Snapdragon (Antirrhinum, Plate 49) by Pierre Joseph Redouté, 1827
Authentic artwork
The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored in our London workshop from the original 1827 artwork and printed to museum-grade archival standards. Full description
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Choose two eligible works and receive 20% off both. Choose three and the lowest-priced one is complimentary, a maximum saving of 33%.
Mix and match eligible standard maps and fine-art prints. No code is required; the offer is applied automatically at checkout.
Standard made-to-order configurations are included. Bespoke sizes, personalised designs and commissioned work are excluded.
Need delivery to different addresses? Contact us before ordering.The Collector’s Offer
Choose two eligible works and receive 20% off both. Choose three and the lowest-priced one is complimentary, a maximum saving of 33%.
Mix and match eligible standard maps and fine-art prints. No code is required; the offer is applied automatically at checkout.
Standard made-to-order configurations are included. Bespoke sizes, personalised designs and commissioned work are excluded.
Need delivery to different addresses? Contact us before ordering.
Restored in London • Printed and framed in the USA
Authentic artwork
The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored from the original 1827 artwork and printed to museum-grade archival standards. Full description
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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.
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Pierre-Joseph Redouté’s Plate 49 from Choix des plus belles fleurs, published in 1827, presents the snapdragon genus Antirrhinum as a poised, upward-growing...
Continue readingPierre-Joseph Redouté’s Plate 49 from Choix des plus belles fleurs, published in 1827, presents the snapdragon genus Antirrhinum as a poised, upward-growing arrangement of scarlet flowers, unopened buds and broad green leaves. Rather than isolating a single bloom, Redouté follows the plant’s structure along its stem: the dense lower blossoms gradually give way to smaller forms and a tapering floral spike. Against the warm cream ground, the saturated reds appear especially vivid, while delicate shading gives each folded, pouch-like flower a convincing sense of volume.
Redouté was among the most admired botanical artists of the late eighteenth and early nineteenth centuries, celebrated for reconciling close observation with decorative refinement. Often called the “Raphael of flowers”, he gave botanical subjects a presence that extended beyond purely scientific illustration. Choix des plus belles fleurs—a title meaning “Selection of the Most Beautiful Flowers”—belongs to this tradition of presenting plants as both specimens to be studied and objects of cultivated pleasure. This plate demonstrates why his work appealed so readily to botanical and artistic audiences alike: the plant remains recognisable and structurally clear, yet its placement, colour and rhythm are handled with unusual grace.
A closer look
The composition is anchored by the large leaves in the lower half of the plate. Their overlapping shapes form a spreading green base, articulated by fine veins and gentle tonal transitions from deeper, cooler greens to paler illuminated areas. Several leaves tilt towards the viewer while others turn sideways, preventing the foliage from becoming a flat screen. Slender stems thread through this lower cluster, connecting buds and blossoms into a coherent study of growth rather than a conventional bouquet.
Above, the red flowers are arranged in a loose ascent. Their colour is not uniform: deeper crimson gathers around the shadowed bases and inner folds, while brighter vermilion and coral-red passages catch the light along the curved petals. These modulations clarify the snapdragon’s distinctive floral anatomy. The upper-right spike introduces a contrasting delicacy, its small buds and emerging flowers punctuating the stem with touches of green and muted purplish colour. This progression from mature bloom to tightly held bud quietly records different stages of development within one specimen.
Much of the plate’s freshness comes from the space around the plant. The unmarked cream field removes any suggestion of habitat and allows every contour to remain legible, from the serrated-looking edges and fine veins of the foliage to the minute attachments of buds along the upper stem. At the lower edge, the caption “Muflier a grandes fleurs. Antirrhinum.” places the French name beside the botanical designation, reminding us that the composition was made to identify as well as delight.
Context and significance
Botanical illustration in Redouté’s period occupied a productive territory between science, horticulture and the decorative arts. Accuracy mattered, but so did the ability to communicate a plant’s character: the weight of a leaf, the architecture of a stem, the softness of a petal and the sequence by which buds open into flowers. Redouté’s refined naturalism made these qualities immediately intelligible without sacrificing elegance.
In this study, that balance is especially apparent in the contrast between disciplined structure and luxuriant colour. The eye can trace the specimen botanically from foliage to flowering tip, yet it can also enjoy the irregular cadence of crimson forms rising through green. The result is at once an attentive record of Antirrhinum and a carefully judged floral composition, characteristic of the visual culture that made Redouté’s work so enduringly admired.
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 Plate 49 from Choix des plus belles fleurs, published in 1827, presents the snapdragon genus Antirrhinum as a poised, upward-growing arrangement of scarlet flowers, unopened buds and broad green leaves. Rather than isolating a single bloom, Redouté follows the plant’s structure along its stem: the dense lower blossoms gradually give way to smaller forms and a tapering floral spike. Against the warm cream ground, the saturated reds appear especially vivid, while delicate shading gives each folded, pouch-like flower a convincing sense of volume.
Redouté was among the most admired botanical artists of the late eighteenth and early nineteenth centuries, celebrated for reconciling close observation with decorative refinement. Often called the “Raphael of flowers”, he gave botanical subjects a presence that extended beyond purely scientific illustration. Choix des plus belles fleurs—a title meaning “Selection of the Most Beautiful Flowers”—belongs to this tradition of presenting plants as both specimens to be studied and objects of cultivated pleasure. This plate demonstrates why his work appealed so readily to botanical and artistic audiences alike: the plant remains recognisable and structurally clear, yet its placement, colour and rhythm are handled with unusual grace.
A closer look
The composition is anchored by the large leaves in the lower half of the plate. Their overlapping shapes form a spreading green base, articulated by fine veins and gentle tonal transitions from deeper, cooler greens to paler illuminated areas. Several leaves tilt towards the viewer while others turn sideways, preventing the foliage from becoming a flat screen. Slender stems thread through this lower cluster, connecting buds and blossoms into a coherent study of growth rather than a conventional bouquet.
Above, the red flowers are arranged in a loose ascent. Their colour is not uniform: deeper crimson gathers around the shadowed bases and inner folds, while brighter vermilion and coral-red passages catch the light along the curved petals. These modulations clarify the snapdragon’s distinctive floral anatomy. The upper-right spike introduces a contrasting delicacy, its small buds and emerging flowers punctuating the stem with touches of green and muted purplish colour. This progression from mature bloom to tightly held bud quietly records different stages of development within one specimen.
Much of the plate’s freshness comes from the space around the plant. The unmarked cream field removes any suggestion of habitat and allows every contour to remain legible, from the serrated-looking edges and fine veins of the foliage to the minute attachments of buds along the upper stem. At the lower edge, the caption “Muflier a grandes fleurs. Antirrhinum.” places the French name beside the botanical designation, reminding us that the composition was made to identify as well as delight.
Context and significance
Botanical illustration in Redouté’s period occupied a productive territory between science, horticulture and the decorative arts. Accuracy mattered, but so did the ability to communicate a plant’s character: the weight of a leaf, the architecture of a stem, the softness of a petal and the sequence by which buds open into flowers. Redouté’s refined naturalism made these qualities immediately intelligible without sacrificing elegance.
In this study, that balance is especially apparent in the contrast between disciplined structure and luxuriant colour. The eye can trace the specimen botanically from foliage to flowering tip, yet it can also enjoy the irregular cadence of crimson forms rising through green. The result is at once an attentive record of Antirrhinum and a carefully judged floral composition, characteristic of the visual culture that made Redouté’s work so enduringly admired.
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.
Many of our maps and art prints are chosen as thoughtful gifts for homes, offices, studies and meaningful places.
Choose a framed option for the easiest ready-to-hang gift, or choose an unframed print if the recipient may prefer to select their own frame.
We make orders locally in 23 countries around the world, so gifts can often be produced close to the recipient. This helps them arrive faster, travel more safely, and avoid customs or import duty surprises.
- We can deliver directly to the recipient
- Framed pieces arrive ready to hang
- Unframed prints are carefully packed in a strong protective tube
- Almost every order is made locally, for faster, safer gifting
- 90-day returns give the recipient time to decide
If you are not sure what to choose, please contact us. We can help you pick the right map, size, finish or delivery option.
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.
We work with interior designers, hospitality businesses, property professionals, offices and corporate buyers on individual pieces and larger coordinated projects.
This artwork can be adapted for a particular wall, room or project, and our workshop can help coordinate the dimensions, material and framing before production.
- Exact, oversized and made-to-measure dimensions
- Custom framing, mounting and alternative materials
- Coordinated pieces for several rooms or locations
- Art personalisation, to adjust the colour and style of the piece
- Art and framing guidance from our workshop
- Local production for projects around the world
Every restored art print begins with the original artist’s work—never an AI-generated replacement.
Our London studio works from carefully selected source material from museums, libraries, archives and private collections. We restore age-related damage, faded colour and imperfect reproduction while preserving the artist’s composition, brushwork, line, texture and period character.
We do not use generative AI to redraw, reinterpret or invent the artwork. Digital restoration is used only to recover and reproduce the original work as faithfully as possible.
Once restored, the master artwork is prepared for your chosen size and finish. Your piece is then printed and, where selected, framed close to its delivery destination.
Our giclée art prints use acid-free 200gsm archival matte paper and fade-resistant pigment inks for a rich, museum-quality finish. Framed art prints use crystal-clear optical acrylic and arrive ready to hang.
Framed canvas and specialist cotton-rag editions are also available. Learn more about our materials and finishes.
We’ve been restoring and producing maps and art prints since 1984, and we stand behind every piece.
Every order is covered by our 10-year guarantee and damage-free delivery guarantee. If your piece arrives damaged, we’ll replace or remake it free of charge. If anything else isn’t right, contact our workshop team and we’ll put it right promptly.
See our returns and refund policy for full details.
