Botanical Flowers (Plate 58) by Pierre Joseph Redouté, 1805
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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.
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Restaurato a Londra • Stampato e incorniciato in the USA
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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 1805 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 58, published in 1805, brings an assortment of flowering plants into a carefully...
Continua a leggerePierre-Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 58, published in 1805, brings an assortment of flowering plants into a carefully ordered vertical composition. Bright yellow blooms establish the strongest notes, accompanied by fresh greens, small white flowers and restrained accents of pink and purple. Although the specimens vary markedly in scale and structure, the plate remains poised and legible: each stem is given sufficient space for its leaves, petals and branching habit to be studied individually.
Redouté was among the most celebrated botanical illustrators of the late eighteenth and early nineteenth centuries, admired for combining scientific usefulness with unusual delicacy. This plate belongs to a culture in which botanical illustration mediated between close observation, classification and aesthetic pleasure. Created for La botanique de J. J. Rousseau, it also reflects the growing appetite for natural history presented in an accessible, orderly form. Redouté’s broader practice—grounded in precise drawing and refined, watercolour-based botanical imagery—helped establish a standard that shaped the appearance of botanical publications well beyond his own period.
A closer look
At the upper centre, a large yellow flower rises on a slender green stem, its open head forming the most immediate point of focus. Fine contours articulate the edges of its petals, while subtle shifts from richer gold to paler yellow prevent the bloom from appearing flat. Nearby, a small white daisy-like flower offers a quieter counterpoint: thin stems support its lightly described petals and finely worked yellow centre.
The right side introduces more assertive forms. Near the top, a pinkish-purple, thistle-like head is framed by sharply serrated foliage, setting spiky leaf margins against the softer curves of the surrounding flowers. Farther down, a rounded purple bloom adds a compact patch of colour. On the left, smaller yellow flowers form a descending sequence, their repeated heads creating a gentle rhythm through the plate rather than a single continuous landscape or bouquet.
Much of the illustration’s clarity comes from separation. Stems approach one another without becoming entangled, and there is little overlap to obscure the individual structures. The pale ground functions as active negative space, isolating each botanical feature and allowing even the smallest changes in leaf shape to remain visible. Towards the lower centre, finer blossoms in white and light purple gather around delicate green stems. Their reduced scale rewards close attention: tiny petal divisions, restrained shading and slight changes of direction give the arrangement variety without disturbing its balance.
Context and significance
Botanical plates of this kind occupied a productive territory between art and science. Their purpose was not simply to evoke flowers but to present recognisable structures—flower heads, stems, leaves and branching patterns—with sufficient precision to support comparison and study. Redouté excelled at preserving this descriptive clarity while avoiding stiffness. His plants retain their individual habits of growth, yet each has been adjusted to the disciplined geometry of the page.
Plate 58 is particularly engaging for the way it turns diversity into visual order. Robust yellow blooms, a minute white flower, rounded purple forms and sharply edged foliage are held together by a measured progression from top to bottom. The result is both an instructive botanical display and a sophisticated exercise in line, colour and spacing, representative of a period when the systematic study of plants could also produce images of remarkable refinement.
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 La botanique de J. J. Rousseau, Pl. 58, published in 1805, brings an assortment of flowering plants into a carefully ordered vertical composition. Bright yellow blooms establish the strongest notes, accompanied by fresh greens, small white flowers and restrained accents of pink and purple. Although the specimens vary markedly in scale and structure, the plate remains poised and legible: each stem is given sufficient space for its leaves, petals and branching habit to be studied individually.
Redouté was among the most celebrated botanical illustrators of the late eighteenth and early nineteenth centuries, admired for combining scientific usefulness with unusual delicacy. This plate belongs to a culture in which botanical illustration mediated between close observation, classification and aesthetic pleasure. Created for La botanique de J. J. Rousseau, it also reflects the growing appetite for natural history presented in an accessible, orderly form. Redouté’s broader practice—grounded in precise drawing and refined, watercolour-based botanical imagery—helped establish a standard that shaped the appearance of botanical publications well beyond his own period.
A closer look
At the upper centre, a large yellow flower rises on a slender green stem, its open head forming the most immediate point of focus. Fine contours articulate the edges of its petals, while subtle shifts from richer gold to paler yellow prevent the bloom from appearing flat. Nearby, a small white daisy-like flower offers a quieter counterpoint: thin stems support its lightly described petals and finely worked yellow centre.
The right side introduces more assertive forms. Near the top, a pinkish-purple, thistle-like head is framed by sharply serrated foliage, setting spiky leaf margins against the softer curves of the surrounding flowers. Farther down, a rounded purple bloom adds a compact patch of colour. On the left, smaller yellow flowers form a descending sequence, their repeated heads creating a gentle rhythm through the plate rather than a single continuous landscape or bouquet.
Much of the illustration’s clarity comes from separation. Stems approach one another without becoming entangled, and there is little overlap to obscure the individual structures. The pale ground functions as active negative space, isolating each botanical feature and allowing even the smallest changes in leaf shape to remain visible. Towards the lower centre, finer blossoms in white and light purple gather around delicate green stems. Their reduced scale rewards close attention: tiny petal divisions, restrained shading and slight changes of direction give the arrangement variety without disturbing its balance.
Context and significance
Botanical plates of this kind occupied a productive territory between art and science. Their purpose was not simply to evoke flowers but to present recognisable structures—flower heads, stems, leaves and branching patterns—with sufficient precision to support comparison and study. Redouté excelled at preserving this descriptive clarity while avoiding stiffness. His plants retain their individual habits of growth, yet each has been adjusted to the disciplined geometry of the page.
Plate 58 is particularly engaging for the way it turns diversity into visual order. Robust yellow blooms, a minute white flower, rounded purple forms and sharply edged foliage are held together by a measured progression from top to bottom. The result is both an instructive botanical display and a sophisticated exercise in line, colour and spacing, representative of a period when the systematic study of plants could also produce images of remarkable refinement.
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.
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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.
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.
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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.
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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.
