Ixia ramosulodes (Plate 11) by Pierre Joseph Redouté, 1805
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 1805 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.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
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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.
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 1805 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Les liliacées, Plate 11, dated 1805, presents Ixia ramosulodes as an upright, finely balanced botanical specimen. Five pale flowers gather...
Continua a leggerePierre-Joseph Redouté’s Les liliacées, Plate 11, dated 1805, presents Ixia ramosulodes as an upright, finely balanced botanical specimen. Five pale flowers gather near the top of a slender, gently curving stem, their warm yellow centres standing out against petals modelled in white and soft cream. Two long green leaves rise from the lower right, giving the otherwise delicate composition a firm, tapering structure. Set within generous empty space, the plant appears at once scientifically isolated and decoratively poised.
The plate belongs to Redouté’s celebrated study Les liliacées, issued between 1805 and 1816 according to the catalogue information. Created during a period of expanding interest in systematic natural history, the project reflects the close relationship between botanical study and artistic observation in the early nineteenth century. Redouté was particularly admired for scientific watercolours that combined descriptive clarity with remarkable grace: plants are not crowded into habitats or theatrical settings, but given the concentration usually reserved for portraiture. Here, every bloom, leaf and branching junction contributes to the identification of the specimen, while the elegant arrangement ensures that precision never becomes merely diagrammatic.
A closer look
The eye is drawn first to the upper centre, where the flowers overlap in a compact but irregular cluster. Some face outward, revealing their yellow markings, while others turn slightly aside, so that the fall and curvature of the petals can be read from different angles. Pale tonal transitions around their edges prevent the white blooms from disappearing into the background. Beneath them, narrow green bracts and short offshoots articulate the point at which each flower meets the main stem.
The plant’s lower half is much more restrained. The thin stem descends through open ground before meeting the two blade-like leaves at the right. Their deeper greens and visible veins provide a cool, substantial counterweight to the airy flower heads above. One leaf follows the stem closely; the other inclines away from it, creating a narrow interval of background between the forms. This small divergence gives the composition much of its asymmetry and natural rhythm.
Along the lower margin appears the handwritten French label “Ixia à fleurs raiponce.” Its flowing script is visually distinct from the crisp botanical contours, yet shares their delicacy. The lettering also recalls the plate’s original function as an identified botanical record rather than a free-standing flower study. Even the subdued shadowing around the base of the blossoms has a descriptive purpose, clarifying how petals overlap and how individual flowers occupy space within the cluster.
Context and significance
Redouté’s achievement lies in reconciling two demands that can easily pull apart: the need to record a plant’s structures faithfully and the desire to make those structures visually coherent. His restrained backgrounds remove distractions, while carefully controlled colour and fine outlines distinguish leaves, stems and reproductive details. This approach became closely associated with his reputation as one of the defining botanical artists of his era.
Les liliacées, Plate 11 rewards attention precisely because it is so economical. From a distance, it reads as a simple ascent of green and white; more closely viewed, it becomes an intricate sequence of branching stems, angled blooms, fine veins and minute yellow accents. The result is both a document of Ixia ramosulodes and an exceptionally lucid study in line, spacing and botanical form.
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 36x24in (90x60cm) 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 Les liliacées, Plate 11, dated 1805, presents Ixia ramosulodes as an upright, finely balanced botanical specimen. Five pale flowers gather near the top of a slender, gently curving stem, their warm yellow centres standing out against petals modelled in white and soft cream. Two long green leaves rise from the lower right, giving the otherwise delicate composition a firm, tapering structure. Set within generous empty space, the plant appears at once scientifically isolated and decoratively poised.
The plate belongs to Redouté’s celebrated study Les liliacées, issued between 1805 and 1816 according to the catalogue information. Created during a period of expanding interest in systematic natural history, the project reflects the close relationship between botanical study and artistic observation in the early nineteenth century. Redouté was particularly admired for scientific watercolours that combined descriptive clarity with remarkable grace: plants are not crowded into habitats or theatrical settings, but given the concentration usually reserved for portraiture. Here, every bloom, leaf and branching junction contributes to the identification of the specimen, while the elegant arrangement ensures that precision never becomes merely diagrammatic.
A closer look
The eye is drawn first to the upper centre, where the flowers overlap in a compact but irregular cluster. Some face outward, revealing their yellow markings, while others turn slightly aside, so that the fall and curvature of the petals can be read from different angles. Pale tonal transitions around their edges prevent the white blooms from disappearing into the background. Beneath them, narrow green bracts and short offshoots articulate the point at which each flower meets the main stem.
The plant’s lower half is much more restrained. The thin stem descends through open ground before meeting the two blade-like leaves at the right. Their deeper greens and visible veins provide a cool, substantial counterweight to the airy flower heads above. One leaf follows the stem closely; the other inclines away from it, creating a narrow interval of background between the forms. This small divergence gives the composition much of its asymmetry and natural rhythm.
Along the lower margin appears the handwritten French label “Ixia à fleurs raiponce.” Its flowing script is visually distinct from the crisp botanical contours, yet shares their delicacy. The lettering also recalls the plate’s original function as an identified botanical record rather than a free-standing flower study. Even the subdued shadowing around the base of the blossoms has a descriptive purpose, clarifying how petals overlap and how individual flowers occupy space within the cluster.
Context and significance
Redouté’s achievement lies in reconciling two demands that can easily pull apart: the need to record a plant’s structures faithfully and the desire to make those structures visually coherent. His restrained backgrounds remove distractions, while carefully controlled colour and fine outlines distinguish leaves, stems and reproductive details. This approach became closely associated with his reputation as one of the defining botanical artists of his era.
Les liliacées, Plate 11 rewards attention precisely because it is so economical. From a distance, it reads as a simple ascent of green and white; more closely viewed, it becomes an intricate sequence of branching stems, angled blooms, fine veins and minute yellow accents. The result is both a document of Ixia ramosulodes and an exceptionally lucid study in line, spacing and botanical form.
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 36x24in (90x60cm) 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.
