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.
About this deal
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. Much of London lay in ruins, and models of redevelopment were needed. The Festival was an attempt to give Britons a feeling of recovery and progress and to promote better-quality design in the rebuilding of British towns and cities.  The Festival of Britain described itself as "one united act of national reassessment, and one corporate reaffirmation of faith in the nation's future."  Gerald Barry, the Festival Director, described it as "a tonic to the nation". 
Elder, Michael (2003), What do You do During the Day?, Eldon Productions, p.66 ISBN 9-780954-556808 The Festival was highly popular in every part of Britain. Richard Weight estimates that of the national population of 49 million, about half participated.  The Festival largely ignored foreign tourists, with most of the visitors from the Continent being expatriate Britons. Collection of fabrics inspired by crystallography held by the Science Museum, London with souvenir book from the Festival.
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?The Festival of Britain 1951 Crown is an incredibly interesting coin, but how much is it worth today and are there any different versions of it? Scott-Moncrieff, George (1951), Living Traditions of Scotland, His Majesty's Stationery Office for The Council of Industrial Design Scottish Committee The initials stand for Benedetto Pistrucci, an Italian coin engraver who was responsible for Saint George and the Dragon design found on this coin.
The Festival became a "beacon for change" that proved immensely popular with thousands of elite visitors and millions of popular ones. It helped reshape British arts, crafts, designs and sports for a generation.  Journalist Harry Hopkins highlights the widespread impact of the "Festival style". They called it "Contemporary". It was: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.