun sculptor active in central Nigeria’s Benue River Region was a kinetic ancestral sculpture. According to accounts gathered by researchers, such works were animated in performances devoted to agricultural rites as well as to those relating to initiation of young boys into adulthood. Access to those events was highly circumscribed. Women, children, and outsiders were not allowed to view those nocturnal apparitions.\"\u003cbr\u003e \u003cbr\u003e \"The form is purported to have been manipulated by a person who used the lateral apertures to support and raise it. Perforations around the perimeter of the lower half allowed for the attachment of a vegetable fiber costume. The upper half distills an ancestral presence to essential features that are dramatically amplified. Crowning the summit is the majestic dome-like volume of the head. The eyes project in bold relief from the flat surface of the face and teeth are incised on the underside of the straight line of the mouth. At either side the flat discs of earflares favored by regional elites are emphasized. Adoption of Christianity and Islam during the first half of the twentieth century led to the abandonment of this minimally documented tradition.\" (Bruno Claessens, aaO) \u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA certain resemblance is obvious, probably from the same region but for sure by a different carver and the extremely weathered condition of the heavy, dense wood is not comparable to the relatively good preservation of the famous sculpture in the MET, Certain types of masks were produced in large numbers and in addition to the really great, ingenious master carvers, there were also many carvers who not only had to make their works for the daily use of ancestor worship but also for the many festivals that took place throughout the year were held.\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43872254722287,"sku":"_PTC1682(1)","price":2800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTC1682_1.jpg?v=1679669221"},{"product_id":"vere-bronze-male-statue","title":"Vere bronze male statue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVerre or Vere bronze male statue, northeastern Nigeria, thick legs, arms and hands wide open, head turned upwards mouth wide open, eyes looking at the sky, an interesting horn standing straight from the middle of the face, the ankles, hips, wrists and neck are ornamented with swirling bracelets.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTim Chappel and Klaus Piepel, have published a comprehensive study on the material culture of the Verre people. The study “Surviving Works: context in Verre arts“, is based on early collections of Verre artefacts by the German explorer Leo Frobenius (1912), collections of such objects by Tim Chappel for the Nigerian museum in Jos (1966 – illustrated above), collections of Danish missionaries and objects in private collections. The focus of the study lies on the numerous brass items the Verre have produced for ritual purposes and adornment for themselves and for neighbours and includes a catalogue raisonnée.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOur collaboration was initiated by Klaus Piepel (Nigeria-Desk Officer at Misereor, the German Catholic Bishops’ Organization for Development Cooperation, from 2005-13) who, as a collector of Verre art, had contacted Tim Chappel to ask about the Verre artworks he had bought locally in the mid-1960s on behalf of the Nigerian Federal Department of Antiquities, then his employer. This enquiry encouraged Chappel to return to and begin to write up the partial copies of collection notes and images he had retained since that time, and to explore the literature on the area. Piepel had simultaneously reached out to Richard Fardon (now Emeritus Professor at SOAS University of London) who had carried out fieldwork among the Chamba, southern neighbours south of the Verre, intermittently since the mid-1970s. The sites of Fardon’s longest main fieldwork in the Alantika Mountains had been nodes in the regional circuits through which Verre products had once moved, and he had met Verre smiths there producing for a Chamba clientele, so was eager to collaborate towards understanding this wider regional set of connections.As authors we have shared the research while trying to bring to the collaboration whatever complementary skills we have. Hence, Piepel undertook the bulk of primary research in German archives and in the contemporary art market, Chappel analysed aspects of the various types of objects he collected, and Fardon considered their ethnographic and historical contexts. But we have not worked on any of these aspects exclusively, and we have exchanged ideas and read notes extensively. Fardon synthesised the research materials and wrote the text for Chappel and Piepel to comment upon.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSource:\u003ca href=\"https:\/\/brunoclaessens.com\/2021\/07\/new-publication-on-the-artworks-of-the-verre-people-of-nigeria\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/brunoclaessens.com\/2021\/07\/new-publication-on-the-artworks-of-the-verre-people-of-nigeria\/\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eBruno Claessens\u003c\/a\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e2.000 - 2.400,- Euro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 42,5\u003cbr data-mce-fragment=\"1\"\u003eWeight: 4,3 Kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917050106179,"sku":"_XBD008061","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD008061.jpg?v=1688734458"},{"product_id":"a-female-tikar-sculpture","title":"A female Tikar sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA female Tikar bronze sculpture, east Cameroun, standing on her two large feet, knees slightly bent, large rounded hips, and a thin elongated torso with a protruding navel, she holds the head of two children that grasp her breasts and are sitting on both sides of her hips, the third child is hitting on her back grasping her shoulders. Her arms are thick compared to theirs which are very thin, her cylindric neck is long and holds a small rounded head at its extremity, which has interesting features, a large mouth, flared nose and bulbous eyes, the children have the same features; hols in the knees, hips and neck, signs of use.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“There is a high degree of cultural homogeneity among the six Tikar kingdoms. They share similar institutions, systems and beliefs and social organization |…| It is extremely hard to penetrate the precolonial history. Traditions are remembered in terms of individuals of the roads lineage and events are treated as moral issues, generally, disputes between kings and princes.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSource: Who are the Tikar Now?,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003eDavid Price Paideuma: Mitteilungen zur Kulturkunde, Bd. 25 (1979), pp. 89-98\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 45 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 5.5 Kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917094244675,"sku":"_XBD008122","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD008122.jpg?v=1688735089"},{"product_id":"a-small-bakongo-vili-power-fetish-figure","title":"A small Bakongo\/Vili power fetish figure","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA small Bakongo\/Vili power fetish figure,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\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\"\u003ewith a large glass-closed medicine box placed in front of the stomach,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003epainted glass inlays in the eye-sockets, on the back of the sculpture several attachments\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 like animal skins, an antelope-horn, a large snail-house etc; heavy, hard, reddish wood. Fetishes of this type mostly served to deter and avert the \"evil eye\",\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLehuard, R., « Les Ventes »\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ein Arts d’Afrique Noire\u003c\/em\u003e, no. 106, Arnouville, summer 1998, Grunne (de), B.,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBRUNEAF - Brussels Non European Art Fair XVIII\u003c\/em\u003e, Brussels, 2008, Grunne (de), B.,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eTribal Fine Art\u003c\/em\u003es, Vottem, 2008,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eM : la revue du Musée des beaux-arts de Montréal\u003c\/em\u003e, Montreal, September 2009,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eTribal Art Magazine\u003c\/em\u003e, no. 54, winter 2009, Germain, J.,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eArt ancien de l’Afrique Noire\u003c\/em\u003e, vol. V, Montreal, 2010, pp. 58-59Lecomte, A., Lehuard, R.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eet alii\u003c\/em\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBakongo. « Les fétiches » mi-nkondi, mi-nkisi\u003c\/em\u003e, Paris, 2016, pp. 290-291\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 23 cm\u003cbr data-mce-fragment=\"1\"\u003eLength: 29 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 550 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917105811779,"sku":"_XBD008687","price":1800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD008687.jpg?v=1688735274"},{"product_id":"an-outstanding-jukun-sculpture","title":"An outstanding Jukun sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn outstanding Jukun sculpture with elements of the Mumuye stylistic canon, the neighbours of the Jukun, close to the Benue river, greyish encrusted patina, partly weathered, nearly invisible repairs on both ears.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Within the body of figurative shrine sculptures that Arnold Rubin documented in northern Jukun communities, the examples he saw along the southern Taraba and northern Wase rivers, tributaries of the Benue, are distinctive enough to be considered a separate subgenre. In his Memoir\" Rubin described the sculpture from the village of Wourbon Daudu, located along the Taraba River, as representing the \"nuclear style\" of Jukun figurative carving, Having had the opportunity to see many more examples than Rubin did during his lifetime, we argue here, that there was not a single \"nuclear\" style but rather several substyles that can be identified with particular Jukun town located north and south of the Benue river.\" Central Nigeria unmasked, Arts of the Benue River Valley, which are also influenced by other tribes in the region of the Taraba State, Nigeria.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 87 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 6,2 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917251301699,"sku":"_XBD001087","price":2200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD001087.jpg?v=1688736712"},{"product_id":"a-playful-sculpture-of-the-master-of-the-parasols","title":"A playful sculpture of the \"Master of the Parasols\"","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA playful sculpture of the \"Master of the Parasols\", Ivory Coast, sitting on a stool, standing up straight, holding a parasol in her left hand, right hand rests on the right knee, protruding navel and breasts, large head with relaxed features a half-opened mouth, eyes opened looking in front of her, a delicate hairdo or two ponytails, metallic plats are incised on the legs, thighs, arms and abdomen; encrusted sacrificial patina, cracks at areas, signs of use.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The master of the parasols also seems to have conceived his sculptures for new purposes. Were they the focus of an exhibition of the gold that marked the owner's rise to the rank of wealthy person? Were they taken along in processions of the age group associations? Or should they simply be decorating residential or business premises? Was this master from the Aladian or Adjukru settlement areas of the lagoon region, as some reared seem to suggest? Or from another area of the southeastern Ivory Coast, The question may never be answered but we can admire the relaxed poses of the figures as well as their elegantly displayed parasols.” P. 75\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/master.of.parasol.jpg\" width=\"281\" height=\"432\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/master.of.parasol.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLit: African masters, Art of the Ivory Coast, Eberhard Fischer Lorenz Hamburger, Museum Rietberg Zurich 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 54 cm\u003cbr data-mce-fragment=\"1\"\u003eWidth: 28 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 3,12 Kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46963897303363,"sku":"_XBD010147","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD010147.jpg?v=1689765304"},{"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-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":"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-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":"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-songy-container","title":"A Songy container","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Songy container, Zaire, region Belande (?) supported by four female figures who are holding their arms in a braided way, the large vessel decorated with geometric patterns, on top a male figure holding his stomach, his features are quite energies by his smile from which ones sees his teeth showing, his large feet hold his up straight, the vessel is well decorated with diamond shaped carvings. Unknown in Lit.:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\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\"\u003eBut it should be borne in mind that such vessels exist throughout West Africa, which were mostly in possession of the ethnic elites of the aristocracy or prominent chiefs\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eto store their regalia.\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\"\u003e An outstanding example of Songye art\u003c\/span\u003e\u003c\/span\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“During the 16th century, the Songye migrated from the Shaba area, which is now the Democratic Republic of Congo (formerly Zaire), and settled on the left bank of the Lualaba River, on a savannah and forest-covered plateau. Divided into numerous sub-groups, the 150,000 Songye people are governed by a central chief, the Yakitenge, whose role demands that he obey special restrictive laws such as not showing grief, not drinking in public and not shaking hands with men. In addition, local rulers, the Sultani Ya Muti, distribute plots of land to their villagers and an influential secret society, Bwadi Bwa Kifwebe, counterbalances their power. Unlike their neighbors, the Luba, the Songye tribe is a patriarchal society in which agriculture is central to the economy.”\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eSource: Baquart, Jean-Baptiste. The Tribal Arts of Africa. New York: Thames and Hudson Inc. 1998. Print, Francois Neyt, Songye, page 36 ff.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight total: 124 cm\u003cbr data-mce-fragment=\"1\"\u003eHeight of the vessel: 65 cm\u003cbr data-mce-fragment=\"1\"\u003eHeight of the sculpture: 59 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 12,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47802422133059,"sku":"_XBD008803","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD008803.jpg?v=1706614348"},{"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":"a-benin-bronze-rattle-staff-1","title":"A Benin bronze rattle-staff","description":"\u003cp align=\"left\"\u003eA Benin bronze rattle-staff in two parted segments, indicated by the similarity of the bronze staff Kate Ezra mentioned (photo).\u003cbr\u003eFelix von Luschan, die Altertümer Benins, Band 1, 47. Kapitel, Seite 446, Große Stäbe, \"Stammbäume\", Rasselstäbem baumähnliche Ständerr usw.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 166 cm incl. stand 174 cm\u003cbr\u003eWeight: 12,8 kg\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThese staffs are from the Benin culture. \u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.rattle.staff.jpg\" width=\"172\" height=\"330\" alt=\"benin rattle staff\"\u003e\u003cbr\u003e\u003cbr\u003eThey represent authority that is passed down in families, villages, priests or successors in general.They would be used as parts of ancestral altars to commemorate current and past leaders.  These were carved from wood for everyone except the Oba’s who would have them casted from brass and sometimes from ivory. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Ancestral_shrine_Royal_Palace,_Benin_City,_1891.jpg\" width=\"482\" height=\"357\" alt=\"benin bronze rattle staff altar\"\u003e\u003cbr\u003e\u003cbr\u003eUnknown photographer, in the background two bronze rattle staffs, Benin City May 189, source Smithsonian Institution, Washington DC\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eOn the top of the staffs there would be a slit that would house a wood or clay cylindrical rattle.  This rattle was used to call attention to spirits so that they would come to their altar and make themselves present.  These staffs were lined up by the altar where they symbolized the community and the continuity from generations of being passed down.  On the Oba’s staff there are often figures or mudfish represented.  It’s also said that the spirits from past Oba’s are housed within the staff and continue to be passed on.\u003cbr\u003e\u003cbr\u003eKate Ezra, Royal Art of Benin, (New York: The Metropolitan Museum of Art, 1992), 91-96.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47808183533891,"sku":"WMJ02881","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/WMJ02881_cf292dbf-c22b-447e-b7d0-33f6d20d89b2.jpg?v=1706716161"},{"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":"a-female-luba-bowl-keeper","title":"A female Luba bowl keeper","description":"\u003cp\u003eA female Luba bowl keeper in a kneeling seated position, elongated legs apart touching the base of the bowl, cylindric torso, elongated arms and hands touching the rims of the bowl, a thick large neck carrying la large elongated head with a plunging jawline, a thin half opened mouth, short thin nose, large eyes, the forehead is pulled back into into the classical Luba style, she is wearing a beaded necklace, scarifications on the abdomen, the bowl is large and has one handle; glossy by use, some insect damage, signs of use. Certificate of provenance.\u003c\/p\u003e\n\u003cp\u003e“\u003cspan\u003eLuba representations of female bowl bearers served as instruments of personal divination, and in the eighteenth and nineteenth centuries were primarily considered symbols of sacred office. Like the seat of office exhibited nearby, such female images allude to the potent relationship between women and Luba kingship, and the importance of communication with the spirit world in the context of divination and healing. Only a few works have been attributed to what has been described by scholars as the Middle Lukuga Workshop. Distinctive for their oblong faces, wide foreheads, downturned arched eyebrows, straight noses, and overall softly carved features, these figures show the influence of the neighboring Hemba peoples.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSource: The MET Museum\u003c\/p\u003e\n\u003cp\u003eHeight: 24 cm\u003cbr\u003eLength: 40 cm\u003cbr\u003eWeight: 700 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396310905155,"sku":"XBD134956","price":1400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD134956.jpg?v=1715591269"},{"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-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-guerre-or-krou-mask","title":"A Guerre or Krou mask","description":"\u003cp\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\"\u003eA Guerre or Krou mask, Ivory Coast, called Kroumen mask, collected in the village Toulepleu, a wide mouth shows baring white teeth below a bulbous nose, framed by small, openwork slit eyes that are outlined in white, the mask shows a diffuse blackish surface and is framed by animal hair, textiles and brass bells at height\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,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eof imaginary ears. signs of ritual use, a\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003ettachment holes around the rim, The mask was once infested with insects which caused some minor damage, provenance: Siriké Ba, Abidjan.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Among the Guere and Wè people of Liberia and the Ivory Coast, individuals sponsor festivals that take place annually during the dry season, which lasts from November to February. These festivals feature dancing and performances focused on the figure of the gela. The term gela refers to the animated being comprised of face mask, costume, and the wearer beneath. Gela masks are given a variety of identities that, rather than describing their physical appearance, are linked to the powers associated with the mask persona. This gela mask is known as “The Ancient One,” suggesting that the style has persisted for multiple generations. Many people commonly refer to this type of mask as a “Guerre War Mask.”\u003cbr\u003e\u003cbr\u003e\"In the case of “The Ancient One,” features are taken to an extreme -- the mask seems to erupt in horns and tusks. Gela can use their power and strength for both destructive and beneficial ends. Older gela, for instance, are thought to be able to cause thunder and foul weather. Any gela, on the other hand, can be called upon to reconcile problems within a community. The feral aspect of the gela acts as a counterexample to humans, who are, by contrast, encouraged to embrace order and civilization. It is believed the gela can gather up the ill will and negative feelings plaguing a community and deposit them back into the forest, where the untamed forces of nature prevail. The forest plays a central role in the lives of the Guere and We people, whose villages are surrounded by the bush. Both peoples are known as healers for their skilled use of forest plants wit medicinal value. These same plants provide leaves that are pounded, mixed with water, and applied to the gela mask in a ritual of activation. The mask is thus invested with the spiritual power and vital energy of the forest.”Source: Primitive Living and Collecting\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 41 cm\u003cbr\u003eWeight: 1,8 kg with stand\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780339642691,"sku":"XBD135467","price":400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135467.jpg?v=1718618286"},{"product_id":"a-fragmentary-akan-terracotta-funeral-head","title":"A fragmentary Akan terracotta funeral head","description":"\u003cp\u003eA fragmentary Akan terracotta funeral head, Ghana,\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"e999fd96-765c-4917-b4ab-6a9a01b55895\" dir=\"auto\" data-message-model-slug=\"gpt-4o-mini\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eAkan terracotta funeral head refers to a type of sculptural work created by the Akan peoples of West Africa, particularly those from modern-day Ghana and Côte d'Ivoire. The Akan are well-known for their rich cultural and artistic traditions, and their funerary art is especially significant in their social and religious practices.\u003c\/p\u003e\n\u003cp\u003eThese terracotta heads were often produced as part of burial rituals and were placed on the graves of important individuals, such as chiefs or high-ranking elders, to honour their memory and to aid their journey into the afterlife. They were believed to represent the spiritual essence of the deceased, often crafted in a stylized, abstract form that emphasized certain features that were symbolic or significant within Akan society.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/001anhang\/akan.funeral.terracotta.heads.jpg\" width=\"402\" height=\"354\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003eAkan funeral heads in the fields,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\"Like other examples of African portraiture, these commemorative sculptures are idealized representations that convey individuality through specifics of scarification and hairstyle. The artist would typically be summoned to the deathbed of the deceased in order to observe his or her distinguishing characteristics, which she would depict later, working from memory to capture the individual’s essence. The figural terracotta sculptures vary enormously in style, ranging from fairly naturalistic and sculpturally rounded forms to examples that are solid, flat, and more dramatically stylized.\" Source: MET, NY\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"While terracotta portraiture flourished among southern Akan peoples, it was virtually unknown to the Asante and the northern Akan. Royal family members commissioned terracotta portraits from female artists to be placed in sacred groves outside the village days or even months after they died. Periodically, rituals comprising libations, offerings, and prayers were performed at these groves in honour of the ancestors. Busts, standing and seated figures, and figuratively decorated vessels populated such groves along with commemorative heads, generally called mma (\"infants\"), of which the Cleveland's head is an example. These terracotta memorials were viewed as idealized portraits of the deceased, with the ancestor's identity suggested by cosmetic adornments, including scarification patterns and symbols of rank and prestige.\"\u003cbr\u003e\u003cbr\u003ewell documented in Lit.: Cole\/Ross, 1977; Drost, 1967; Ghana Museum, s.d.; de Grunne, 1980; Holas, 1951; McLeod, 1981; George Nelson Perston, 1981; Rattry, 1927; Schaedler, 1985; Sieber 1972; Stößel, 1981.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eMaterial and Technique: These heads were made from terracotta (clay that is fired to harden it). The technique used to create these heads was typically hand-built rather than thrown on a wheel, with clay being molded or sculpted into the desired shape. In some cases, the heads were also painted or polished for additional decorative effects.\u003c\/p\u003e\n\u003cp\u003eStyle and Features: The heads often feature exaggerated or stylized facial features such as large eyes, prominent noses, and elongated or circular shapes. The stylization reflects both the aesthetic and symbolic importance of these features within Akan culture, emphasizing traits like wisdom, nobility, and spiritual power. The sculptor's interpretation of the person's essence or character was often as important as a realistic likeness.\u003c\/p\u003e\n\u003cp\u003eFunction: These funeral heads were placed in graves or burial sites as part of a broader funerary ritual. They served as representations of the deceased, helping to ensure their spiritual presence in the community and facilitating their transition to the afterlife. In some cases, the head might be accompanied by other objects or symbols associated with the deceased’s life and status, such as beads or metal ornaments.\u003c\/p\u003e\n\u003cp\u003eCultural Significance: The Akan people believed in the continued existence of the soul after death. Creating a funerary head was part of honouring the deceased and reinforcing their importance in the community. This art form is tied to the broader Akan spiritual beliefs, which include ancestor worship and the belief in spiritual power transmitted through the lineage and family.\u003c\/p\u003e\n\u003cp\u003eRegional Variations: The Akan peoples are not a monolithic group, and their pottery and sculpture traditions can vary by region and specific ethnic group. For instance, the Akan are composed of various subgroups, such as the Ashanti, Fante, and Akuapem, each of which has its own variations on funerary art.\u003c\/p\u003e\n\u003cp\u003eIn addition to funeral heads, the Akan are also renowned for their goldwork, beadwork, and other forms of artistic expression, all of which serve as visual manifestations of the spiritual and social structure of their society.\u003c\/p\u003e\n\u003cp\u003eThese terracotta funeral heads not only provide insight into Akan beliefs and funerary practices but also reflect their highly developed artistic traditions, which continue to influence contemporary African art.\u003c\/p\u003e\n\u003cp\u003eHeight: 27 cm without stand\u003cbr\u003eWeight: 2,5 kg with stand\u003cspan data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi749\/pages\/XBD179259.htm\" rel=\"noopener\" target=\"_blank\"\u003ejaenicke-njoya\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52089658114371,"sku":"XBD179259","price":10.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179259.jpg?v=1736094090"},{"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-songye-sculpture","title":"A Songye sculpture","description":"\u003cp\u003eA Songye sculpture\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSongye sculpture refers to the traditional wooden carvings created by the Songye people, an ethnic group primarily located in the Democratic Republic of the Congo (DRC), particularly in the southeastern region of the country. The Songye are known for their highly stylized and powerful sculptures, which are often associated with spiritual and ritualistic purposes.\u003cbr\u003eKey Characteristics of Songye Sculptures:\u003cbr\u003e1. Kifwebe Masks:\u003cbr\u003e* One of the most iconic forms of Songye sculpture is the kifwebe mask. These masks are used in initiation ceremonies, social rituals, and other community events. They are typically worn by dancers and represent various spirits or supernatural forces.\u003cbr\u003e* The masks come in two varieties: male and female, which can be distinguished by their different shapes and decoration. Male masks are generally larger and more exaggerated in their features, while female masks are smaller and more refined.\u003cbr\u003e* The mask's face is characterized by a highly abstract, geometric design, with prominent features like a triangular nose, large eyes, and often a broad forehead. The features are designed to evoke power, strength, and spiritual presence.\u003cbr\u003e2. Human Figures:\u003cbr\u003e* Songye figures are often carved in a highly stylized manner, with simplified and elongated forms. These figures may depict human beings, animals, or ancestors.\u003cbr\u003e* The human figures are typically shown with exaggerated features, such as large heads, wide eyes, and protruding ears, all of which contribute to the sculpture’s symbolic power.\u003cbr\u003e3. Materials and Techniques:\u003cbr\u003e* Songye sculptures are usually made of wood, although other materials such as metal, cloth, and beads may also be incorporated.\u003cbr\u003e* The carvings are often painted or decorated with symbolic colors, and they are sometimes adorned with metal tacks, cloth, or beads to enhance their ritual significance.\u003cbr\u003e4. Spiritual and Ritual Significance:\u003cbr\u003e* The Songye people use these sculptures for various purposes, including protection, healing, and the invocation of spiritual powers. The figures are often associated with ngulu (medicine or magic), which is believed to possess protective or harmful powers.\u003cbr\u003e* The masks, particularly, play a central role in the secret societies of the Songye, where they are used in initiation rites and to maintain social order. These ceremonies often involve complex performances and dances, with the dancers embodying the spirits represented by the masks.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e5. Power and Authority:\u003cbr\u003e* In many cases, Songye sculptures and masks are associated with leadership and authority. They are believed to have the power to influence the world of spirits, protect communities, and ensure social cohesion.\u003cbr\u003e* The abstract and exaggerated features of the sculptures are intended to amplify their power and effectiveness in the spiritual and social spheres.\u003cbr\u003eInfluence on Art and Collecting:\u003cbr\u003eSongye sculptures, particularly their masks, have had a significant impact on Western art collections and the history of African art. They are highly sought after by collectors and are often displayed in museums of African art. The dramatic and stylized forms have inspired many artists around the world, especially in the early 20th century when African art had a profound influence on modernist movements in Europe.\u003cbr\u003eThe unique and striking aesthetic of Songye sculpture reflects the deep spiritual and cultural values of the Songye people, and these works continue to be an important part of their heritage and artistic expression.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 64 cm\u003cbr\u003eWeight: 2,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52089970196803,"sku":"XBD179445","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179445.jpg?v=1736095585"},{"product_id":"a-prampram-couple","title":"A PramPram couple","description":"\u003cp\u003eA couple of PramPram sculptures, Ghana, elongated body with tapering limbs, a spherical head, eyes, ears, navel and nipples are represented as indentations, the nose in the shape of a small ridge, the right leg is shortened, the sculpture is covered with a short shirt of brownish colour of incl. stand and certificate of origin and provenance, collected from Baba Sylla, incl. stand.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" height=\"280\" width=\"289\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/baba.sylla.prampram.jpg\"\u003e\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. Maybe 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.\"\u003cbr\u003eLit.: Dogbe, B.K. (1977). “The human form as a central theme in art” in Image (Journal of the College of Art).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eInterview with Baba Sylla, the well known antique dealer in Accra, Ghana, who collected these sculptures for the first time. Youtube video, \"PramPram sculptures with background-informations of Baba Sylla, Accra, Ghana\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 41,5 cm \/ 41 cm without stand\u003cbr\u003eWeight: 900 g \/ 900 g incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52090153795907,"sku":"XBD179511","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179511.jpg?v=1736096234"},{"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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/collections\/Button_other_groups_copy.png?v=1655993769","url":"https:\/\/wolfgang-jaenicke.com\/collections\/other-groups.oembed?page=28","provider":"Galerie Wolfgang Jaenicke","version":"1.0","type":"link"}