Lourdes Travel Poster: Béout Cable Car by Pierre Duval, 1935
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La consegna standard è gratuita in tutto il mondo e richiede solitamente circa 3 giorni lavorativi. Vuoi inviare un regalo all’estero? Realizziamo la maggior parte degli ordini localmente, nel paese del destinatario.
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Scegli due opere idonee e ricevi il 25% di sconto su entrambe. Puoi abbinare liberamente mappe e opere d’arte.
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L’offerta del collezionista si applica alle opere idonee nelle configurazioni standard realizzate su ordinazione. Sono esclusi i formati su misura, i design personalizzati e i lavori su commissione. I prodotti con “personalised” o “custom” nel nome sono generalmente esclusi.
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Ad esempio, due stampe idonee in formato A4 o 8 × 10 in danno diritto al 25% di sconto su entrambe. Una stampa di formato più piccolo e un’opera di formato più grande non danno diritto allo sconto se acquistate insieme, poiché gli articoli di gruppi di formato diversi non possono essere combinati per soddisfare il requisito dei due articoli.
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La consegna standard è gratuita in tutto il mondo e richiede solitamente circa 3 giorni lavorativi. Vuoi inviare un regalo all’estero? Realizziamo la maggior parte degli ordini localmente, nel paese del destinatario.
Per gli ordini personalizzati, prevedi tempi aggiuntivi per la progettazione e l’approvazione della bozza. Consulta i dettagli di consegna.
Resi: Gli ordini standard possono essere restituiti o cambiati entro 90 giorni dalla consegna. Gli articoli personalizzati e realizzati su misura sono generalmente esclusi dai resi per ripensamento. Consulta la nostra politica sui resi.
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Pierre Duval’s Téléférique du Béout – Lourdes, issued in 1935, presents the ascent above Lourdes as a vivid encounter between modern engineering...
Continua a leggerePierre Duval’s Téléférique du Béout – Lourdes, issued in 1935, presents the ascent above Lourdes as a vivid encounter between modern engineering and the Pyrenean landscape. A white cable car hangs slightly to the right of centre, its compact geometry set against an expansive blue sky, while a dark, rugged mass of rock rises steeply on the left. Far below, the pale buildings of Lourdes recede into the valley. The poster’s dramatic difference of scale — tiny passengers, immense cliff and distant town — makes the journey appear at once accessible and exhilarating.
By the 1930s, Lourdes was already internationally associated with Roman Catholic pilgrimage, yet Duval’s poster promotes another aspect of the destination: mountain leisure and panoramic travel. The Téléférique du Béout offered visitors a mechanical route into the high landscape, joining the era’s enthusiasm for scenic railways and cable excursions. In this interwar tourism context, engineering became part of the attraction. The cable car promised not merely transport but an elevated view, presenting modern technology as the means by which a formidable landscape could be comfortably explored.
A closer look
The composition is built around a strong asymmetry. On the left, the rock face forms a dense vertical barrier of earthy brown, charcoal and black, its layered shadows suggesting fissures and projecting ledges. To the right, the atmosphere opens into blue, giving the suspended cabin room to register clearly. Cable lines cut across this spacious field, creating taut diagonals that connect the machinery to the mountain and direct the eye towards the distance.
The cabin itself is reduced to a crisp white rectangle with dark windows and a narrow pale edge that separates it from the sky. Within it, several passengers are indicated economically: small heads and gestures rather than individual portraits. Their presence is crucial to the design, establishing both the scale of the cliff and the social pleasure of the excursion. The viewer is encouraged to imagine occupying the same elevated position, looking down over the valley.
At the lower right, Lourdes appears as an accumulation of simplified cream, white and grey buildings. These low geometric forms contrast with the irregular rock and soften as they recede, strengthening the impression of height. Above them, rounded traces of cloud interrupt the blue without diminishing its openness. Typography completes the visual hierarchy: “TÉLÉFÉRIQUE DU BÉOUT” is set boldly across the upper portion, while the much larger “LOURDES” anchors the lower edge. Destination and attraction can therefore be understood almost instantly, even at a distance.
Context and significance
Duval’s design belongs to the colourful, streamlined language of interwar travel advertising, with its simplified forms, strong contrasts and Art Deco clarity. Rather than documenting every feature of the landscape, it selects a few persuasive elements — cliff, cabin, sky and town — and arranges them as a compact argument for travel. The cool blue expanse conveys openness, while the dark mountain supplies drama; between them, the bright cable car becomes a sign of convenience and progress.
The poster is particularly revealing in the way it broadens the identity of Lourdes without displacing its religious associations. The town remains visibly present below, but the principal experience advertised is secular and scenic: ascent, fresh air and the commanding view. Téléférique du Béout – Lourdes thus records a moment when established destinations were being reimagined for new forms of tourism, and when bold graphic design could turn a feat of transport into an emblem of modern adventure.
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 36x24in (90x60cm) 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.
Pierre Duval’s Téléférique du Béout – Lourdes, issued in 1935, presents the ascent above Lourdes as a vivid encounter between modern engineering and the Pyrenean landscape. A white cable car hangs slightly to the right of centre, its compact geometry set against an expansive blue sky, while a dark, rugged mass of rock rises steeply on the left. Far below, the pale buildings of Lourdes recede into the valley. The poster’s dramatic difference of scale — tiny passengers, immense cliff and distant town — makes the journey appear at once accessible and exhilarating.
By the 1930s, Lourdes was already internationally associated with Roman Catholic pilgrimage, yet Duval’s poster promotes another aspect of the destination: mountain leisure and panoramic travel. The Téléférique du Béout offered visitors a mechanical route into the high landscape, joining the era’s enthusiasm for scenic railways and cable excursions. In this interwar tourism context, engineering became part of the attraction. The cable car promised not merely transport but an elevated view, presenting modern technology as the means by which a formidable landscape could be comfortably explored.
A closer look
The composition is built around a strong asymmetry. On the left, the rock face forms a dense vertical barrier of earthy brown, charcoal and black, its layered shadows suggesting fissures and projecting ledges. To the right, the atmosphere opens into blue, giving the suspended cabin room to register clearly. Cable lines cut across this spacious field, creating taut diagonals that connect the machinery to the mountain and direct the eye towards the distance.
The cabin itself is reduced to a crisp white rectangle with dark windows and a narrow pale edge that separates it from the sky. Within it, several passengers are indicated economically: small heads and gestures rather than individual portraits. Their presence is crucial to the design, establishing both the scale of the cliff and the social pleasure of the excursion. The viewer is encouraged to imagine occupying the same elevated position, looking down over the valley.
At the lower right, Lourdes appears as an accumulation of simplified cream, white and grey buildings. These low geometric forms contrast with the irregular rock and soften as they recede, strengthening the impression of height. Above them, rounded traces of cloud interrupt the blue without diminishing its openness. Typography completes the visual hierarchy: “TÉLÉFÉRIQUE DU BÉOUT” is set boldly across the upper portion, while the much larger “LOURDES” anchors the lower edge. Destination and attraction can therefore be understood almost instantly, even at a distance.
Context and significance
Duval’s design belongs to the colourful, streamlined language of interwar travel advertising, with its simplified forms, strong contrasts and Art Deco clarity. Rather than documenting every feature of the landscape, it selects a few persuasive elements — cliff, cabin, sky and town — and arranges them as a compact argument for travel. The cool blue expanse conveys openness, while the dark mountain supplies drama; between them, the bright cable car becomes a sign of convenience and progress.
The poster is particularly revealing in the way it broadens the identity of Lourdes without displacing its religious associations. The town remains visibly present below, but the principal experience advertised is secular and scenic: ascent, fresh air and the commanding view. Téléférique du Béout – Lourdes thus records a moment when established destinations were being reimagined for new forms of tourism, and when bold graphic design could turn a feat of transport into an emblem of modern adventure.
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 36x24in (90x60cm) 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.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
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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.
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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.
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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.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
- Consulenza su arte e incorniciatura da parte del nostro laboratorio
- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
