This plaque was received from the Nigerian Government (Antiquities Department) in 1951 in exchange for a de-accessioned plaque from the British Museum (Af1898,0115.110) and an unaccessioned Urhobo figure (ex William Oldman collection). This exchange took place to balance an excess payment for an earlier de-accessioned British Museum plaque (Af1898,0115.24) sold to the Nigerian Government by Sydney Burney in 1950. The National Museum Lagos (NML) register entry for the ex-British Museum plaque (NML accession number 1951.18.1) records that it was 'exchanged for [a] plaque selected from [the] Wellcome Collection and not yet collected'. 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: Af1951,32.1.
Relief plaque, lost-wax cast in brass. Wide plaque, rectangular in form with side flanges. Background surface decorated with river leaf patterns and stippling. Rosettes in low relief in four corners. Four nail holes at top; two holes at midway right and left sides; three holes at bottom left, right and centre. Depicts single standing warrior, facing front, holding sword aloft in right hand; bow in left hand. Wears headdress with feathers and frontal disc, leopard's tooth necklace, beaded neckalce, quadrangular bell on chest band, leopard-faced body armour with pendents terminating in bells, bracelets, large rounded bell at left side, and patterned wrap-around skirt.
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