Object History Note / Acquisition Notedescription, provenance, notes 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 This plaque was previously in the collection of the Cranmore Ethnographical Museum established by Harry Geoffrey and Irene Marguerite Beasley in 1928. It was purchased by Beasley on 5 May 1934 from the Trustees of the Herbert Child Estate. The entire Beasley collection was distributed following Harry Beasley's death in 1939. This was part of the donation made by Irene Beasley to the British Museum in 1944. See Collection File: Af1944,04.1-388.
Physical descriptiondescription Relief plaque, lost-wax cast in brass. Wide plaque, rectangular in form with side flanges. Background surface decorated with river leaf patterns and stippling. Four nail holes at top; two holes at midway right and left sides; three holes at bottom left, right and centre. Depicts single standing European (Portuguese) figure, facing front, holding segmented staff in right hand; left hand holds sword grip. Figure has long flowing hair and beard. Wears brimmed helmet, long-sleeved undergarment, buttoned doublet, patterned skirt, and hose.
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 ~Herbert Child was Captain of the 'Ivy', the yacht that transported Oba Ovonramwen to exile in Calabar following the expeditionto Benin City in 1897. He made a significant collection while in Nigeria, including objects looted from Benin City in 1897. In 1925 his widow deposited on loan 105 'West African curios', including objects from Benin, to Poole Museum, Dorset. In 1934 Harry Beasley purchased 50 objects for the Cranmore Ethnographical Museum from the Trustees of the Herbert Child Estate. These included this plaque and other objects from Benin and elsewhere in Nigeria that previously been deposited on loan to Poole Museum. The other objects in the Child Collection remained in Poole until 1954 when they were donated to the National Musuem Lagos, Nigeria (NML 54.9.1-70).~Blurton, 1997 Brass was intimately associated with kingship in the Benin empire and plaques, cast by the lost-wax process, were used to cover the wooden beams that supported the roof in the royal palace, the centre of religious activities that controlled the well-being of the entire empire. Those seen here show scenes of court life and ritual which involve rulers, warriors and officials. Naked figures are royal pages, their nudity contrasting with the splendid cloth and coral-bead costumes of royalty. Depictions of the European adventurers and traders, who sold the metal from which the plaques were cast, also appear and local interest centred on their long hair, hooked noses, dress and weapons. Since they were seen as messengers of the god Olokun, a white-faced deity who sends wealth and children over the sea, their presence in the palace is probably less a celebration of their own wealth and power than those of the Oba (king), who is said to have defeated Olokun in battle, stripping him of his riches and finery.
Exhibitions Loans and Displays - Current and Pastexhibition history Exhibited: 1970-1973, London, Museum of Mankind, Divine Kingship in Africa 1997 13 Oct-1998 5 Jan, India, New Delhi, National Museum, The Enduring Image 1998 9 Feb-3 May, India, Mumbai, Sir Caswasjee Jahangir Hall, The Enduring Image 2007-2008 Apr-Oct, Bristol, Empire and Commonwealth Museum, Slavery, Abolition and the Making of Modern Britain