Cabbage Rose (Rosa centifolia, Plate 86) 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
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.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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Scegli la finitura
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Gift message & custom finish
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.
Every order is custom made, so if you need the size adjusted slightly, or printed on an unusual material, just let us know. We've done thousands of custom orders over the years, so there's (almost) nothing we can't manage.
You can also contact us before you order, if you prefer!
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Pierre-Joseph Redouté’s Choix des plus belles fleurs, plate 86, published in 1827, presents Rosa centifolia—the cabbage rose or hundred-petalled rose—as a poised...
Continua a leggerePierre-Joseph Redouté’s Choix des plus belles fleurs, plate 86, published in 1827, presents Rosa centifolia—the cabbage rose or hundred-petalled rose—as a poised botanical specimen rather than a garden scene. A single luxuriant bloom occupies the centre, its densely layered pink petals opening beside dark foliage and two tightly closed red buds. Against the warm cream ground, every serrated leaf, thorn and change of tone remains conspicuous, while the asymmetry of the branching stem lends the study a quiet naturalism.
Redouté was among the most admired flower painters of the late eighteenth and early nineteenth centuries, celebrated for reconciling botanical information with unusually refined pictorial effects. His illustrations belonged to a culture in which horticulture, scientific classification and the collecting of cultivated plants were closely intertwined. In Choix des plus belles fleurs, individual specimens are isolated with great clarity, yet never reduced to diagrams: their identifying structures remain legible while colour and arrangement give each plate an ornamental presence of its own.
A closer look
The fully opened rose is constructed from successive tiers of petals. Pale highlights along their folded edges deepen towards blush, coral and muted crimson in the recesses, creating the impression of a bloom that is at once voluminous and delicately translucent. The petals do not form a rigid rosette; they turn, overlap and curl at differing angles, producing a richly irregular centre. Subtle stippling and fine linear accents strengthen the sense of velvety texture without disturbing the flower’s softness.
Around this abundance, the foliage provides sharper visual punctuation. Leaves extend to the left and right in articulated clusters, their toothed margins crisply described and their veins traced through shades ranging from brilliant green to deep olive. Tonal modelling gives the upper surfaces a slight sheen, while darker undersides and cast shadows establish modest depth. Along the stem, the prominent thorns are not concealed for decorative neatness: their inclusion anchors the cultivated flower in the physical structure of the plant.
The two buds at the upper right act as a concise counterpoint to the open bloom. Their saturated red tips emerge from pointed green sepals, offering an earlier stage in the rose’s development and balancing the larger mass below. Much of the page remains unoccupied, and this generous negative space allows the branching silhouette to be read immediately. At the lower centre, the names “Rosa centifolia” and “Rosier à cent feuilles” identify the specimen in Latin and French, linking visual pleasure to the classificatory purpose of botanical illustration.
Context and significance
Rosa centifolia takes its name from the apparent multitude of petals packed into its rounded flower head. Redouté makes that defining characteristic the compositional focus, but he also records the contrasting forms needed to understand the plant: closed buds, spreading leaflets, branching stems and protective thorns. The result exemplifies the dual character of his work. It is sufficiently precise to reward botanical scrutiny, yet arranged with the balance and tonal sensitivity of an independent flower portrait.
The plate’s lasting appeal lies in this equilibrium between abundance and restraint. The rose itself is almost extravagant, but the surrounding page is calm; the bloom is softly modulated, while the foliage is crisp and structural. For admirers of botanical art, historic gardens or roses in particular, Redouté’s study offers both a lucid record of a cultivated flower and an exceptionally attentive account of how petals, leaves and stems occupy space.
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 86, published in 1827, presents Rosa centifolia—the cabbage rose or hundred-petalled rose—as a poised botanical specimen rather than a garden scene. A single luxuriant bloom occupies the centre, its densely layered pink petals opening beside dark foliage and two tightly closed red buds. Against the warm cream ground, every serrated leaf, thorn and change of tone remains conspicuous, while the asymmetry of the branching stem lends the study a quiet naturalism.
Redouté was among the most admired flower painters of the late eighteenth and early nineteenth centuries, celebrated for reconciling botanical information with unusually refined pictorial effects. His illustrations belonged to a culture in which horticulture, scientific classification and the collecting of cultivated plants were closely intertwined. In Choix des plus belles fleurs, individual specimens are isolated with great clarity, yet never reduced to diagrams: their identifying structures remain legible while colour and arrangement give each plate an ornamental presence of its own.
A closer look
The fully opened rose is constructed from successive tiers of petals. Pale highlights along their folded edges deepen towards blush, coral and muted crimson in the recesses, creating the impression of a bloom that is at once voluminous and delicately translucent. The petals do not form a rigid rosette; they turn, overlap and curl at differing angles, producing a richly irregular centre. Subtle stippling and fine linear accents strengthen the sense of velvety texture without disturbing the flower’s softness.
Around this abundance, the foliage provides sharper visual punctuation. Leaves extend to the left and right in articulated clusters, their toothed margins crisply described and their veins traced through shades ranging from brilliant green to deep olive. Tonal modelling gives the upper surfaces a slight sheen, while darker undersides and cast shadows establish modest depth. Along the stem, the prominent thorns are not concealed for decorative neatness: their inclusion anchors the cultivated flower in the physical structure of the plant.
The two buds at the upper right act as a concise counterpoint to the open bloom. Their saturated red tips emerge from pointed green sepals, offering an earlier stage in the rose’s development and balancing the larger mass below. Much of the page remains unoccupied, and this generous negative space allows the branching silhouette to be read immediately. At the lower centre, the names “Rosa centifolia” and “Rosier à cent feuilles” identify the specimen in Latin and French, linking visual pleasure to the classificatory purpose of botanical illustration.
Context and significance
Rosa centifolia takes its name from the apparent multitude of petals packed into its rounded flower head. Redouté makes that defining characteristic the compositional focus, but he also records the contrasting forms needed to understand the plant: closed buds, spreading leaflets, branching stems and protective thorns. The result exemplifies the dual character of his work. It is sufficiently precise to reward botanical scrutiny, yet arranged with the balance and tonal sensitivity of an independent flower portrait.
The plate’s lasting appeal lies in this equilibrium between abundance and restraint. The rose itself is almost extravagant, but the surrounding page is calm; the bloom is softly modulated, while the foliage is crisp and structural. For admirers of botanical art, historic gardens or roses in particular, Redouté’s study offers both a lucid record of a cultivated flower and an exceptionally attentive account of how petals, leaves and stems occupy space.
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.
