Tuberose (Polianthes tuberosa, Plate 6) 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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Pierre Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 06, dated 1805, presents the tuberose (Polyanthes tuberosa) as a poised vertical...
Continua a leggerePierre Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 06, dated 1805, presents the tuberose (Polyanthes tuberosa) as a poised vertical study. A firm green stem rises into a loose cluster of white, elongated flowers, their petals touched with the faintest blush of pink. Below, slender leaves sweep downwards and out towards the right, offsetting the upright flower spike with a graceful curve. The pale, largely unoccupied ground gives every contour room to register.
Redouté was among the most accomplished botanical illustrators of the early nineteenth century, combining close natural observation with an unusually refined sense of composition. His images served a culture in which botany brought together scientific study, horticulture and cultivated leisure. The title connects this plate with the botanical writings of Jean-Jacques Rousseau, whose engagement with plants formed a distinctive, less familiar aspect of his intellectual life. Rather than treating the specimen as ornament alone, Redouté makes its structure legible while preserving the visual character of a living plant.
A closer look
The eye is drawn first to the flowers gathered across the upper centre. They do not form a rigidly symmetrical head: individual blooms turn in slightly different directions, overlap one another and open to varying degrees. This irregular spacing gives the cluster a natural rhythm. Gentle shading within the white petals establishes their curled and projecting forms, while restrained pink accents along some edges prevent the flowers from dissolving into the light background.
The sturdy central stem provides the composition with its axis. Subtle stippling and tonal transitions suggest a smooth but tangible surface, and the small changes in width help convey the way the plant supports the weight of its blossoms. Around it, the leaves introduce longer, more emphatic lines. Their narrow blades arch and taper, with fine veins visible within the green. The strongest sweep occurs on the right, where the foliage carries the composition beyond the central stalk and creates an elegant asymmetry.
Smaller details reward close attention. A nearly closed bud at the lower right records a different stage of growth from the open flowers above, while darker touches of foliage near the upper left add modest depth to the arrangement. The layering is carefully controlled: overlapping petals and leaves establish spatial recession without requiring a setting or landscape. At the lower centre, the inscription “Polyanthes Tuberosa” identifies the specimen, anchoring the graceful presentation in the classificatory purpose of botanical illustration.
Context and significance
Botanical plates of this period had to negotiate two demands. They needed sufficient precision to communicate the plant’s identifying features, yet they were also intended for readers who appreciated flowers as objects of cultivation and aesthetic study. Redouté excelled at this balance. Here, the clear silhouette, visible leaf structure and differing states of bloom contribute to botanical understanding; the measured intervals of empty space, delicate colour transitions and carefully judged curves turn that information into a coherent composition.
The tuberose is particularly suited to Redouté’s restrained approach. Its pale flowers might easily have appeared flat, but small shadows, pink inflections and sharply observed reproductive details give the cluster volume and variety. The result is both descriptive and quietly decorative: a study in which scientific attention is inseparable from the pleasure of looking.
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. 06, dated 1805, presents the tuberose (Polyanthes tuberosa) as a poised vertical study. A firm green stem rises into a loose cluster of white, elongated flowers, their petals touched with the faintest blush of pink. Below, slender leaves sweep downwards and out towards the right, offsetting the upright flower spike with a graceful curve. The pale, largely unoccupied ground gives every contour room to register.
Redouté was among the most accomplished botanical illustrators of the early nineteenth century, combining close natural observation with an unusually refined sense of composition. His images served a culture in which botany brought together scientific study, horticulture and cultivated leisure. The title connects this plate with the botanical writings of Jean-Jacques Rousseau, whose engagement with plants formed a distinctive, less familiar aspect of his intellectual life. Rather than treating the specimen as ornament alone, Redouté makes its structure legible while preserving the visual character of a living plant.
A closer look
The eye is drawn first to the flowers gathered across the upper centre. They do not form a rigidly symmetrical head: individual blooms turn in slightly different directions, overlap one another and open to varying degrees. This irregular spacing gives the cluster a natural rhythm. Gentle shading within the white petals establishes their curled and projecting forms, while restrained pink accents along some edges prevent the flowers from dissolving into the light background.
The sturdy central stem provides the composition with its axis. Subtle stippling and tonal transitions suggest a smooth but tangible surface, and the small changes in width help convey the way the plant supports the weight of its blossoms. Around it, the leaves introduce longer, more emphatic lines. Their narrow blades arch and taper, with fine veins visible within the green. The strongest sweep occurs on the right, where the foliage carries the composition beyond the central stalk and creates an elegant asymmetry.
Smaller details reward close attention. A nearly closed bud at the lower right records a different stage of growth from the open flowers above, while darker touches of foliage near the upper left add modest depth to the arrangement. The layering is carefully controlled: overlapping petals and leaves establish spatial recession without requiring a setting or landscape. At the lower centre, the inscription “Polyanthes Tuberosa” identifies the specimen, anchoring the graceful presentation in the classificatory purpose of botanical illustration.
Context and significance
Botanical plates of this period had to negotiate two demands. They needed sufficient precision to communicate the plant’s identifying features, yet they were also intended for readers who appreciated flowers as objects of cultivation and aesthetic study. Redouté excelled at this balance. Here, the clear silhouette, visible leaf structure and differing states of bloom contribute to botanical understanding; the measured intervals of empty space, delicate colour transitions and carefully judged curves turn that information into a coherent composition.
The tuberose is particularly suited to Redouté’s restrained approach. Its pale flowers might easily have appeared flat, but small shadows, pink inflections and sharply observed reproductive details give the cluster volume and variety. The result is both descriptive and quietly decorative: a study in which scientific attention is inseparable from the pleasure of looking.
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.
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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.
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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
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
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- 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.
