Rare Plants Cultivated at Malmaison and Navarre (Plate 53) by Pierre Joseph Redouté, 1813
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Restaurata nel nostro laboratorio di Londra dall’opera originale del 1813 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.
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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 1813 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Plate 53 from Description des plantes rares cultivées à Malmaison et à Navarre, created in 1813, presents a single flowering...
Continua a leggerePierre-Joseph Redouté’s Plate 53 from Description des plantes rares cultivées à Malmaison et à Navarre, created in 1813, presents a single flowering specimen with characteristic clarity and restraint. A tall, leafy stem rises through the centre of the page towards a compact crown of vivid pink blooms, their layered petals standing out against the warm, creamy ground. Below, smaller studies of the plant’s reproductive structures extend the composition beyond floral portraiture, turning it into a concise visual account of growth, form and propagation.
The plate belongs to a publication devoted to unusual cultivated plants associated with the gardens of Malmaison and Navarre. Such gardens were places not only of display but also of horticultural experiment, shaped by the early nineteenth century’s expanding enthusiasm for collecting, cultivating and classifying plants from across the world. Redouté was exceptionally well suited to this setting. Celebrated for bringing scientific observation and compositional grace into close alignment, he became closely associated with the refined botanical culture of Napoleonic France. His plants are carefully recorded, yet never reduced to dry diagrams.
A closer look
The composition is built around a strong vertical movement. Slender stems carry the eye upwards through alternating leaves, some broad and fully opened, others smaller and more tightly held. Their greens shift subtly from fresh yellow-green highlights to deeper, cooler shadows. Fine veins articulate the larger leaves, while delicate shading along their edges and undersides suggests that they turn and curl in space. The result is dimensional without losing the clean precision expected of a botanical plate.
At the upper centre, the flowers gather into a dense, irregular cluster. Their pink is not uniform: richer notes occur within the folds and centres, while paler areas define the outer petals. Slight variations in angle and colour prevent the group from becoming an ornamental mass; individual blossoms can still be distinguished within the whole. The flowers’ rounded abundance also provides an effective counterweight to the narrow stem beneath, giving the otherwise slender composition a concentrated point of colour and visual weight.
Near the lower edge, the main specimen is accompanied by small, carefully spaced botanical details, including seed-like forms and an elongated pod. Arranged with the economy of a scientific diagram, these elements reveal aspects of the plant that the flowering stem alone cannot show. A cursive botanical caption anchors the study without disturbing the generous field of negative space. That open ground is essential to Redouté’s design: it isolates every contour, allowing the branching stem, serrated foliage and minute reproductive structures to remain legible.
Context and significance
Botanical illustration flourished during Redouté’s lifetime as horticulture, scientific classification and elite garden culture became increasingly intertwined. Images of cultivated rarities served as records of specimens that might flower only briefly or prove difficult to maintain, while also circulating knowledge beyond the garden itself. The finest plates therefore had to meet two demands at once: fidelity to botanical structure and sufficient visual refinement for prestigious publications. Redouté’s reputation rests largely on the ease with which he reconciled them.
This 1813 study exemplifies that balance. Its usefulness lies in the exact description of leaves, flowers, stems and seed structures; its artistic appeal comes from their measured spacing, gentle modelling and poised ascent through the page. Seen closely, the plate is less a static floral arrangement than a carefully organised sequence of botanical information, carried from the smallest lower details to the brilliant flowering crown.
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.
Pierre-Joseph Redouté’s Plate 53 from Description des plantes rares cultivées à Malmaison et à Navarre, created in 1813, presents a single flowering specimen with characteristic clarity and restraint. A tall, leafy stem rises through the centre of the page towards a compact crown of vivid pink blooms, their layered petals standing out against the warm, creamy ground. Below, smaller studies of the plant’s reproductive structures extend the composition beyond floral portraiture, turning it into a concise visual account of growth, form and propagation.
The plate belongs to a publication devoted to unusual cultivated plants associated with the gardens of Malmaison and Navarre. Such gardens were places not only of display but also of horticultural experiment, shaped by the early nineteenth century’s expanding enthusiasm for collecting, cultivating and classifying plants from across the world. Redouté was exceptionally well suited to this setting. Celebrated for bringing scientific observation and compositional grace into close alignment, he became closely associated with the refined botanical culture of Napoleonic France. His plants are carefully recorded, yet never reduced to dry diagrams.
A closer look
The composition is built around a strong vertical movement. Slender stems carry the eye upwards through alternating leaves, some broad and fully opened, others smaller and more tightly held. Their greens shift subtly from fresh yellow-green highlights to deeper, cooler shadows. Fine veins articulate the larger leaves, while delicate shading along their edges and undersides suggests that they turn and curl in space. The result is dimensional without losing the clean precision expected of a botanical plate.
At the upper centre, the flowers gather into a dense, irregular cluster. Their pink is not uniform: richer notes occur within the folds and centres, while paler areas define the outer petals. Slight variations in angle and colour prevent the group from becoming an ornamental mass; individual blossoms can still be distinguished within the whole. The flowers’ rounded abundance also provides an effective counterweight to the narrow stem beneath, giving the otherwise slender composition a concentrated point of colour and visual weight.
Near the lower edge, the main specimen is accompanied by small, carefully spaced botanical details, including seed-like forms and an elongated pod. Arranged with the economy of a scientific diagram, these elements reveal aspects of the plant that the flowering stem alone cannot show. A cursive botanical caption anchors the study without disturbing the generous field of negative space. That open ground is essential to Redouté’s design: it isolates every contour, allowing the branching stem, serrated foliage and minute reproductive structures to remain legible.
Context and significance
Botanical illustration flourished during Redouté’s lifetime as horticulture, scientific classification and elite garden culture became increasingly intertwined. Images of cultivated rarities served as records of specimens that might flower only briefly or prove difficult to maintain, while also circulating knowledge beyond the garden itself. The finest plates therefore had to meet two demands at once: fidelity to botanical structure and sufficient visual refinement for prestigious publications. Redouté’s reputation rests largely on the ease with which he reconciled them.
This 1813 study exemplifies that balance. Its usefulness lies in the exact description of leaves, flowers, stems and seed structures; its artistic appeal comes from their measured spacing, gentle modelling and poised ascent through the page. Seen closely, the plate is less a static floral arrangement than a carefully organised sequence of botanical information, carried from the smallest lower details to the brilliant flowering crown.
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.
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.
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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 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.
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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.
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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
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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.
