a large antique african efic hand embossed brass charger, tray, platter from old calabar, nigeria, decorated with an elephant in front of 2 oil palms surrounded by wild flora, beside a body of water with a swimming fish dating to around 1930.
the charger depicts an elephant in front of two oil palms with abundant flora either side. the rim decorated with geometric patterns. even though the elephant is not a significant animal in efic culture, throughout africa it represents strength, leadership and wisdom. the oil palm in efic culture has social, cultural and economic significance. the oil palm has historically featured in efic folklore, proverbs and rituals. the palm is surrounded by stylised flora. the elephant stands beside a body of water, probably the calabar river, containing a swimming fish, possibly the silver catfish, chrysichthys nigrodigitatus known locally as "inaghaa", it was and is a significant food fish and a crucial part of the local economy. once found in abundance , fish numbers are dwindling due to over harvesting in the calabar river. the Calabar River has held and is still of immense significance in Efik culture, primarily facilitating trade and shaping efic historical identity. calabar serving as a major port city and cultural hub in nigeria.
art is an underemphasized contributor to efik mythology. efik beliefs in ndem and ekpe were transmitted via engravings on brass plates (akpangkpang). prior to the depiction of myths, events and stories on brass plates, efik women expressed their art by decorating houses with geometric designs of various kinds. women were regarded as the artisans in old calabar society. women would create beautifully finished products which would then be bought and taken as souvenirs from old calabar by english traders, these products, particularly the calabashes ( gourds ) were fragile and very often goods would break on their journey to england. edem ndarake also known as mr. ironbar is regarded as the father of brass art in efik history. the wives of ironbar were active members of the calabash engraving industry. mr ironbar chose to solve the problem of art breakages and wastage by encouraging the women artists to transfer their designs to brass which was a far more durable and luxurious material. mr. ironbar earnt his monika after encouraging the english traders to bargain with iron bars which inturn could be used as tools for decorating brass products such as trays, dishes and basins. brass dishes were often designed with images of efik deities, often the designs depicted animals, flora and fauna and geometric patterns that were symbolic to the deities.
the size of the platters were quite standard, varying between 430mm and 460mm in diameter.
this tray is a fine example of this punched or chased metalwork decoration. the small metal tools with shaped ends were used to give impressions such as dots, lines or semicircles. these were then lightly held against the surface of the metal and tapped with a hammer to give the required detail and texture.
