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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The University of Brighton Design Archives have digitised many of the Design Council's files relating to the planning of the festival.

This coin was not included in demonetization legislation when decimalization was introduced in 1971. It has been confirmed by the Royal Mint that the coin remains legal tender, having been remonetized with a value of 25 pence. In 1953 the Festival of Britain Office was abolished and its records were taken over by the Ministry of Works. [9] Treasury Historical Memorandum No.2". Archive.treasury.gov.uk. 8 March 1951. Archived from the original on 25 November 2011 . Retrieved 13 December 2011. a b Savage, Michael (13 April 2019). "Timing of May's 'festival of Britain' risks Irish anger". The Guardian.

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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 was highly popular in every part of Britain. Richard Weight estimates that of the national population of 49 million, about half participated. [77] The Festival largely ignored foreign tourists, with most of the visitors from the Continent being expatriate Britons. [78]

Wilton, Iain. "'A galaxy of sporting events': sport's role and significance in the Festival of Britain, 1951." Sport in History 36#4 (2016): 459–476. The Wellcome Collection". The Wellcome Collection. Archived from the original on 7 October 2011 . Retrieved 13 December 2011. F.M. Leventhal, "'A Tonic to the Nation': The Festival of Britain, 1951." Albion 27#3 (1995): 445-453. This picture shows the 'Secrets of Nature' exhibition on the HMS Campania, a converted Second World War aircraft carrier. The ship toured the coast, staying at each port for 10–14 days.

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] Henry Grant. "The Skylon in construction". Museum of London. Archived from the original (photo) on 30 July 2013. The Northern Ireland exhibition was designed by Willy de Majo and showcased the contributions Northern Ireland was making to post-war industrial recovery. Northern Ireland was well known for its shipbuilding and textile industries in particular. a b Powers, Alan (29 June 2011). "Powers, A., "Sixty years on from the Festival of Britain", Architectural Review, 22 June 2011". Architectural-review.com . Retrieved 13 December 2011. The British Film Institute was asked by Herbert Morrison in 1948 to consider the contribution that film could make to the Festival. [57] It set up a panel including Michael Balcon, Antony Asquith, John Grierson, Harry Watt and Arthur Elston, which became a committee of sponsorship and distribution. Over a dozen sponsored documentary films were made for the Festival, including

The engraver's initials B.P. appear in the exergue above and to the right of the date. There is no inscription on the reverse except for the date: Allen, Cecil J (1974). Titled Trains of the Western. Shepperton: Ian Allan. p.79. ISBN 07110-0513-3.

a b c d "Sarah Easen, Film and the Festival of Britain 1951, British Universities and Video Council". Bufvc.ac.uk . Retrieved 13 December 2011. Allen, Cecil J (1974). Titled Trains of the Western. Shepperton: Ian Allan. pp.21–23. ISBN 07110-0513-3.

David", a short film based on the life of David Rees Griffiths (and in which he appeared), made by Wide Pictures and the Welsh Committee The inscription ‘GEORGIVS VID:G:BR:OMN:REX:F:D:’ is seen towards the top edge, with the value of the coin inscribed towards the bottom edge, ‘FIVE SHILLINGS’. Did It Enter Circulation? Henrietta Goodden, The Lion and the Unicorn: symbolic architecture for the Festival of Britain 1951 (Norwich, Unicorn Press, 2011). 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]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.