Persian Fritillary (Fritillaria persica) by Pierre Joseph Redouté, 1802
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 1802 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 1802 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.
You can also contact us before you order, if you prefer!
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Pierre-Joseph Redouté’s Fritillaria persica, dated 1802, presents the Persian fritillary as a slender, ascending column of leaves and nodding flowers. The plant...
Continua a leggerePierre-Joseph Redouté’s Fritillaria persica, dated 1802, presents the Persian fritillary as a slender, ascending column of leaves and nodding flowers. The plant is isolated against a pale cream ground, its upright stem giving structure to a composition enlivened by the repeated downward tilt of the blossoms. Purple tones deepen towards the petals’ edges, while small yellow accents within the flowers punctuate the surrounding greens. Scientific clarity and decorative rhythm are held in careful balance: each bloom is individually observed, yet together they form an elegant sequence along the stem.
Redouté helped establish the distinctive visual language of botanical illustration at the beginning of the nineteenth century, when the close study of plants was inseparable from the desire to classify and disseminate natural knowledge. Renowned for delicate engravings and watercolour studies, he treated flowers as both scientific specimens and compelling pictorial subjects. Here, the absence of a garden setting is significant. Nothing competes with the Persian fritillary’s structure, allowing its proportions, foliage and flowering habit to be read with the concentration of a botanical plate while retaining the refinement associated with Redouté’s work.
A closer look
The composition is organised around a strong central vertical. In the lower section, broad green leaves fan away from the stem, their gently curving silhouettes preventing the arrangement from appearing rigid. Fine lines trace veins and contours, while restrained tonal shifts suggest the leaves’ folds and subtle changes of direction. Their fresh greens are varied rather than uniform, moving between deeper shaded passages and lighter yellow-green edges.
Higher up, the plant becomes more intricate. The blossoms gather in loose tiers, each suspended on a short, curved stalk. Their bell-like forms overlap without merging, and slight differences in angle, size and openness give the cluster a natural irregularity. Soft shading across the purple petals describes their curvature, while glimpses of stamens and yellow-toned interiors reward closer attention. These warmer details are small but visually effective, breaking the cool dialogue between violet flowers and green foliage.
The spacious background is an active part of the design. Its warm, almost parchment-like cream separates every leaf tip and flower contour, preserving the specimen’s legibility from base to crown. Near the lower right, a small supplementary botanical detail appears apart from the principal stem, extending the plate’s observational purpose without disturbing its poised central arrangement. Beneath the plant, the names “Fritillaria Persica” and “Fritillaire de Perse” are set in delicate serif lettering, linking scientific nomenclature with a French-speaking readership.
Context and significance
Botanical plates of this period occupied a productive territory between art and science. They needed to record recognisable structures accurately, but they also depended upon decisions of scale, spacing, colour and emphasis. Redouté’s distinction lies in making those decisions appear effortless. The Persian fritillary is presented neither as a diagram nor as an ornamental bouquet: it remains a particular plant, with its own growth pattern and variations, while the disciplined use of negative space gives it unusual visual presence.
The result is characteristic of Redouté’s enduring appeal. Precise linework supports rather than overwhelms the flower, and the restrained palette allows minute yellow details and purple gradations to register clearly. For those interested in botanical art, horticulture or the history of natural observation, Fritillaria persica offers a particularly graceful example of how early nineteenth-century illustration could unite close scrutiny with compositional intelligence.
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 Fritillaria persica, dated 1802, presents the Persian fritillary as a slender, ascending column of leaves and nodding flowers. The plant is isolated against a pale cream ground, its upright stem giving structure to a composition enlivened by the repeated downward tilt of the blossoms. Purple tones deepen towards the petals’ edges, while small yellow accents within the flowers punctuate the surrounding greens. Scientific clarity and decorative rhythm are held in careful balance: each bloom is individually observed, yet together they form an elegant sequence along the stem.
Redouté helped establish the distinctive visual language of botanical illustration at the beginning of the nineteenth century, when the close study of plants was inseparable from the desire to classify and disseminate natural knowledge. Renowned for delicate engravings and watercolour studies, he treated flowers as both scientific specimens and compelling pictorial subjects. Here, the absence of a garden setting is significant. Nothing competes with the Persian fritillary’s structure, allowing its proportions, foliage and flowering habit to be read with the concentration of a botanical plate while retaining the refinement associated with Redouté’s work.
A closer look
The composition is organised around a strong central vertical. In the lower section, broad green leaves fan away from the stem, their gently curving silhouettes preventing the arrangement from appearing rigid. Fine lines trace veins and contours, while restrained tonal shifts suggest the leaves’ folds and subtle changes of direction. Their fresh greens are varied rather than uniform, moving between deeper shaded passages and lighter yellow-green edges.
Higher up, the plant becomes more intricate. The blossoms gather in loose tiers, each suspended on a short, curved stalk. Their bell-like forms overlap without merging, and slight differences in angle, size and openness give the cluster a natural irregularity. Soft shading across the purple petals describes their curvature, while glimpses of stamens and yellow-toned interiors reward closer attention. These warmer details are small but visually effective, breaking the cool dialogue between violet flowers and green foliage.
The spacious background is an active part of the design. Its warm, almost parchment-like cream separates every leaf tip and flower contour, preserving the specimen’s legibility from base to crown. Near the lower right, a small supplementary botanical detail appears apart from the principal stem, extending the plate’s observational purpose without disturbing its poised central arrangement. Beneath the plant, the names “Fritillaria Persica” and “Fritillaire de Perse” are set in delicate serif lettering, linking scientific nomenclature with a French-speaking readership.
Context and significance
Botanical plates of this period occupied a productive territory between art and science. They needed to record recognisable structures accurately, but they also depended upon decisions of scale, spacing, colour and emphasis. Redouté’s distinction lies in making those decisions appear effortless. The Persian fritillary is presented neither as a diagram nor as an ornamental bouquet: it remains a particular plant, with its own growth pattern and variations, while the disciplined use of negative space gives it unusual visual presence.
The result is characteristic of Redouté’s enduring appeal. Precise linework supports rather than overwhelms the flower, and the restrained palette allows minute yellow details and purple gradations to register clearly. For those interested in botanical art, horticulture or the history of natural observation, Fritillaria persica offers a particularly graceful example of how early nineteenth-century illustration could unite close scrutiny with compositional intelligence.
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.
