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| Emittent | Belgium |
|---|---|
| Jahr | 1849 |
| Typ | Coin pattern |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Gewicht | Anmelden um Details zu sehen |
| Durchmesser | Anmelden um Details zu sehen |
| Dicke | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Prägetechnik | Anmelden um Details zu sehen |
| Ausrichtung | Anmelden um Details zu sehen |
| Stempelschneider | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Aversbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Aversschrift | Latin |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | The Belgian royal coat of arms, featuring the lion rampant, is centrally displayed within a wreath of laurel and oak, which divides the denomination expressed as '2 F'. The patriotic motto in French is inscribed in a curved legend above the shield, while the date appears in the exergue below, completing the design in a balanced neoclassical arrangement. |
| Reversschrift | Anmelden um Details zu sehen |
| Reverslegende | Anmelden um Details zu sehen |
| Rand | Anmelden um Details zu sehen |
| Prägestätte | Anmelden um Details zu sehen |
| Auflage | Anmelden um Details zu sehen |
| Zusätzliche Informationen |
Belgian pattern coinage of the late 1840s occupies a peculiar position — Léopold I's government was actively debating monetary alignment with France ahead of what would eventually become the Latin Monetary Union, and experimental strikes in non-standard metals were part of that process. A copper striking of the 2 Francs denomination would have served to test die quality or demonstrate the design to officials, not for any intended circulation.
The absence of catalog numbers across KM, Moran, and Lazard suggests this piece has not been formally attributed to a specific die marriage or documented auction appearance — a situation not uncommon with Belgian patterns, where private cabinet dispersals in the late 19th century scattered pieces before systematic cataloging.