During the British Expeditionto Benin City (Edo) in 1897 objects made of brass, ivory, coral and wood were looted by British soldiers from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auction, donated to museums, or retained by soldiers of the expedition See Collection File: Af1903,1022.1-8.
Relief plaque, lost-wax cast in brass. Wide plaque, rectangular in form with side flanges. Background surface decorated with river leaf patterns and stippling. One nail hole at top left, partial hole at top right; two, possibly three, partial holes at bottom ?right, left and centre. Remains of two iron nails at bottom left and right. Depicts central standing warrior figure holding eben sword aloft in right hand. Sword under left arm and plain bell at left side. Figure has short plaits terminating in beads at either side of face. Wears helmet with stiff front panel with central image of eben sword and animal skin at back, feather in left side; beaded necklace, leopard's tooth necklace, chest band with quadrangular bell attached, short-sleeved under-garment, armlets and wrap-around skirt. Flanked by two smaller scale musicians, each blowing horn held in both hands. Figure on left has centrally parted hairstyle with side lock at left side. Figure on right has tiered hairstyle with plait terminating in bead at left side. Both musicians wear patterned wrap-around skirts, bracelets, and have baldrics across chest with swords attached at left sides.
The relief brass plaques that used to decorate the Oba's (king's) palace are among the most well-known of all the royal arts of Benin. Although frequently described as 'Benin Bronzes' most plaques are made of leaded brass in various compositions. It is widely accepted that they date to the 16th-17th centuries. In the years prior to the British Expeditionroyal influence in Benin was increasingly under threat from rival powers, both internal and external, with a focus on economic power and control of the important trading monopolies. However, the court and palace remained the political and spiritual centre of the Benin Kingdom. Earlier accounts written by Europeans visiting the city describe its size and scale. The palace complex was set up around atrium courtyards; some had galleries with wooden pillars supporting the roof. Brass plaques, probably made in matching pairs, were fixed to these pillars. The Benin brass plaques represent a distinct and unique corpus of work, unparalleled elsewhere on the continent. They are cast using the cire perdue (lost wax) technique and show significant variation in the depth of the relief. Some of the plaques portray historical events or commemorate successful wars, while others are a vivid depiction of Benin court life and ritual. Several groups of plaques show clear stylistic similarities. William B. Fagg suggested that these plaques represent the work of master brass casters. Fagg, William, 1973, 'Nigerian Images', London: Lund Humphries Gunsch, Kathryn, 2018, 'Benin plaques: a 16th century imperial monument', London: Routledge, Taylor and Francis Group
Fair; missing section at top right corner. Small chip from top left corner. Missing sections from bottom edge (aborted nail holes too close to edge?). Damage to toes of musician on left side, and to left toes of musician on right side. Warrior has missing tip of left index finger.