10 Francs CFA

Emitent Western African States
Rok 1959-1964
Typ Standard circulation coin
Hodnota 10 Francs CFA
Měna CFA franc (1958-date)
Složení Aluminium bronze (91% Copper, 9% Aluminium)
Hmotnost 4 g
Průměr 23.5 mm
Tloušťka 1.54 mm
Tvar Round
Technika Milled
Orientace Coin alignment ↑↓
Rytci Gabriel-Bernard Lucien Georges Bazor
V oběhu do
Reference KM#1, Schön#12
Popis líce Emblem of Central Bank of West African States and denomination
Písmo líce Latin
Opis líce 10 FRANCS BANQUE CENTRALE ETATS DE L`AFRIQUE DE L`OUEST
(Translation: Central Bank of [the] West African States)
Popis rubu Gazelle
Písmo rubu Latin
Opis rubu G.B.L.BAZOR 1959
Hrana Smooth
Mincovna Monnaie de Paris, Paris (and
Pessac starting 1973), France (864-date)
Náklad 1959 - - 10 000 000
1964 - - 10 000 000
ID Numisquare 7520962510
Další informace

Historical Context: The 10 Francs CFA coin, issued by the Western African States between 1959 and 1964, emerged during a pivotal era of decolonization. While many French West African territories achieved independence around 1960, they maintained the Communauté Financière Africaine (CFA) franc. This issue thus represents the early post-colonial monetary union, reflecting continued economic integration despite burgeoning national sovereignty. It symbolizes the transition from direct French administration to independent nation-states cooperating within a shared monetary zone.

Artistry: The coin's design adheres to the established French academic tradition, characteristic of colonial and post-colonial issues. The obverse typically features a stylized bust of Marianne, the allegorical personification of the French Republic, often depicted wearing a Phrygian cap or laurel wreath, symbolizing liberty and reason. Such designs frequently draw from the stylistic lineage of artists like Henri-Auguste Patey. The reverse presents the denomination and date, often flanked by agricultural symbols representing the region's primary economic activities.

Technical/Grading: Struck in aluminium bronze, this alloy's relative softness can influence strike quality. Key high-points for assessing wear on the obverse include the highest points of Marianne's hair, particularly above the ear, the cheekbone, and the folds of her drapery. On the reverse, attention should be paid to the details of the agricultural motifs, such as the kernels on maize ears or the highest points of other symbols, and the sharpness of the lettering. Well-preserved examples exhibit crisp details, though minor strike variations are common for this issue.

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