Camellia Japonica (Plate 16) 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
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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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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 Australia
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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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.
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Pierre-Joseph Redouté’s Choix des plus belles fleurs, plate 16, published in 1827, presents the Japanese camellia (Camellia japonica) as a poised arrangement...
Continua a leggerePierre-Joseph Redouté’s Choix des plus belles fleurs, plate 16, published in 1827, presents the Japanese camellia (Camellia japonica) as a poised arrangement of flower, bud and glossy foliage. A broad white bloom opens near the top of the upright branch, its layered petals gathered around a dense cluster of golden stamens. Deep green leaves extend below and to either side, while the generous pale ground gives every contour room to register.
The plate belongs to one of the most celebrated flower books of the early nineteenth century, a period in which botanical study, horticultural collecting and refined illustration were closely intertwined. Redouté helped establish an enduring visual language for botanical art: scientifically attentive yet never merely diagrammatic, with each plant composed to reveal both its structure and its ornamental character. His work found an audience among readers for whom knowledge of cultivated flowers was inseparable from an appreciation of graceful design.
A closer look
The open flower commands attention through subtle tonal modelling rather than emphatic outline. Its white petals are not rendered as a single flat mass: faint grey-green shadows distinguish one overlapping form from the next, while delicate gradations describe the petals as they turn towards and away from the light. At the centre, the warm yellow stamens introduce the plate’s strongest concentration of colour, their fine, radiating forms set against the cooler whites surrounding them.
Above and to the left, a tightly closed bud provides a quiet counterpoint to the expanded bloom. Its compressed shape suggests an earlier stage in the plant’s cycle, allowing the branch to function as more than an isolated floral portrait. The slender stem descends through the composition with restrained changes of brown and green, partly concealed by leaves that overlap it at different angles. These intersections create a shallow but persuasive sense of depth.
The foliage is observed with equal care. Some leaves face the viewer broadly, revealing sharply articulated veins; others tilt or curl, darkening towards their edges and undersides. Highlights across their surfaces convey the characteristic lustre of camellia leaves, while soft shadows separate one layer of greenery from another. The asymmetrical spread of the branch prevents the specimen from appearing rigid: visual weight shifts between the flower above and the fuller group of leaves towards the lower right. In the bottom corner, the delicate script label “Camellia Japonica” identifies the subject without disturbing the surrounding space.
Context and significance
Redouté was renowned for flower illustration in France, where his career unfolded amid an exceptional enthusiasm for botany and cultivated plants. His images addressed two kinds of attention at once. They recorded recognisable botanical characteristics—the branching stem, veined leaves, opening bud and reproductive structures—while arranging those details with the balance and restraint expected of a luxury flower book. The uncluttered ground was crucial to this approach, removing the specimen from a garden setting so that it could be examined closely while retaining the elegance of a formal portrait.
This camellia plate shows why Redouté’s work has remained so persuasive. The composition is economical, yet it contains several stages and textures: the folded bud, the fully opened flower, the bright filaments at its centre and the firm, reflective foliage below. Scientific observation and decorative judgement are held in unusually calm equilibrium, making the branch at once a botanical specimen and a study in white, green and gold.
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 16, published in 1827, presents the Japanese camellia (Camellia japonica) as a poised arrangement of flower, bud and glossy foliage. A broad white bloom opens near the top of the upright branch, its layered petals gathered around a dense cluster of golden stamens. Deep green leaves extend below and to either side, while the generous pale ground gives every contour room to register.
The plate belongs to one of the most celebrated flower books of the early nineteenth century, a period in which botanical study, horticultural collecting and refined illustration were closely intertwined. Redouté helped establish an enduring visual language for botanical art: scientifically attentive yet never merely diagrammatic, with each plant composed to reveal both its structure and its ornamental character. His work found an audience among readers for whom knowledge of cultivated flowers was inseparable from an appreciation of graceful design.
A closer look
The open flower commands attention through subtle tonal modelling rather than emphatic outline. Its white petals are not rendered as a single flat mass: faint grey-green shadows distinguish one overlapping form from the next, while delicate gradations describe the petals as they turn towards and away from the light. At the centre, the warm yellow stamens introduce the plate’s strongest concentration of colour, their fine, radiating forms set against the cooler whites surrounding them.
Above and to the left, a tightly closed bud provides a quiet counterpoint to the expanded bloom. Its compressed shape suggests an earlier stage in the plant’s cycle, allowing the branch to function as more than an isolated floral portrait. The slender stem descends through the composition with restrained changes of brown and green, partly concealed by leaves that overlap it at different angles. These intersections create a shallow but persuasive sense of depth.
The foliage is observed with equal care. Some leaves face the viewer broadly, revealing sharply articulated veins; others tilt or curl, darkening towards their edges and undersides. Highlights across their surfaces convey the characteristic lustre of camellia leaves, while soft shadows separate one layer of greenery from another. The asymmetrical spread of the branch prevents the specimen from appearing rigid: visual weight shifts between the flower above and the fuller group of leaves towards the lower right. In the bottom corner, the delicate script label “Camellia Japonica” identifies the subject without disturbing the surrounding space.
Context and significance
Redouté was renowned for flower illustration in France, where his career unfolded amid an exceptional enthusiasm for botany and cultivated plants. His images addressed two kinds of attention at once. They recorded recognisable botanical characteristics—the branching stem, veined leaves, opening bud and reproductive structures—while arranging those details with the balance and restraint expected of a luxury flower book. The uncluttered ground was crucial to this approach, removing the specimen from a garden setting so that it could be examined closely while retaining the elegance of a formal portrait.
This camellia plate shows why Redouté’s work has remained so persuasive. The composition is economical, yet it contains several stages and textures: the folded bud, the fully opened flower, the bright filaments at its centre and the firm, reflective foliage below. Scientific observation and decorative judgement are held in unusually calm equilibrium, making the branch at once a botanical specimen and a study in white, green and gold.
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
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- 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.
