10 Francs CFA

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.

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