10 Francs Pattern

発行体 French Equatorial Africa
年号 1958
種類 Coin pattern
額面 10 Francs (10 FCFA)
通貨 CFA franc (1945-1960)
材質 Aluminium bronze
重量
直径 23.50 mm
厚さ
形状 Round
製造技法 Milled
向き Coin alignment ↑↓
彫刻師 Lucien Georges Bazor
流通終了年
参考文献 KM#E8
表面の説明 Three giant elands (Taurotragus derbianus) facing left.
表面の文字体系 Latin
表面の銘文 AFRIQUE EQUATORIALE FRANÇAISE INSTITUT D`EMISSION 1958 CAMEROUN G. B. L. BAZOR
(Translation: French Equatorial Africa Issuing Institute. Cameroon.)
裏面の説明 Denomination within wreath of wheat, cocoa pods and coffee beans.
裏面の文字体系 Latin
裏面の銘文 ESSAI 10 FRANCS
(Translation: Pattern.)
Reeded
鋳造所 Monnaie de Paris, Paris (and
Pessac starting 1973), France (864-date)
鋳造数 1958 - - 2 030
Numisquare ID 3793467970
追加情報

Historical Context: The 1958 French Equatorial Africa 10 Francs Pattern emerges from a pivotal moment in French colonial history. Issued during the dawn of the French Fifth Republic under Charles de Gaulle, this coin reflects the impending dissolution of the AEF federation. In 1958, its constituent territories—Gabon, Congo, Chad, and Oubangui-Chari—were preparing for increased autonomy or independence. This pattern represents a proposed currency design during a period of intense political restructuring, hinting at potential monetary reforms as the region transitioned away from direct French rule.

Artistry: While the specific engraver for KM#E8 is often unrecorded, the design typically reflects the output of prominent artists at the Paris Mint, such as Raymond Joly. The stylistic school of the era combined classical numismatic traditions with allegorical or regional motifs. The design likely features symbols representative of French Equatorial Africa's natural resources or local fauna, balanced with the denomination and issuer. As a pattern, it was conceived to convey both the authority of the issuing body and the distinct identity of the AEF before its eventual breakup.

Technical/Grading: Struck in aluminium bronze, this 23.50mm pattern coin typically exhibits superior strike quality, inherent to trial pieces. Key high-points for wear assessment would include the most prominent features of any central allegorical figure or animal motif, and the lettering's raised elements. Patterns are generally struck from fresh dies on carefully prepared planchets, often displaying a full, sharp strike with excellent detail across all design elements. Luster, if present, would be original and vibrant, frequently with proof-like fields, indicating its prototype status.

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