Camellia Anemoniflora 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
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.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 Australia
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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Gift message & custom finish
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.
You can also contact us before you order, if you prefer!
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Plate 19 from Pierre-Joseph Redouté’s Choix des plus belles fleurs, published in 1827, gives a single red camellia Anemoniflora branch an almost...
Continue readingPlate 19 from Pierre-Joseph Redouté’s Choix des plus belles fleurs, published in 1827, gives a single red camellia Anemoniflora branch an almost portrait-like presence. A densely petalled bloom occupies the centre of the composition, its rounded mass balanced by a smaller bud to the right and a fan of glossy leaves to the left. Against the pale, unadorned ground, the flower’s crimson and rose tones appear especially vivid, while its off-centre placement preserves the irregular grace of a living stem.
Redouté was among the most celebrated botanical artists of the late eighteenth and early nineteenth centuries, admired for combining close observation with a refined decorative sensibility. Choix des plus belles fleurs belongs to a culture in which botanical illustration served several audiences at once: it recorded the structure and character of cultivated plants, appealed to an expanding horticultural interest, and offered images of considerable aesthetic sophistication. Redouté’s command of watercolour and engraving allowed subtle gradations of colour to coexist with the clarity expected of a botanical study.
A closer look
The fully opened flower is constructed from layer upon layer of curling petals. Their edges catch pale highlights, while deeper reds gather in the folds and towards the crowded centre. Rather than describing the bloom as a flat disc, Redouté uses these minute tonal changes to suggest its substantial, almost ruffled volume. Overlapping petals cast delicate shadows upon one another, giving the flower a sense of depth without resorting to dramatic contrast.
The foliage provides a cooler and more disciplined counterpoint. Leaves project in different directions from the stem, each one defined by a serrated edge, a firm central vein and finer branching lines. Their greens vary from muted olive to darker, more lustrous tones, with restrained highlights following the gentle curvature of their surfaces. The arrangement is carefully balanced but not rigidly symmetrical: leaves overlap, turn and recede, preserving the appearance of natural growth.
To the right, the partially opened bud introduces a second stage in the plant’s development. Its enclosing green forms part just enough to reveal a flush of pink-red within, a small detail that echoes the mature bloom while remaining distinctly compact. Much of the page is left empty. This generous negative space isolates the branch, allowing the eye to move easily between petal, bud, stem and leaf rather than encountering the specimen within a crowded garden setting.
Context and significance
Botanical illustration of this period depended upon a productive tension between scientific legibility and visual pleasure. A specimen needed to be sufficiently precise for its characteristic forms to be understood, yet publications devoted to prized flowers also presented nature as an object of cultivation, connoisseurship and taste. Redouté was exceptionally well suited to this double purpose. His flowers retain identifiable structures and textures, but their placement on the page is governed by an assured feeling for rhythm, proportion and silhouette.
This plate is particularly effective because its drama arises from restraint. There is no surrounding landscape and no ornamental border; the entire composition turns upon the contrast between one saturated bloom, cool green foliage and a quiet cream ground. Close inspection reveals the precision of the leaf veins and petal folds, while from a distance the branch reads as a poised arrangement of colour and form—an eloquent example of the point at which botanical record becomes floral portraiture.
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.
Plate 19 from Pierre-Joseph Redouté’s Choix des plus belles fleurs, published in 1827, gives a single red camellia Anemoniflora branch an almost portrait-like presence. A densely petalled bloom occupies the centre of the composition, its rounded mass balanced by a smaller bud to the right and a fan of glossy leaves to the left. Against the pale, unadorned ground, the flower’s crimson and rose tones appear especially vivid, while its off-centre placement preserves the irregular grace of a living stem.
Redouté was among the most celebrated botanical artists of the late eighteenth and early nineteenth centuries, admired for combining close observation with a refined decorative sensibility. Choix des plus belles fleurs belongs to a culture in which botanical illustration served several audiences at once: it recorded the structure and character of cultivated plants, appealed to an expanding horticultural interest, and offered images of considerable aesthetic sophistication. Redouté’s command of watercolour and engraving allowed subtle gradations of colour to coexist with the clarity expected of a botanical study.
A closer look
The fully opened flower is constructed from layer upon layer of curling petals. Their edges catch pale highlights, while deeper reds gather in the folds and towards the crowded centre. Rather than describing the bloom as a flat disc, Redouté uses these minute tonal changes to suggest its substantial, almost ruffled volume. Overlapping petals cast delicate shadows upon one another, giving the flower a sense of depth without resorting to dramatic contrast.
The foliage provides a cooler and more disciplined counterpoint. Leaves project in different directions from the stem, each one defined by a serrated edge, a firm central vein and finer branching lines. Their greens vary from muted olive to darker, more lustrous tones, with restrained highlights following the gentle curvature of their surfaces. The arrangement is carefully balanced but not rigidly symmetrical: leaves overlap, turn and recede, preserving the appearance of natural growth.
To the right, the partially opened bud introduces a second stage in the plant’s development. Its enclosing green forms part just enough to reveal a flush of pink-red within, a small detail that echoes the mature bloom while remaining distinctly compact. Much of the page is left empty. This generous negative space isolates the branch, allowing the eye to move easily between petal, bud, stem and leaf rather than encountering the specimen within a crowded garden setting.
Context and significance
Botanical illustration of this period depended upon a productive tension between scientific legibility and visual pleasure. A specimen needed to be sufficiently precise for its characteristic forms to be understood, yet publications devoted to prized flowers also presented nature as an object of cultivation, connoisseurship and taste. Redouté was exceptionally well suited to this double purpose. His flowers retain identifiable structures and textures, but their placement on the page is governed by an assured feeling for rhythm, proportion and silhouette.
This plate is particularly effective because its drama arises from restraint. There is no surrounding landscape and no ornamental border; the entire composition turns upon the contrast between one saturated bloom, cool green foliage and a quiet cream ground. Close inspection reveals the precision of the leaf veins and petal folds, while from a distance the branch reads as a poised arrangement of colour and form—an eloquent example of the point at which botanical record becomes floral portraiture.
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.
