Amaryllis bresiliensis (Plate 5) by Pierre Joseph Redouté, 1827
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata nel nostro laboratorio di Londra dall’opera originale del 1827 e stampata in qualità museale. Descrizione completa
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Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.L’offerta del Collezionista
Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.
Restaurato a Londra • Stampato e incorniciato in the USA
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1827 e stampata in qualità museale. Descrizione completa
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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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Pierre-Joseph Redouté’s Choix des plus belles fleurs, Plate 5, published in 1827, presents Amaryllis bresiliensis with the concentration of a formal portrait....
Continua a leggerePierre-Joseph Redouté’s Choix des plus belles fleurs, Plate 5, published in 1827, presents Amaryllis bresiliensis with the concentration of a formal portrait. A cluster of crimson-pink flowers fills the upper part of the composition, borne on a smooth green stem above long, arching leaves. Broad petals, pale central streaks and fine yellow stamens are set against an open, off-white ground, giving every contour room to register.
Redouté was among the most celebrated botanical artists of the late eighteenth and early nineteenth centuries, renowned for reconciling careful observation with an exceptionally refined sense of arrangement. Working in Paris and associated with distinguished royal and imperial patrons, he helped establish flower illustration as a field in which scientific description and decorative sophistication could coexist. Choix des plus belles fleurs—a “selection of the most beautiful flowers”—belongs to this culture of ambitious botanical publishing, when cultivated plants were presented both as specimens for study and as subjects worthy of sustained aesthetic attention.
A closer look
The principal bloom opens towards the upper left, its substantial, trumpet-like petals overlapping in a tightly controlled sequence. Their colour moves from deep red and saturated pink to paler passages near the centre, while narrow white markings trace the folds and ridges of the flower. These highlights do more than embellish the surface: they clarify the way each petal curls, recedes or turns towards the light. Against the darker red interior, the slender yellow stamens form a delicate network of contrasting lines.
Below, the stem provides a calm vertical axis, but the composition avoids stiffness through a series of diagonals. Leaves rise and bend towards the lower right, their tapered forms balancing the flower’s greater weight above. Fine veins run through the foliage, and subtle shifts from deep to yellow-green suggest the changing angle of its glossy surfaces. Compact buds and green, lance-like forms gathered around the stem introduce other stages of growth without distracting from the fully opened flowers.
The abundant blank ground is an active part of the design. With no surrounding garden or habitat, the plant can be examined from flower to leaf, yet it never feels like a dry diagram. The asymmetrical placement and graceful intervals between the forms lend the specimen rhythm and poise. At the lower edge, the finely lettered name “Amaryllis bresiliensis” anchors the composition in botanical classification, quietly reminding us that its elegance serves an observational purpose.
Context and significance
Botanical illustration occupied a distinctive position in Redouté’s period. It recorded the structures by which plants could be recognised, while also answering a growing appetite for publications devoted to horticulture and the natural world. Redouté’s particular achievement lay in maintaining both demands: the veins, stamens and stages of development remain legible, but they are organised with the spacing, tonal balance and visual drama of an independent work of art.
This plate demonstrates that balance especially clearly. The vivid opposition of red flowers and green foliage gives the subject immediate force, while the pale ground and measured linework prevent the colour from becoming overpowering. What first appears to be a sumptuous flower study gradually reveals a disciplined construction of curves, overlaps and tonal transitions—an image equally attentive to the identity of the plant and to the pleasure of looking closely.
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.
Pierre-Joseph Redouté’s Choix des plus belles fleurs, Plate 5, published in 1827, presents Amaryllis bresiliensis with the concentration of a formal portrait. A cluster of crimson-pink flowers fills the upper part of the composition, borne on a smooth green stem above long, arching leaves. Broad petals, pale central streaks and fine yellow stamens are set against an open, off-white ground, giving every contour room to register.
Redouté was among the most celebrated botanical artists of the late eighteenth and early nineteenth centuries, renowned for reconciling careful observation with an exceptionally refined sense of arrangement. Working in Paris and associated with distinguished royal and imperial patrons, he helped establish flower illustration as a field in which scientific description and decorative sophistication could coexist. Choix des plus belles fleurs—a “selection of the most beautiful flowers”—belongs to this culture of ambitious botanical publishing, when cultivated plants were presented both as specimens for study and as subjects worthy of sustained aesthetic attention.
A closer look
The principal bloom opens towards the upper left, its substantial, trumpet-like petals overlapping in a tightly controlled sequence. Their colour moves from deep red and saturated pink to paler passages near the centre, while narrow white markings trace the folds and ridges of the flower. These highlights do more than embellish the surface: they clarify the way each petal curls, recedes or turns towards the light. Against the darker red interior, the slender yellow stamens form a delicate network of contrasting lines.
Below, the stem provides a calm vertical axis, but the composition avoids stiffness through a series of diagonals. Leaves rise and bend towards the lower right, their tapered forms balancing the flower’s greater weight above. Fine veins run through the foliage, and subtle shifts from deep to yellow-green suggest the changing angle of its glossy surfaces. Compact buds and green, lance-like forms gathered around the stem introduce other stages of growth without distracting from the fully opened flowers.
The abundant blank ground is an active part of the design. With no surrounding garden or habitat, the plant can be examined from flower to leaf, yet it never feels like a dry diagram. The asymmetrical placement and graceful intervals between the forms lend the specimen rhythm and poise. At the lower edge, the finely lettered name “Amaryllis bresiliensis” anchors the composition in botanical classification, quietly reminding us that its elegance serves an observational purpose.
Context and significance
Botanical illustration occupied a distinctive position in Redouté’s period. It recorded the structures by which plants could be recognised, while also answering a growing appetite for publications devoted to horticulture and the natural world. Redouté’s particular achievement lay in maintaining both demands: the veins, stamens and stages of development remain legible, but they are organised with the spacing, tonal balance and visual drama of an independent work of art.
This plate demonstrates that balance especially clearly. The vivid opposition of red flowers and green foliage gives the subject immediate force, while the pale ground and measured linework prevent the colour from becoming overpowering. What first appears to be a sumptuous flower study gradually reveals a disciplined construction of curves, overlaps and tonal transitions—an image equally attentive to the identity of the plant and to the pleasure of looking closely.
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.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
- I pezzi incorniciati arrivano pronti da appendere
- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- Il reso entro 90 giorni dà al destinatario il tempo di decidere
Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
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 23 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.
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.
