目录
| 发行方 | Western African States |
|---|---|
| 年份 | 1959-1964 |
| 类型 | Standard circulation coin |
| 面值 | 10 Francs CFA |
| 货币 | CFA franc (1958-date) |
| 材质 | Aluminium bronze (91% Copper, 9% Aluminium) |
| 重量 | 4 g |
| 直径 | 23.5 mm |
| 厚度 | 1.54 mm |
| 形状 | Round |
| 制作工艺 | Milled |
| 方向 | Coin alignment ↑↓ |
| 雕刻师 | Gabriel-Bernard Lucien Georges Bazor |
| 流通至 | |
| 参考资料 | KM#1, Schön#12 |
| 正面描述 | Emblem of Central Bank of West African States and denomination |
|---|---|
| 正面文字 | Latin |
| 正面铭文 |
10 FRANCS BANQUE CENTRALE ETATS DE L`AFRIQUE DE L`OUEST (Translation: Central Bank of [the] West African States) |
| 背面描述 | Gazelle |
| 背面文字 | Latin |
| 背面铭文 | G.B.L.BAZOR 1959 |
| 边缘 | Smooth |
| 铸币厂 |
Monnaie de Paris, Paris (and Pessac starting 1973), France (864-date) |
| 铸造量 |
1959 - - 10 000 000 1964 - - 10 000 000 |
| Numisquare 编号 | 7520962510 |
| 附加信息 |
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.