Rare Plants of Malmaison and Navarre (Plate 16) by Pierre Joseph Redouté, 1813
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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 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 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 1813 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Plate 16 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, sets a tall flowering...
Continua a leggerePierre-Joseph Redouté’s Plate 16 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, sets a tall flowering stem against an almost unbroken cream ground. Clusters of elongated, richly red blossoms rise at measured intervals among slender green leaves, culminating in a particularly full crown near the top. The spare setting gives every bud, petal and branching stem unusual clarity, while the alternation of dense flower heads and open spaces lends the plant a gentle upward rhythm.
The plate belongs to a lavish botanical project devoted to rare plants cultivated at Malmaison and Navarre, estates associated with Empress Joséphine and her celebrated interest in horticulture. At Malmaison in particular, exotic and newly introduced specimens were gathered and cultivated at a moment when European botany was being reshaped by global collecting, classification and exchange. Redouté’s role was to make such plants legible without diminishing their visual character: his illustrations unite the discipline of scientific record with the poise and refinement expected of an imperial-era publication.
A closer look
The central stem acts as the composition’s spine. Its slight changes of direction prevent the arrangement from becoming rigid, while the flower clusters vary in scale and spacing as they ascend. Smaller buds and partially opened blooms appear lower down, suggesting successive stages of growth; above them, the mature flowers spread outwards in narrow, pointed forms. Fine pale lines run through the red petals, articulating their veining and subtly tempering the intensity of the colour.
The foliage is notably restrained. Thin leaves extend laterally from the stem, their muted and darker greens forming a cool counterpoint to the warm scarlet-red flowers. Gentle tonal shifts give the stems and petals roundness, yet the modelling never becomes heavy. Even where the growth is most intricate, Redouté maintains a clean separation between overlapping elements, allowing the viewer to follow individual leaves, buds and flower stalks through the larger botanical structure.
Near the lower edge, smaller studies of plant parts introduce a more explicitly analytical note. These subsidiary forms are separated from the principal specimen, encouraging close comparison of details that might otherwise be lost within the flowering stem. A flowing botanical inscription appears to identify the genus as Eriostemon; its elegant script is visually distinct from the precise linear description above, but belongs to the same scholarly ordering of the page. The surrounding emptiness is equally purposeful: rather than supplying a habitat, Redouté isolates the specimen so that its structure can be read from base to blossom.
Context and significance
Redouté became one of the defining botanical illustrators of the early nineteenth century, renowned for images that could satisfy both scientific and aesthetic expectations. His work emerged from a culture in which botany was at once a formal discipline, a fashionable pursuit and an expression of international curiosity. Rare cultivated plants carried particular interest because they embodied the expanding geographical reach of European gardens and the growing desire to document unfamiliar species with systematic accuracy.
This plate exemplifies Redouté’s ability to turn close observation into a lucid page design. The plant is neither reduced to a diagram nor embellished into fantasy: its branching habit, varied stages of flowering and fine surface details remain central. Yet the measured balance of red, green and open ground gives the study an unmistakably decorative presence—an elegant reconciliation of botanical evidence and artistic order.
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 16 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, sets a tall flowering stem against an almost unbroken cream ground. Clusters of elongated, richly red blossoms rise at measured intervals among slender green leaves, culminating in a particularly full crown near the top. The spare setting gives every bud, petal and branching stem unusual clarity, while the alternation of dense flower heads and open spaces lends the plant a gentle upward rhythm.
The plate belongs to a lavish botanical project devoted to rare plants cultivated at Malmaison and Navarre, estates associated with Empress Joséphine and her celebrated interest in horticulture. At Malmaison in particular, exotic and newly introduced specimens were gathered and cultivated at a moment when European botany was being reshaped by global collecting, classification and exchange. Redouté’s role was to make such plants legible without diminishing their visual character: his illustrations unite the discipline of scientific record with the poise and refinement expected of an imperial-era publication.
A closer look
The central stem acts as the composition’s spine. Its slight changes of direction prevent the arrangement from becoming rigid, while the flower clusters vary in scale and spacing as they ascend. Smaller buds and partially opened blooms appear lower down, suggesting successive stages of growth; above them, the mature flowers spread outwards in narrow, pointed forms. Fine pale lines run through the red petals, articulating their veining and subtly tempering the intensity of the colour.
The foliage is notably restrained. Thin leaves extend laterally from the stem, their muted and darker greens forming a cool counterpoint to the warm scarlet-red flowers. Gentle tonal shifts give the stems and petals roundness, yet the modelling never becomes heavy. Even where the growth is most intricate, Redouté maintains a clean separation between overlapping elements, allowing the viewer to follow individual leaves, buds and flower stalks through the larger botanical structure.
Near the lower edge, smaller studies of plant parts introduce a more explicitly analytical note. These subsidiary forms are separated from the principal specimen, encouraging close comparison of details that might otherwise be lost within the flowering stem. A flowing botanical inscription appears to identify the genus as Eriostemon; its elegant script is visually distinct from the precise linear description above, but belongs to the same scholarly ordering of the page. The surrounding emptiness is equally purposeful: rather than supplying a habitat, Redouté isolates the specimen so that its structure can be read from base to blossom.
Context and significance
Redouté became one of the defining botanical illustrators of the early nineteenth century, renowned for images that could satisfy both scientific and aesthetic expectations. His work emerged from a culture in which botany was at once a formal discipline, a fashionable pursuit and an expression of international curiosity. Rare cultivated plants carried particular interest because they embodied the expanding geographical reach of European gardens and the growing desire to document unfamiliar species with systematic accuracy.
This plate exemplifies Redouté’s ability to turn close observation into a lucid page design. The plant is neither reduced to a diagram nor embellished into fantasy: its branching habit, varied stages of flowering and fine surface details remain central. Yet the measured balance of red, green and open ground gives the study an unmistakably decorative presence—an elegant reconciliation of botanical evidence and artistic order.
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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- Possiamo consegnare direttamente al destinatario
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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.
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.
