10 Francs Pattern

发行方 French Equatorial Africa
年份 1958
类型 Coin pattern
面值 10 Francs (10 FCFA)
货币 CFA franc (1945-1960)
材质 Aluminium bronze
重量
直径 23.50 mm
厚度
形状 Round
制作工艺 Milled
方向 Coin alignment ↑↓
雕刻师 Lucien Georges Bazor
流通至
参考资料 KM#E8
正面描述 Three giant elands (Taurotragus derbianus) facing left.
正面文字 Latin
正面铭文 AFRIQUE EQUATORIALE FRANÇAISE INSTITUT D`EMISSION 1958 CAMEROUN G. B. L. BAZOR
(Translation: French Equatorial Africa Issuing Institute. Cameroon.)
背面描述 Denomination within wreath of wheat, cocoa pods and coffee beans.
背面文字 Latin
背面铭文 ESSAI 10 FRANCS
(Translation: Pattern.)
边缘 Reeded
铸币厂 Monnaie de Paris, Paris (and
Pessac starting 1973), France (864-date)
铸造量 1958 - - 2 030
Numisquare 编号 3793467970
附加信息

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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