A fragmentary plaque in the style of Benin, Nigeria, depicting a Portuguese figure holding a flintlock firearm, with a sword at his waist, dressed in the manner of a sixteenth-century Portuguese warrior. The four sides are bordered by “rosettes” adjacent to mounting holes. The plaque displays a multilayered, naturally developed patina; see enlargements at the end of the image sequence. The depictions of Portuguese warriors on the sixteenth-century bronze plaques of the Kingdom of Benin rank among the earliest visual testimonies of direct encounters between a sub-Saharan courtly state and Europe. Produced at the court of the Oba in Benin City, in what is now Nigeria, they document not only commercial exchange but also a controlled visual appropriation of the foreign within an established courtly iconography. From the late fifteenth century onward, Benin maintained diplomatic and economic relations with Portugal. The expeditions of Diogo Cão marked the beginning of an intensive phase of coastal contact. Trade included pepper, ivory, and—at a later stage—enslaved people; in return, metals, especially brass in the form of manillas, as well as weapons and textiles, reached West Africa. This imported metal provided the material basis for numerous cast works now collectively known as the Benin Bronzes. The relief plaques, which originally adorned the pillars and walls of the royal palace, functioned as a visual archive of dynastic power. Within this context, the Portuguese figures do not appear in isolation but are integrated into a strictly hierarchical pictorial order. Their presence is therefore not a documentary coincidence but an expression of political significance. The inclusion of European actors within courtly iconography signals the Oba’s claim to inscribe even transoceanic contacts into his sphere of symbolic control. From a formal-analytical perspective, the Portuguese are identifiable by characteristic attributes: European headgear, puffed sleeves, short doublets, swords, or arquebuses. Physiognomic difference is emphasized through beards and through a particular treatment of the facial surface, such as stippling that suggests lighter skin. These markers are not caricatural but typifying. They establish alterity without depriving the figures of dignity. In many compositions, the Portuguese appear upright, sometimes frontal, sometimes in profile, occupying a visually stable position. Particularly noteworthy is their recurring association with maritime motifs—fish or other aquatic symbols. This iconographic linkage can be interpreted cosmologically: within Benin courtly thought, the sea was regarded as a source of wealth and supernatural potency. Foreigners arriving from the sea could thus be perceived as bearers of special powers, whose integration into the courtly order further legitimized the Oba’s authority. The plaques are therefore better understood not as ethnographic snapshots but as political image programs. They visualize the Kingdom of Benin’s capacity to incorporate external actors into an existing system of rank, ritual, and meaning. The Portuguese do not appear as conquerors but as elements within a network dominated by the court. Their representation attests both to economic entanglement and to symbolic appropriation. The violent seizure of numerous bronzes during the British expedition of 1897 and their transfer to European museums—among them the British Museum and the Ethnologisches Museum Berlin—has placed the objects within a further historical framework: that of colonial displacement and contemporary restitution debates. Today, they stand not only for early modern globality but also for the asymmetrical violence of the nineteenth century and ongoing efforts toward museological recontextualization. Taken together, the depictions of Portuguese warriors may be read as visual nodes within an early Atlantic world. They point to trade, technology, and diplomacy, while simultaneously attesting to the aesthetic sovereignty of an African court that did not passively record the foreign, but actively shaped and translated it into its own system of order. Our piece attribution and datation is given by the extent of our knowledge and for reference only. Without TL test, the piece remains subject to authentication.