10 Francs CFA

発行体 Western African States
年号 1959-1964
種類 Standard circulation coin
額面 10 Francs CFA
通貨 CFA franc (1958-date)
材質 Aluminium bronze (91% Copper, 9% Aluminium)
重量 4 g
直径 23.5 mm
厚さ 1.54 mm
形状 Round
製造技法 Milled
向き Coin alignment ↑↓
彫刻師 Gabriel-Bernard Lucien Georges Bazor
流通終了年
参考文献 KM#1, Schön#12
表面の説明 Emblem of Central Bank of West African States and denomination
表面の文字体系 Latin
表面の銘文 10 FRANCS BANQUE CENTRALE ETATS DE L`AFRIQUE DE L`OUEST
(Translation: Central Bank of [the] West African States)
裏面の説明 Gazelle
裏面の文字体系 Latin
裏面の銘文 G.B.L.BAZOR 1959
Smooth
鋳造所 Monnaie de Paris, Paris (and
Pessac starting 1973), France (864-date)
鋳造数 1959 - - 10 000 000
1964 - - 10 000 000
Numisquare ID 7520962510
追加情報

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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