Erica fulgida (Plate 61) by Pierre Joseph Redouté, 1813
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 1813 e stampata in qualità museale. Descrizione completa
L’offerta del Collezionista
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.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.L’offerta del Collezionista
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.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.
Restaurato a Londra • Stampato e incorniciato in the UK
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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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.
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Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, Plate 61, published in 1813, presents Erica fulgida as both...
Continua a leggerePierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, Plate 61, published in 1813, presents Erica fulgida as both a botanical specimen and an elegantly ordered composition. A slender central stem rises through fine, needle-like foliage before opening into a dense crown of vivid pink flowers. Against the warm, pale ground, the blossoms appear unusually luminous: their tubular forms are modelled with delicate tonal shifts, while tiny yellow stamens sharpen the colour contrast at their tips.
The plate formed part of a wider project documenting rare plants cultivated at Malmaison and Navarre, estates associated with elite horticultural patronage in Napoleonic France. Such publications belonged to a culture in which botanical classification, ambitious gardening and the cultivation of unusual species were closely connected. Redouté brought exceptional refinement to this meeting of science and art. Celebrated as the “Raphael of flowers”, he produced plant studies precise enough to communicate structure, yet composed with a spaciousness and poise that gave them an appeal far beyond specialist botanical circles.
A closer look
The upper half contains the plate’s greatest concentration of colour. Numerous pink blooms gather around the tips of branching green stems, some shown almost frontally and others turning sideways to reveal their elongated profiles. Their arrangement is dense without becoming confused: minute changes in angle distinguish one flower from the next, while restrained shading gives the petals a soft sense of volume. The strongest pinks sit beside muted greens, making the flowering crown stand forward from the otherwise quiet surface.
Below, the plant narrows into a delicate framework of stems and leaves. Redouté’s line becomes especially fine here, tracing the slim foliage and subtle divisions between twigs. Slight variations of green prevent the structure from reading as a flat silhouette; darker touches define the joints and undersides, while paler passages suggest leaves catching the light. The generous unoccupied space around the specimen is equally important, isolating each contour and allowing the eye to follow the plant’s growth from base to flower.
Small numbered botanical details appear towards the lower left, separated from the principal stem for closer study. These supplementary forms shift the plate briefly from portrait-like presentation to analytical observation, drawing attention to components that might otherwise disappear within the crowded flower head. Beneath the specimen, the name Erica fulgida is written in a flowing script. Its calligraphic curves provide a graceful counterpoint to the plant’s upright structure and the disciplined precision of the numbered studies.
Context and significance
Redouté’s achievement lay in maintaining scientific legibility without sacrificing visual coherence. In this plate, the identifying features of the plant remain clear, but the specimen is not treated as a dry diagram. Its branching pattern creates a measured rhythm across the page, and the transition from sparse lower foliage to abundant blossom lends the composition a natural crescendo. The engraving’s delicate linework and luminous colour embody an early nineteenth-century ideal in which close observation and cultivated taste could reinforce one another.
Erica fulgida also reflects the period’s fascination with rare and carefully tended plants. Presented alone, without garden setting or decorative border, it becomes the complete subject of attention. The result is at once an informative botanical record and a remarkably poised study of growth, colour and form—one in which even the smallest stamen or numbered fragment contributes to the clarity of the whole.
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 Description des plantes rares cultivées à Malmaison et à Navarre, Plate 61, published in 1813, presents Erica fulgida as both a botanical specimen and an elegantly ordered composition. A slender central stem rises through fine, needle-like foliage before opening into a dense crown of vivid pink flowers. Against the warm, pale ground, the blossoms appear unusually luminous: their tubular forms are modelled with delicate tonal shifts, while tiny yellow stamens sharpen the colour contrast at their tips.
The plate formed part of a wider project documenting rare plants cultivated at Malmaison and Navarre, estates associated with elite horticultural patronage in Napoleonic France. Such publications belonged to a culture in which botanical classification, ambitious gardening and the cultivation of unusual species were closely connected. Redouté brought exceptional refinement to this meeting of science and art. Celebrated as the “Raphael of flowers”, he produced plant studies precise enough to communicate structure, yet composed with a spaciousness and poise that gave them an appeal far beyond specialist botanical circles.
A closer look
The upper half contains the plate’s greatest concentration of colour. Numerous pink blooms gather around the tips of branching green stems, some shown almost frontally and others turning sideways to reveal their elongated profiles. Their arrangement is dense without becoming confused: minute changes in angle distinguish one flower from the next, while restrained shading gives the petals a soft sense of volume. The strongest pinks sit beside muted greens, making the flowering crown stand forward from the otherwise quiet surface.
Below, the plant narrows into a delicate framework of stems and leaves. Redouté’s line becomes especially fine here, tracing the slim foliage and subtle divisions between twigs. Slight variations of green prevent the structure from reading as a flat silhouette; darker touches define the joints and undersides, while paler passages suggest leaves catching the light. The generous unoccupied space around the specimen is equally important, isolating each contour and allowing the eye to follow the plant’s growth from base to flower.
Small numbered botanical details appear towards the lower left, separated from the principal stem for closer study. These supplementary forms shift the plate briefly from portrait-like presentation to analytical observation, drawing attention to components that might otherwise disappear within the crowded flower head. Beneath the specimen, the name Erica fulgida is written in a flowing script. Its calligraphic curves provide a graceful counterpoint to the plant’s upright structure and the disciplined precision of the numbered studies.
Context and significance
Redouté’s achievement lay in maintaining scientific legibility without sacrificing visual coherence. In this plate, the identifying features of the plant remain clear, but the specimen is not treated as a dry diagram. Its branching pattern creates a measured rhythm across the page, and the transition from sparse lower foliage to abundant blossom lends the composition a natural crescendo. The engraving’s delicate linework and luminous colour embody an early nineteenth-century ideal in which close observation and cultivated taste could reinforce one another.
Erica fulgida also reflects the period’s fascination with rare and carefully tended plants. Presented alone, without garden setting or decorative border, it becomes the complete subject of attention. The result is at once an informative botanical record and a remarkably poised study of growth, colour and form—one in which even the smallest stamen or numbered fragment contributes to the clarity of the whole.
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.
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
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- 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 24 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.
