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Featuring a series of allegories, in the midst of abundant fauna and lush flora, this “stone tapestry” measuring 1,130 m2 exalts colonial wealth. It was produced in under 2 years by Alfred Auguste Janniot, a sculptor specialised in monumental decors, and was intended as an illustration of the economic contributions made by the colonies to metropolitan France.

Described as a true “jewel of Art Deco”, the Palais de la Porte Dorée is characteristic of Art Deco architecture, an art movement that developed between 1910 and 1940 (which took its name from the 1925 Expo des Arts Décoratifs in Paris).

Reconstructed in 2023 at its original location, this Salon was designed in 1931 by the architect of the Palais de la Porte Dorée, Albert Laprade (1883-1978) to welcome visitors to the Musée des Colonies. It was reunited with the original rosewood furniture from Madagascar, classified as a historic monument, and the lacquer panels created by the outstanding artist Jean Dunand that decorated it at the time. This exceptional set of furniture and decorative items represent an important testimony to the Art Deco style.

Situated in the south-west corner of the Hall of Honour, matching the Asia Salon on the other side, the purpose of this ceremonial salon, during the Colonial Exposition of 1931, was to house the reception office of the Minister of the Colonies, Paul Reynaud. It was called Africa Salon for the frescoes and furniture used in decorating it. It is one of the spaces classified as a historical monument at the Palais de la Porte Dorée since 1987.

Situated in the south-east corner of the Hall of Honour of the Palais de la Porte Dorée, and matching the Africa Salon on the other side, the purpose of this ceremonial salon during the 1931 Colonial Exposition was to house the office of Maréchal Lyautey, general commissioner of the exposition. It was named Asia Salon for the frescoes and furniture decorating it. It is one of the spaces classified as historic monuments since 1987.

The French colonial Empire was at its height during the inter-war period. The very valiant participation of colonial soldiers in the French armies during World War 1, and the recruitment of thousands of colonial workers, had reinforced the idea that the colonies were useful, and even necessary, if France were to keep its rank as a great political and military power and be able to resist another conflict. The African infantryman, whose image used to feature on Banania cocoa tins, was a popular figure, reflecting the image of the “good black soldier” fighting for France.