Bird of Paradise (Strelitzia reginae, Plate 1) by Pierre Joseph Redouté, 1802
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 1802 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.
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 1802 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Strelitzia Reginae (1802–1816), dated 1802, presents the bird-of-paradise plant (Strelitzia reginae) as both a botanical specimen and an arresting sculptural...
Continua a leggerePierre-Joseph Redouté’s Strelitzia Reginae (1802–1816), dated 1802, presents the bird-of-paradise plant (Strelitzia reginae) as both a botanical specimen and an arresting sculptural form. The principal bloom rises on the right, its pointed orange petals and deep blue structures unfolding from a green, beak-like bract. Broad leaves anchor the lower part of the composition, while three smaller studies of the flower’s component parts occupy the open space to the left. Against the warm off-white ground, the plant’s unusual architecture can be read with exceptional clarity.
Redouté was among the most accomplished flower illustrators working in France during the late eighteenth and early nineteenth centuries. His images belong to a period in which botanical art served scientific study, horticultural knowledge and cultivated taste at once. Plants newly established in European gardens and collections required faithful visual records, yet Redouté’s work is never merely diagrammatic: precise observation is organised through balanced spacing, lucid contours and carefully modulated colour. The bird-of-paradise plant, native to southern Africa and named for the Mecklenburg-Strelitz birthplace of Queen Charlotte, was particularly suited to this union of scientific description and visual spectacle.
A closer look
The plate’s asymmetry gives it much of its energy. Rather than placing the bloom squarely in the centre, Redouté sets it towards the upper right, leaving generous negative space around its flame-like petals. Their colour shifts subtly from yellow at the base into vivid orange, interrupted by cool blue forms that project at sharp angles. This opposition of warm and cool colour makes the flower appear unusually animated, while fine shading along the edges gives volume to each narrow, overlapping structure.
Below, the foliage provides a quieter counterweight. One broad green leaf turns towards the viewer, its central rib and branching veins described with controlled, delicate strokes; another rises more vertically, directing the eye back towards the bloom. The stalk appears firm but not rigid, with slight tonal variations suggesting its rounded surface. Nothing extraneous interrupts the specimen, and the pale field around it becomes an active element of the design, separating leaf, stem and flower so that each may be examined.
The supplementary details on the left reveal the plate’s scientific purpose. Slender, isolated flower parts are shown separately and identified by small numerals, including ‘2’, ‘3’ and ‘6’. Their blue, white and muted green tones echo the principal flower while clarifying structures that would otherwise be concealed within it. At the lower centre, the scripted name ‘Strelitzia Reginae’ and the plate number ‘1’ give the composition the restrained authority of a classified botanical study.
Context and significance
Botanical illustration occupied a distinctive place in early nineteenth-century visual culture. Before colour photography, the illustrator had to reconcile several demands: anatomical accuracy, recognisable colour, legibility and an arrangement sufficiently elegant to sustain close attention. Redouté became renowned for precisely this synthesis. His flowers retain the identifying details required of botanical documentation, but their placement on the page also reflects a highly refined sense of proportion and rhythm.
Strelitzia Reginae is especially compelling because its subject resists the familiar softness of conventional flower studies. The sharply articulated bloom resembles a crest or tropical bird, while the leaves introduce broad, calm planes of green beneath it. Redouté preserves that strangeness rather than domesticating it, making the plate at once an exacting study of plant form and a memorable encounter with one of horticulture’s most distinctive flowers.
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-Joseph Redouté’s Strelitzia Reginae (1802–1816), dated 1802, presents the bird-of-paradise plant (Strelitzia reginae) as both a botanical specimen and an arresting sculptural form. The principal bloom rises on the right, its pointed orange petals and deep blue structures unfolding from a green, beak-like bract. Broad leaves anchor the lower part of the composition, while three smaller studies of the flower’s component parts occupy the open space to the left. Against the warm off-white ground, the plant’s unusual architecture can be read with exceptional clarity.
Redouté was among the most accomplished flower illustrators working in France during the late eighteenth and early nineteenth centuries. His images belong to a period in which botanical art served scientific study, horticultural knowledge and cultivated taste at once. Plants newly established in European gardens and collections required faithful visual records, yet Redouté’s work is never merely diagrammatic: precise observation is organised through balanced spacing, lucid contours and carefully modulated colour. The bird-of-paradise plant, native to southern Africa and named for the Mecklenburg-Strelitz birthplace of Queen Charlotte, was particularly suited to this union of scientific description and visual spectacle.
A closer look
The plate’s asymmetry gives it much of its energy. Rather than placing the bloom squarely in the centre, Redouté sets it towards the upper right, leaving generous negative space around its flame-like petals. Their colour shifts subtly from yellow at the base into vivid orange, interrupted by cool blue forms that project at sharp angles. This opposition of warm and cool colour makes the flower appear unusually animated, while fine shading along the edges gives volume to each narrow, overlapping structure.
Below, the foliage provides a quieter counterweight. One broad green leaf turns towards the viewer, its central rib and branching veins described with controlled, delicate strokes; another rises more vertically, directing the eye back towards the bloom. The stalk appears firm but not rigid, with slight tonal variations suggesting its rounded surface. Nothing extraneous interrupts the specimen, and the pale field around it becomes an active element of the design, separating leaf, stem and flower so that each may be examined.
The supplementary details on the left reveal the plate’s scientific purpose. Slender, isolated flower parts are shown separately and identified by small numerals, including ‘2’, ‘3’ and ‘6’. Their blue, white and muted green tones echo the principal flower while clarifying structures that would otherwise be concealed within it. At the lower centre, the scripted name ‘Strelitzia Reginae’ and the plate number ‘1’ give the composition the restrained authority of a classified botanical study.
Context and significance
Botanical illustration occupied a distinctive place in early nineteenth-century visual culture. Before colour photography, the illustrator had to reconcile several demands: anatomical accuracy, recognisable colour, legibility and an arrangement sufficiently elegant to sustain close attention. Redouté became renowned for precisely this synthesis. His flowers retain the identifying details required of botanical documentation, but their placement on the page also reflects a highly refined sense of proportion and rhythm.
Strelitzia Reginae is especially compelling because its subject resists the familiar softness of conventional flower studies. The sharply articulated bloom resembles a crest or tropical bird, while the leaves introduce broad, calm planes of green beneath it. Redouté preserves that strangeness rather than domesticating it, making the plate at once an exacting study of plant form and a memorable encounter with one of horticulture’s most distinctive flowers.
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.
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 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.
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.
