The 1851 Great Exhibition Medal Awarded to Mihran Düzian

ANRO-1768

Obverse: Conjoined busts of Queen Victoria and Prince Albert facing left, with two inward-facing dolphins below and a trident in the right field.

Reverse: Britannia seated right, conferring a laurel wreath upon the allegorical figure of Industry; behind them stand allegories of Africa, America, Asia, and Europe observing the scene.

Specifications: Bronze, 77 mm
Artist / Engraver: William Wyon and Leonard Charles Wyon
Mint: London
Edge: PRIZE MEDAL OF THE EXHIBITION. CLASS XXIX. MIHRAN DUZ
Mintage:
Reference: BHM-2462; Eimer-1456
Image shown: Stack’s Bowers Galleries January 2025 NYINC Auction Lot 33176 (18-Jan-2025)

The bronze medal awarded to Mihran Düz in 1851 at London’s Great Exhibition provides a focused insight into the contributions of Armenian artisans to mid-nineteenth-century economic and cultural life. Organized to showcase an array of industrial and artistic achievements from around the world, the Great Exhibition brought together exhibitors under the vast iron-and-glass structure of the Crystal Palace. Among these participants was Mihran Düz, referred to in English sources as Hadji Mirhan Duzoglou and also known by the Armenian surname Düzian, who presented finely carved amber mouthpieces adorned with diamonds. These exhibits earned a Prize Medal in Class XXIX, marking them as exceptional examples of craftsmanship that drew international interest.

Mihran Düz was an Armenian “amira,” part of a class of influential Armenian families in Constantinople known for their financial acumen and ties to the Ottoman court. His lineage included generations who served at the Imperial Ottoman Mint, managing vital aspects of coinage and precious metal work. Appointed to a leading position at the mint in 1847, Mihran would later receive the Ottoman honorary title “Bey” in 1855, a distinction reflecting significant service or elevated rank. Archival records show that Mihran and his relatives were not merely bureaucratic figures but also highly skilled jewelers. This combination of administrative responsibility and artistic expertise set their work apart, both within the empire and, in Mihran’s case, on a global stage.

The amber mouthpieces that Mihran displayed in London typify the refined luxury goods favored by elite circles in Constantinople. Amber itself, highly regarded for its clarity and color, featured prominently in Ottoman Armenian craft traditions, particularly for pipe or narghile mouthpieces. The addition of diamonds enhanced each piece, appealing to connoisseurs who prized intricate designs and rare materials. These details were noted by the Great Exhibition jurors, whose reports confirm that Mihran’s mouthpieces commanded remarkably high prices—an indication of the skill, precious materials, and cultural cachet embedded in their creation. Recognizing Mihran with a medal underscored the high regard that these Armenian artisans could achieve beyond the boundaries of their own empire.

The 1851 medal thus serves as a rare intersection of Armenian talent and the broader channels of international recognition. While it documents one craftsman’s success, it also highlights how Armenian families like the Düz(ian)s shaped aspects of Ottoman finance and luxury production at a time of significant reform and modernization. Written sources from the period, including the official exhibition catalogues and jury reports, corroborate that these pipe mouthpieces symbolized both the Düz(ian) family’s artisanal prowess and its embedded role within Ottoman administrative structures. Later references by scholars of Armenian history further detail how prominent amiras, despite being a religious minority, rose to key positions.

In examining this medal, historians and numismatists gain a clear, tangible record of Armenian participation in global exhibitions, the economic significance of luxury craft within the empire, and the personal achievements of Mihran Düz himself. Archival documents confirm that his recognition at the Great Exhibition was not an isolated event but part of an ongoing pattern in which Armenian families contributed to some of the empire’s most valued creative endeavors. The award also illuminates how leading Armenian craftsmen navigated the nuances of imperial favor, receiving titles such as “Bey” and showcasing their artistry on an international platform. The 1851 medal, stands as primary evidence of a moment in which Armenian artisanship was prominently acknowledged, linking local craft heritage in Constantinople to the global currents of the nineteenth century.