1951 FESTIVAL OF BRITAIN CROWN IN ITS ORIGINAL BOX - Stunning condition and worth so much more with it's box. Coins for Collectors and The Great British Coin Hunt.

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Several feature films were planned, but only one was completed in time, namely The Magic Box, a biopic concerning pioneer William Friese-Greene, made by Festival Film Productions.

Goodden, Henrietta. The Lion and the Unicorn: symbolic architecture for the Festival of Britain 1951 (Norwich, Unicorn Press, 2011), 144 pp. As well as the material legacy, the Festival gave rise to new traditions, in particular the performances of medieval mystery plays in York and Chester. There was an explosion of interest [84] in these plays, regular performance of which have continued in those cities ever since. The archive of the Design Council held at the University of Brighton Design Archives includes several hundred images of the festival. [89] They can be searched via the Visual Arts Data Service (VADS).

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As we alluded to earlier, there were a couple of different versions of the 1951 Festival of Britain crown released, each with varying mintage figures and rarities. The Royal Mint issued British Pound coins in 16 different denominations, including this British Five Shillings coin Festival of Britain Crown (1951). They are part of the predecimal and withdrawn Pound Sterling coins series. The Royal Mint started issuing these 0.25 British Pound coins in 1951. They were withdrawn from circulation in 1951. Banham, Mary and Hillier, Bevis, A Tonic to the Nation: The Festival of Britain 1951 (Thames & Hudson, 1976). ISBN 0-500-27079-1 Berry, W.T., Johnson, A.F., and Jaspert, W.P., The Encyclopaedia of Type Faces, London: Blandford Press, 1963

Henrietta Goodden, The Lion and the Unicorn: symbolic architecture for the Festival of Britain 1951 (Norwich, Unicorn Press, 2011). a b "The Festival of Britain, 1951', Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951, University of Glasgow History of Art and HATII, online database 2011". Sculpture.gla.ac.uk. 31 December 1949 . Retrieved 13 December 2011. The metal used was 92.5% silver and the rest copper so as to make the coin harder. This hardness, together with a milled edge, made 'clipping' (which was cutting slices off the edge to steal some free silver) more difficult. In terms of rare crown coins, there are a lot of examples, so we’ll take you through a few of them and how much they’re worth. 1935 Jubilee Crown – Raised Edge Proof Error/Gold Versions A Festival Council to advise the government was set up under General Lord Ismay. [8] Responsibility for organisation devolved upon the Lord President of the Council, Herbert Morrison, the deputy leader of the Labour Party, who had been London County Council leader. He appointed a Great Exhibition Centenary Committee, consisting of civil servants, who were to define the framework of the Festival and to liaise between government departments and the festival organisation. In March 1948, a Festival Headquarters was set up, which was to be the nucleus of the Festival of Britain Office, a government department with its own budget. [9] Festival projects in Northern Ireland were undertaken by the government of Northern Ireland. [12]

Festival of Britain". Oldcopper.org. Archived from the original on 5 December 2011 . Retrieved 13 December 2011. Reyner Banham, "The Style: 'Flimsy ... Effeminate'?" in Mary Banham and Bevis Hillier, A Tonic to the Nation: The Festival of Britain 1951, London, Thames and Hudson, 1976 ISBN 0-500-01165-6 Elstow and Moot Hall: A Brief History" (PDF). Pilgrim Publishing. 2014. Archived from the original (PDF) on 25 January 2019.

An Exhibition of Sixty Large Paintings commissioned for the Festival of Britain" ("60 Paintings for '51"), Suffolk Galleries, organised by the Arts Council, prize awarded to William Gear; [51] Associated with the Festival of Britain Office were the Arts Council of Great Britain, the Council of Industrial Design, the British Film Institute and the National Book League. [8] In addition, a Council for Architecture and a Council for Science and Technology were specially created to advise the Festival Organisation and a Committee of Christian Churches was set up to advise on religion. [8] Government grants were made to the Arts Council, the Council of Industrial Design, the British Film Institute and the National Museum of Wales for work undertaken as part of the Festival. [9] The Exhibition comprised the Upstream Circuit: "The Land", the Dome of Discovery, the Downstream Circuit: "The People", and other displays. [8] Upstream Circuit: "The Land" [ edit ] Power and Production pavilion interior The 1951 Festival of Britain crown is definitely an intriguing coin given that it was one of only two crowns minted during the reign of King George VI. a b Frayn, Michael (3 May 2001). "Festival Spirit". The Guardian. UK . Retrieved 13 December 2011. (Extract from Sissons, Michael; French, Philip, eds. (1963). The Age of Austerity, 1945-1951. London: Hodder & Stoughton.Lettering and type design featured prominently in the graphic style of the Festival and was overseen by a typography panel including the lettering historian Nicolete Gray. [40] A typeface for the Festival, Festival Titling, [41] was specially commissioned and designed by Philip Boydell. It was based on condensed sans-serif capitals and had a three-dimensional form making it suitable for use in exhibition display typography. [42] It has been said to bear "a vague resemblance to bunting". [43] The lettering on the Royal Festival Hall and the temporary Festival building on the South Bank was a bold, sloping slab serif letter form, determined by Gray and her colleagues, including Charles Hasler and Gordon Cullen, [40] illustrated in Gray's Lettering on Buildings (1960) and derived in part from typefaces used in the early 19th century. [44] It has been described as a "turn to a jauntier and more decorative visual language" that was "part of a wider move towards the appreciation of vernacular arts and the peculiarities of English culture". [45] The lettering in the Lion and Unicorn Pavilion was designed by John Brinkley. [46] [47] Power and Production ( Architects: George Grenfell Baines and H. J. Reifenberg. Theme Convener: C. J. Whitcombe. Display Design: Warnett Kennedy and Associates) By 1551, silver was being used to produce crowns, although gold was sometimes still used. The silver crown was quite large, being about 38mm and weighing about one ounce. Around that time many Europeans countries had similar sized silver coins which made them good for international trade as they were essentially interchangeable. The 1951 Festival of Britain crown was not intended for circulation and it was instead released as a collectable item. Scottish Committee of the Arts Council of Great Britain (1952), New Scots Poetry, Serif Books, Edinburgh

This coin was presented to Charles II as the new crown piece. However, it was rejected in the end, as a design from the Roettiers Brothers was chosen instead. Seaside. ( Architects and Designers: Eric Brown and Peter Chamberlain. Theme Convener. A. Hippisley Coxe.) Peter Newman, and Ian Smith, "Cultural production, place and politics on the South Bank of the Thames." International Journal of Urban and Regional Research 24.1 (2000): 9-24.Film was integral to the South Bank Exhibition, used to explain manufacturing, science and technology. The Dome of Discovery, the Exhibition of Science in South Kensington and the travelling Festival Exhibition made extensive use of educational and explanatory film. The Festival of Britain emblem – the Festival Star – designed by Abram Games, from the cover of the South Bank Exhibition Guide, 1951