Paris Exposition of 1900 Travel Poster by Luigi Loir, 1899
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The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
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The Collector’s Offer applies to eligible works in standard made-to-order configurations. Bespoke sizes, personalised designs and commissioned work are excluded. Products with “personalised” or “custom” in their name are generally excluded.
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If you want to add a gift message, or a finish (jigsaw, aluminium board, etc.) that is not available here, please request it in the "order note" when you check out.
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Send it straight to them
Add a gift message in your bag, then enter the recipient’s delivery address at checkout. We’ll print your message on a card. No prices are included in the parcel.
Delivery timing
Standard delivery is free worldwide and usually takes around 3 working days. Sending a gift abroad? We make most orders locally, in the recipient’s country.
Allow extra time for design and proof approval on personalised orders. See delivery details.
Returns: Standard orders can be returned or exchanged within 90 days of delivery. Personalised and custom-made pieces are generally excluded from change-of-mind returns. See our returns policy.
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Luigi Loir’s 1899 poster En vente partout. L’Exposition de Paris de 1900, publication illustrée d’environ 2000 gravures. le numéro 50 centimes announces...
Continue readingLuigi Loir’s 1899 poster En vente partout. L’Exposition de Paris de 1900, publication illustrée d’environ 2000 gravures. le numéro 50 centimes announces the coming Paris Exposition through a theatrical combination of allegory, cityscape and emphatic lettering. A commanding female figure rises at the centre, holding a wreath and palm branch—traditional emblems of honour and triumph—while the Eiffel Tower punctuates the distant skyline. Brilliant reds, yellows and blues give the densely ornamental design an immediate, festive force.
The poster does not advertise a single pavilion or attraction. Instead, it promotes an illustrated publication devoted to the Exposition, promising approximately 2,000 engravings and a price of 50 centimes per issue. In this way it belongs as much to the flourishing print culture of the Belle Époque as to the history of international exhibitions. Loir, celebrated for sophisticated scenes of urban life and for his commercial designs, brought polished draughtsmanship and a distinctly Parisian sense of spectacle to the expanding world of late nineteenth-century advertising.
A closer look
The composition is built around a pronounced vertical ascent. At the lower left, a seated woman in an elaborate historical gown turns outward, her drapery described through finely controlled folds and passages of shadow. Above and behind her, the central figure stands against the lighter prospect of the exhibition grounds. The wreath forms a compact circular accent, while the long palm branch introduces a sweeping diagonal that prevents the arrangement from becoming static.
Beyond these foreground figures, architecture recedes across a panoramic middle distance. Domes, façades and other decorative structures form a compressed vision of the exposition site, with the Eiffel Tower appearing at the upper right as an unmistakable geographical marker. Groups of smaller figures gather along the right-hand side, adding to the impression of an event international in scope. Their reduced scale also heightens the monumentality of the central allegorical presence.
Typography is integrated into the spectacle rather than treated as an afterthought. “EN VENTE PARTOUT” sits at the top as a brisk commercial instruction, while “L’EXPOSITION DE PARIS DE 1900” dominates the central register in exaggerated red lettering, sharply set against cooler blue. At the bottom, “LE NUMERO 50 CENTIMES” delivers the practical detail. Floral ornaments, repeating geometric motifs and patterned borders contain this abundance, giving the poster a clear frame even as figures, architecture and text compete energetically for attention.
Context and significance
Created on the eve of the twentieth century, the design reflects the extraordinary anticipation surrounding the Paris Exposition of 1900. International expositions presented architecture, technology, manufactures and the arts to vast audiences, while posters and illustrated periodicals extended their reach far beyond the exhibition grounds. The promised publication offered readers another way to encounter the event: serially, affordably and through a profusion of reproduced views.
Loir’s poster therefore sells both information and imaginative participation. Its distant panorama offers a glimpse of the exposition, but the foreground allegories enlarge it into a celebration of Paris itself. The result is a particularly rich example of Belle Époque graphic culture, balancing practical sales language with pageantry, cosmopolitan ambition and the visual excitement of a city preparing to present itself to the world.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 18x24in (45x60cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Luigi Loir’s 1899 poster En vente partout. L’Exposition de Paris de 1900, publication illustrée d’environ 2000 gravures. le numéro 50 centimes announces the coming Paris Exposition through a theatrical combination of allegory, cityscape and emphatic lettering. A commanding female figure rises at the centre, holding a wreath and palm branch—traditional emblems of honour and triumph—while the Eiffel Tower punctuates the distant skyline. Brilliant reds, yellows and blues give the densely ornamental design an immediate, festive force.
The poster does not advertise a single pavilion or attraction. Instead, it promotes an illustrated publication devoted to the Exposition, promising approximately 2,000 engravings and a price of 50 centimes per issue. In this way it belongs as much to the flourishing print culture of the Belle Époque as to the history of international exhibitions. Loir, celebrated for sophisticated scenes of urban life and for his commercial designs, brought polished draughtsmanship and a distinctly Parisian sense of spectacle to the expanding world of late nineteenth-century advertising.
A closer look
The composition is built around a pronounced vertical ascent. At the lower left, a seated woman in an elaborate historical gown turns outward, her drapery described through finely controlled folds and passages of shadow. Above and behind her, the central figure stands against the lighter prospect of the exhibition grounds. The wreath forms a compact circular accent, while the long palm branch introduces a sweeping diagonal that prevents the arrangement from becoming static.
Beyond these foreground figures, architecture recedes across a panoramic middle distance. Domes, façades and other decorative structures form a compressed vision of the exposition site, with the Eiffel Tower appearing at the upper right as an unmistakable geographical marker. Groups of smaller figures gather along the right-hand side, adding to the impression of an event international in scope. Their reduced scale also heightens the monumentality of the central allegorical presence.
Typography is integrated into the spectacle rather than treated as an afterthought. “EN VENTE PARTOUT” sits at the top as a brisk commercial instruction, while “L’EXPOSITION DE PARIS DE 1900” dominates the central register in exaggerated red lettering, sharply set against cooler blue. At the bottom, “LE NUMERO 50 CENTIMES” delivers the practical detail. Floral ornaments, repeating geometric motifs and patterned borders contain this abundance, giving the poster a clear frame even as figures, architecture and text compete energetically for attention.
Context and significance
Created on the eve of the twentieth century, the design reflects the extraordinary anticipation surrounding the Paris Exposition of 1900. International expositions presented architecture, technology, manufactures and the arts to vast audiences, while posters and illustrated periodicals extended their reach far beyond the exhibition grounds. The promised publication offered readers another way to encounter the event: serially, affordably and through a profusion of reproduced views.
Loir’s poster therefore sells both information and imaginative participation. Its distant panorama offers a glimpse of the exposition, but the foreground allegories enlarge it into a celebration of Paris itself. The result is a particularly rich example of Belle Époque graphic culture, balancing practical sales language with pageantry, cosmopolitan ambition and the visual excitement of a city preparing to present itself to the world.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 18x24in (45x60cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Many of our maps and art prints are chosen as thoughtful gifts for homes, offices, studies and meaningful places.
Choose a framed option for the easiest ready-to-hang gift, or choose an unframed print if the recipient may prefer to select their own frame.
We make orders locally in 24 countries around the world, so gifts can often be produced close to the recipient. This helps them arrive faster, travel more safely, and avoid customs or import duty surprises.
- We can deliver directly to the recipient
- Framed pieces arrive ready to hang
- Unframed prints are carefully packed in a strong protective tube
- Almost every order is made locally, for faster, safer gifting
- 90-day returns give the recipient time to decide
If you are not sure what to choose, please contact us. We can help you pick the right map, size, finish or delivery option.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
We work with interior designers, hospitality businesses, property professionals, offices and corporate buyers on individual pieces and larger coordinated projects.
This artwork can be adapted for a particular wall, room or project, and our workshop can help coordinate the dimensions, material and framing before production.
- Exact, oversized and made-to-measure dimensions
- Custom framing, mounting and alternative materials
- Coordinated pieces for several rooms or locations
- Art personalisation, to adjust the colour and style of the piece
- Art and framing guidance from our workshop
- Local production for projects around the world
Every restored art print begins with the original artist’s work—never an AI-generated replacement.
Our London studio works from carefully selected source material from museums, libraries, archives and private collections. We restore age-related damage, faded colour and imperfect reproduction while preserving the artist’s composition, brushwork, line, texture and period character.
We do not use generative AI to redraw, reinterpret or invent the artwork. Digital restoration is used only to recover and reproduce the original work as faithfully as possible.
Once restored, the master artwork is prepared for your chosen size and finish. Your piece is then printed and, where selected, framed close to its delivery destination.
Our giclée art prints use acid-free 200gsm archival matte paper and fade-resistant pigment inks for a rich, museum-quality finish. Framed art prints use crystal-clear optical acrylic and arrive ready to hang.
Framed canvas and specialist cotton-rag editions are also available. Learn more about our materials and finishes.
We’ve been restoring and producing maps and art prints since 1984, and we stand behind every piece.
Every order is covered by our 10-year guarantee and damage-free delivery guarantee. If your piece arrives damaged, we’ll replace or remake it free of charge. If anything else isn’t right, contact our workshop team and we’ll put it right promptly.
See our returns and refund policy for full details.
