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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Homes and Gardens. ( Architects: Bronek Katz and Reginald Vaughan. Theme Conveners: A.Hippisley Coxe and S. D. Cooke.)

The crown coin minted this year was in commemoration of the event, and if you want to learn more about the Festival of Britain you can read this helpful summary here. Final Thoughts 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] 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 Gold investment products are VAT free. Silver investment products are inclusive of VAT at the current rate unless otherwise stated.Henry Grant. "The Skylon in construction". Museum of London. Archived from the original (photo) on 30 July 2013. Film festivals, including those at Edinburgh Film Festival, Bath and Glasgow participated in the Festival of Britain, and local authorities put on film festivals, helped by a BFI pamphlet, How to put on a Film Show. The Festival Pleasure Gardens were created to present a lighter side of the Festival of Britain. They were erected in Battersea Park, a few miles from the South Bank Exhibition. Attractions included: An amphitheatre seating 1,250 people. The opening show featured the music hall star Lupino Lane and his company. It was later turned into a circus

The New Schools. ( Architects: Maxwell Fry and Jane Drew. Theme Convener: B. W. Rowe. Display Designers: Nevile Conder and Patience Clifford.) 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).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. The Festival's centrepiece was in London on the South Bank of the Thames. There were events in Poplar (Architecture – Lansbury Estate), Battersea (the Festival Pleasure Gardens), South Kensington (Science) and Glasgow (Industrial Power). Festival celebrations took place in Cardiff, Stratford-upon-Avon, Bath, Perth, Bournemouth, York, Aldeburgh, Inverness, Cheltenham, Oxford, Norwich, Canterbury and elsewhere, [3] and there were touring exhibitions by land and sea. Lew, Nathaniel G. Tonic to the Nation: Making English Music in the Festival of Britain (Routledge, 2016).

There were other displays elsewhere, each intended to be complete in itself, yet each part of the one single conception. [8] Festival Pleasure Gardens were set up in Battersea, about three miles up river from the South Bank. Heavy engineering was the subject of an Exhibition of Industrial Power in Glasgow. Certain aspects of science, which did not fall within the terms of reference of the South Bank Exhibition, were displayed in South Kensington. Linen technology and science in agriculture were exhibited in "Farm and Factory" in Belfast. A smaller exhibition of the South Bank story was put on in the Festival ship Campania, [3] which toured the coast of Britain throughout the summer of 1951, and on land there was a travelling exhibition of industrial design. [8] London Transport RF13 (LUC213) Allen, Cecil J (1974). Titled Trains of the Western. Shepperton: Ian Allan. pp.21–23. ISBN 07110-0513-3.

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The first performance of Ralph Vaughan Williams's opera The Pilgrim's Progress on 26 April 1951, at the Royal Opera House [72] a b c d "The Lansbury Estate". University of London / History of Parliament Trust . Retrieved 1 September 2009. English Heritage, PastScape, "The Festival of Britain: 60th anniversary" ". Pastscape.org.uk. 3 May 1951 . Retrieved 13 December 2011. The Lion and the Unicorn ( Architects: R. D. Russell, Robert Goodden. Theme Conveners: Hubert Phillips and Peter Stucley. Display Designers: Robert Goodden, R. D. Russell and Richard Guyatt. Commentary: Laurie Lee.) [19]

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. a b Savage, Michael (13 April 2019). "Timing of May's 'festival of Britain' risks Irish anger". The Guardian. 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 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.Typography at the Festival of Britain". Wharferj.wordpress.com. 8 June 2011 . Retrieved 13 December 2011. Casey, Andrew. "Ceramics at the Festival of Britain 1951: Selection and Objection." Journal of the Decorative Arts Society 1850-the Present 25 (2001): 74–86. 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. F.M. Leventhal, "'A Tonic to the Nation': The Festival of Britain, 1951." Albion 27#3 (1995): 445-453.