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1895, India (British). Beautiful "Empire of India Exhibition" Tin Medal. XF-

Mint Date: 1901 Reference: BHM 3489, Puddester 895.1. R! Denomination: Medal - Empire of India Exhibition - Earl's Court Condition: Edge hits, contact-marks and scratches, otherwise XF! Material: Tin (bronzed) Weight: 72.91gm Diameter: 51mm

Obverse: An aearial view of the Earl's Court Exhibition building. Legend: EMPIRE OF INDIA EXHIBITION - EARLS COURT LONDON 1895 Exergue: QUEENS COURT

Reverse: Legend in six lines ("OPENED BY H.R.H. THE DUKE OF CAMBRIDGE K.G.") above date ("MAY 27th 1895"). Legend: CONCEPTION& DESIGN OF IMRE KIRALFY

The twenty-four acre Earl's Court Exhibition Grounds were rebuilt in 1894 by the impresario Imre Kiralfy in a Mughal Indian style.

The Empire of India Exhibition opened the site in 1895, and was the first of a series of annual exhibitions there, which drew heavily on the abundance of transport links in the area to attract a mass audience. Highlights of the site included the two-storey Empress Theatre, which could seat 6,000 viewers for Kiralfy’s spectacle plays, and the 300-feet high Ferris wheel, whose forty carriages could each accommodate thirty people.

Of the groups who helped Kiralfy arrange the exhibition, Gregory writes: ‘The Empire of India Exhibition of 1895…had as Patrons four Maharajas and four Rajas, headed by the anglophile Gaekwar of Baroda. The “Honorary Committee” listed nearly two hundred names, including one Duke, one Marquis, two Earls, two Viscounts, and twelve Lords. The “Old Welcome Club” was presided over by Field-Marshal Lord Roberts of Kandahar...Asiatic specialists such as Sir George Birdwood, Sir C. Purdon Clarke, and Sir Edwin Arnold lent practical advice as well as support’ (p. 303). Hartley also mentions Proctor Watson, who acted as agent to engage ‘native craftsmen’ from India, and who purchased ‘some old condemned houses in Poona, which were taken down and all the lovely woodwork sent over’ (p. 71). Hartley writes of the care he took over the ‘natives’ during their residence in London, supplying them with live sheep and goats to be killed appropriately for their consumption, as well as taking them to destinations such as Windsor Castle and Hampton Court. Hartley also mentions the Amir of Afghanistan’s nephew’s regular visits to the exhibition.

One of the highlights was ‘India: A Grand Historical Spectacle’, written and directed by Kiralfy and performed in the Empress Theatre. The spectacle opened in July, two months after the rest of the site. It presented the history of India, from 1024 to the present day, in dance, mime and songs. It was the only one of Kiralfy’s spectacles to run for two seasons. When discussing the India spectacle, Gregory draws a distinction between this historical survey and the one at the Colonial and Indian Exhibition of 1886 at the Imperial Institute, which ‘was the first of such surveys…but it is important to distinguish between the Government backed propaganda of the Imperial Institute and the commercial exploitation of a popular subject at Earl's Court’ (p. 362, fn151).