Brazil; Bronze, obverse illustrating two winged angels in the foreground, each with a hand resting upon a large gear, which itself rests upon an anchor, the main building of the National Exposition behind them, Sugarloaf Mountain in the distance, a woman at the upper right holding a shield bearing the coat-of-arms of Brazil in her left arm, her right arm extended outward, inscribed "EXPOSIÇÃO NACIONAL 1908" (National Exposition 1908) and "MEDALHA DE OURO" (Gold Medal) above and "RIO DE JANIERO" below, reverse illustrating two women in flowing robes, the one on the left standing and holding a scroll aloft in her left hand, her right hand resting upon a globe, her right index finger pointing to Brazil on the globe, ships masts behind her, the woman on the right seated and holding a long bar that extends past her left shoulder, the other end terminating behind a large gear that rests between the feet of the women, inscribed "1º CENTENARIO DA ABERTURA DOS PORTOS DO BRAZIL AO COMMERCIO INTERNACIONAL" (1st Centenary of the Opening of the Ports of Brazil to International Commerce) above and "1808 RIO DE JANIERO 1908" below, 48 mm, edge nicks, near extremely fine.
Footnote: The National Exposition of 1908 was established in Celebration of the Centenary of the Opening of Brazilian Ports to the Commerce of the World by the Prince Regent Dom João VI of Portugal in 1808 and was held in Rio de Janiero, Brazil. Just three years after the inauguration of the Avenida Central (now known as the Avenida Rio Branco, the major road in Rio de Janeiro, which was built as the leading brand of urban reform carried out by Mayor Pereira Passos), the federal government embarked on another massive transformation of public space. Brazil planned the 1908 National Exposition on Rio de Janiero's Praia Vermelha at a time when hosting a large exposition was a necessary rite of passage for a nation, to prove itself on the international stage. The exposition honoured the centennial anniversary of the opening of Portuguese America to the ships of allied nations, which had been an initial step toward Brazilian independence. Like many fairs worldwide, this exposition was placed strategically on an important national date, enhancing the event's patriotic role of cultivating a sense of nationhood. The exposition, which displayed magnificent lighting, also provided Brazil an opportunity to showcase success of its recent sanitation efforts and urban reform. For Brazilian critic, Francisco Foot Hardman, lighting was one of the distinguishing characteristics of this exposition, a singular event with which "the very new Republic outdid the similar events of the old Empire in pageantry, neoclassicism, and brilliant lights".