Rare Plants Cultivated at Malmaison and Navarre (Plate 34) by Pierre Joseph Redouté, 1813
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Restaurata dall’opera originale del 1813 e stampata in qualità museale. Descrizione completa
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Plate 34 from Pierre Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, dated 1813, gives a single flowering...
Continua a leggerePlate 34 from Pierre Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, dated 1813, gives a single flowering branch an almost portrait-like presence. A large bloom composed of innumerable pink-red filaments crowns the slender stem, while glossy green leaves spread beneath it in a measured sequence. The plant is isolated against a pale ground, allowing the eye to follow every change in contour: from the compact unopened bud at upper left to the softly illuminated flower and the branching structure below.
Redouté was among the most accomplished botanical painters of the late eighteenth and early nineteenth centuries, admired for reconciling scientific observation with exceptional compositional refinement. This plate belongs to the culture of horticultural collecting in the Napoleonic era, when rare and exotic plants cultivated in elite gardens were studied, classified and recorded with increasing care. Malmaison and Navarre were closely associated with Joséphine de Beauharnais, whose interest in botany and ambitious plant collections made her estates important settings for such work. Redouté’s contribution was to make the botanical record precise without sacrificing the individual character of the specimen.
A closer look
The flower dominates the upper half of the plate. Its mass is built from fine, radiating filaments rather than broad petals, producing a texture that seems at once feathery and densely packed. Subtle variations run through the colour, from warmer coral-pink passages to deeper red accents and paler highlights. These shifts keep the bloom from reading as a flat disc; instead, its rounded volume emerges gradually from the accumulation of minute marks.
Beneath it, the foliage provides a cooler and more structured counterpoint. The elongated elliptical leaves overlap at different angles, creating a modest sense of depth while preserving the clarity required of botanical illustration. Their central veins and finer branching lines are carefully articulated, and touches of lighter green suggest the sheen of their surfaces. The brown stem remains slender but visually essential, joining the bloom, bud and leaves into a coherent specimen rather than a decorative bouquet.
The unopened bud in the upper-left corner is easy to overlook, yet it gives the study a sense of botanical sequence by showing another stage of growth beside the mature flower. Near the lower right are faint subsidiary anatomical studies, discreetly separated from the principal branch. Below the plant, the delicate script reading “M. bistridis” functions as an identifying caption while remaining visually subordinate to the specimen itself. Throughout, the generous pale space around the forms is active rather than empty: it sharpens the silhouette and lends the composition its poised, spacious character.
Context and significance
Botanical plates of this period occupied a productive middle ground between art and science. They needed to communicate structure accurately enough to support study, yet they also served a readership fascinated by the visual novelty of rare cultivated plants. Redouté’s particular distinction lay in his ability to organise stems, foliage and flowers with the restraint of a scientific record and the rhythm of a carefully considered design.
Plate 34 exemplifies that balance. Its most spectacular feature—the soft burst of the pink flower—is never allowed to obscure the quieter evidence of leaf venation, budding growth and supporting stem. The result is both an exacting study and an elegant document of the early nineteenth century’s intense engagement with horticulture, collecting and the close observation of living form.
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 24x36in (60x90cm) 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.
Plate 34 from Pierre Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, dated 1813, gives a single flowering branch an almost portrait-like presence. A large bloom composed of innumerable pink-red filaments crowns the slender stem, while glossy green leaves spread beneath it in a measured sequence. The plant is isolated against a pale ground, allowing the eye to follow every change in contour: from the compact unopened bud at upper left to the softly illuminated flower and the branching structure below.
Redouté was among the most accomplished botanical painters of the late eighteenth and early nineteenth centuries, admired for reconciling scientific observation with exceptional compositional refinement. This plate belongs to the culture of horticultural collecting in the Napoleonic era, when rare and exotic plants cultivated in elite gardens were studied, classified and recorded with increasing care. Malmaison and Navarre were closely associated with Joséphine de Beauharnais, whose interest in botany and ambitious plant collections made her estates important settings for such work. Redouté’s contribution was to make the botanical record precise without sacrificing the individual character of the specimen.
A closer look
The flower dominates the upper half of the plate. Its mass is built from fine, radiating filaments rather than broad petals, producing a texture that seems at once feathery and densely packed. Subtle variations run through the colour, from warmer coral-pink passages to deeper red accents and paler highlights. These shifts keep the bloom from reading as a flat disc; instead, its rounded volume emerges gradually from the accumulation of minute marks.
Beneath it, the foliage provides a cooler and more structured counterpoint. The elongated elliptical leaves overlap at different angles, creating a modest sense of depth while preserving the clarity required of botanical illustration. Their central veins and finer branching lines are carefully articulated, and touches of lighter green suggest the sheen of their surfaces. The brown stem remains slender but visually essential, joining the bloom, bud and leaves into a coherent specimen rather than a decorative bouquet.
The unopened bud in the upper-left corner is easy to overlook, yet it gives the study a sense of botanical sequence by showing another stage of growth beside the mature flower. Near the lower right are faint subsidiary anatomical studies, discreetly separated from the principal branch. Below the plant, the delicate script reading “M. bistridis” functions as an identifying caption while remaining visually subordinate to the specimen itself. Throughout, the generous pale space around the forms is active rather than empty: it sharpens the silhouette and lends the composition its poised, spacious character.
Context and significance
Botanical plates of this period occupied a productive middle ground between art and science. They needed to communicate structure accurately enough to support study, yet they also served a readership fascinated by the visual novelty of rare cultivated plants. Redouté’s particular distinction lay in his ability to organise stems, foliage and flowers with the restraint of a scientific record and the rhythm of a carefully considered design.
Plate 34 exemplifies that balance. Its most spectacular feature—the soft burst of the pink flower—is never allowed to obscure the quieter evidence of leaf venation, budding growth and supporting stem. The result is both an exacting study and an elegant document of the early nineteenth century’s intense engagement with horticulture, collecting and the close observation of living form.
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 24x36in (60x90cm) 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.
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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.
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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.
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