Botanical Specimens (Plate 54) by Pierre Joseph Redouté, 1805
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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.
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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.
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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 1805 plate from La botanique de J. J. Rousseau gathers several contrasting botanical specimens into a poised, open composition. A...
Continua a leggerePierre-Joseph Redouté’s 1805 plate from La botanique de J. J. Rousseau gathers several contrasting botanical specimens into a poised, open composition. A many-petalled pink flower anchors the centre, while a fern-like frond curves across the upper left and smaller flowering stems occupy the surrounding space. Against the pale, largely unmarked ground, every leaf, bud and petal can be read distinctly; the plate functions as close botanical observation while retaining the grace of a carefully arranged bouquet.
Redouté was among the most accomplished flower painters and botanical illustrators working in Europe around the turn of the nineteenth century. His career unfolded in Paris across periods of profound political change, yet his reputation rested on a remarkably consistent ability to reconcile scientific clarity with decorative refinement. This plate belongs to a culture increasingly absorbed by the identification and classification of plants, and by publications that made botany accessible as both a serious discipline and a cultivated pleasure. Rousseau’s botanical writings were especially associated with attentive study of the natural world, making Redouté’s lucid illustrations an apt visual counterpart.
A closer look
The composition is asymmetrical but subtly balanced. At its centre, the pink bloom forms the strongest concentration of colour, its petals shifting from deeper tones near the heart to paler edges. The accompanying leaves are articulated by fine veins and delicate tonal variation rather than heavy outline. Above and to the left, the tapering green frond introduces a long, elegant arc, its repeated leaflets providing a measured rhythm that contrasts with the flower’s rounded abundance.
Smaller specimens create a loose circuit around this central cluster. At the upper right, a slender stem carries minute buds touched with pink, suggesting different stages of growth. Near the lower left, a small blue flower with a yellow centre supplies a cool, concentrated accent. On the opposite side, a narrow green spike rises through hints of yellow, adding a firmer vertical note to an arrangement otherwise governed by curves and branching diagonals.
Much of the plate’s effect depends upon what has been left empty. The generous negative space prevents the specimens from merging into a conventional floral display and allows each to occupy its own visual field. Subtle gradations give petals and leaves a sense of volume, while fine linear marks and stippled textures distinguish smooth surfaces from more intricately patterned foliage. These minute differences reward close attention: the varied greens of young buds, the fragile edges of the blue petals and the precise structure of the fern-like leaf all emerge gradually.
Context and significance
Botanical illustration at this date occupied a productive space between science and art. A plate needed to communicate structure clearly enough to support study, yet it also addressed readers who valued plants for their visual character. Redouté was particularly adept at satisfying both demands. His specimens are isolated for inspection, but never appear diagrammatic or inert; slight bends in the stems, delicately modelled petals and the measured spacing between forms preserve the vitality of living growth.
Plate 54 exemplifies that balance. Its varied specimens create an informal lesson in botanical form—frond, flower head, bud and spike—while the restrained palette and spacious arrangement give the page an independent aesthetic coherence. It is a work in which precision does not diminish delicacy, and where the act of looking closely becomes the principal subject.
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 1805 plate from La botanique de J. J. Rousseau gathers several contrasting botanical specimens into a poised, open composition. A many-petalled pink flower anchors the centre, while a fern-like frond curves across the upper left and smaller flowering stems occupy the surrounding space. Against the pale, largely unmarked ground, every leaf, bud and petal can be read distinctly; the plate functions as close botanical observation while retaining the grace of a carefully arranged bouquet.
Redouté was among the most accomplished flower painters and botanical illustrators working in Europe around the turn of the nineteenth century. His career unfolded in Paris across periods of profound political change, yet his reputation rested on a remarkably consistent ability to reconcile scientific clarity with decorative refinement. This plate belongs to a culture increasingly absorbed by the identification and classification of plants, and by publications that made botany accessible as both a serious discipline and a cultivated pleasure. Rousseau’s botanical writings were especially associated with attentive study of the natural world, making Redouté’s lucid illustrations an apt visual counterpart.
A closer look
The composition is asymmetrical but subtly balanced. At its centre, the pink bloom forms the strongest concentration of colour, its petals shifting from deeper tones near the heart to paler edges. The accompanying leaves are articulated by fine veins and delicate tonal variation rather than heavy outline. Above and to the left, the tapering green frond introduces a long, elegant arc, its repeated leaflets providing a measured rhythm that contrasts with the flower’s rounded abundance.
Smaller specimens create a loose circuit around this central cluster. At the upper right, a slender stem carries minute buds touched with pink, suggesting different stages of growth. Near the lower left, a small blue flower with a yellow centre supplies a cool, concentrated accent. On the opposite side, a narrow green spike rises through hints of yellow, adding a firmer vertical note to an arrangement otherwise governed by curves and branching diagonals.
Much of the plate’s effect depends upon what has been left empty. The generous negative space prevents the specimens from merging into a conventional floral display and allows each to occupy its own visual field. Subtle gradations give petals and leaves a sense of volume, while fine linear marks and stippled textures distinguish smooth surfaces from more intricately patterned foliage. These minute differences reward close attention: the varied greens of young buds, the fragile edges of the blue petals and the precise structure of the fern-like leaf all emerge gradually.
Context and significance
Botanical illustration at this date occupied a productive space between science and art. A plate needed to communicate structure clearly enough to support study, yet it also addressed readers who valued plants for their visual character. Redouté was particularly adept at satisfying both demands. His specimens are isolated for inspection, but never appear diagrammatic or inert; slight bends in the stems, delicately modelled petals and the measured spacing between forms preserve the vitality of living growth.
Plate 54 exemplifies that balance. Its varied specimens create an informal lesson in botanical form—frond, flower head, bud and spike—while the restrained palette and spacious arrangement give the page an independent aesthetic coherence. It is a work in which precision does not diminish delicacy, and where the act of looking closely becomes the principal subject.
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.
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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.
