Rare Plants Cultivated at Malmaison and Navarre (Plate 52) by Pierre Joseph Redouté, 1813
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Restaurata nel nostro laboratorio di Londra dall’opera originale del 1813 e stampata in qualità museale. Descrizione completa
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Restaurato a Londra • Stampato e incorniciato in the UK
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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 dall’opera originale del 1813 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Plate 52 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a flowering plant...
Continua a leggerePierre-Joseph Redouté’s Plate 52 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a flowering plant as an elegant, self-contained study. Its branching stems rise through the centre of the composition, carrying serrated green leaves and vivid blossoms in red and yellow. Set against a pale cream ground, the specimen appears both abundant and remarkably orderly: each leaf remains distinct, while the concentrated colour of the flowers draws the eye towards the upper part of the plate.
Redouté was among the most celebrated botanical illustrators of the early nineteenth century, admired for reconciling scientific observation with exceptional compositional refinement. This plate belongs to a culture in which gardens, botanical classification and the cultivation of rare plants were closely intertwined. Malmaison and Navarre were associated with Empress Joséphine, whose interest in horticulture helped make her gardens notable centres for unusual and exotic specimens. Redouté’s contribution to their visual record gave these plants a life beyond the garden, preserving their structures in images intended to be instructive as well as aesthetically accomplished.
A closer look
The composition is organised around a slender central stem from which the foliage opens in alternating directions. Larger leaves occupy the middle and lower sections, their finely serrated edges giving the silhouette an animated, almost feathery rhythm. Pale veins travel across their surfaces, while subtle shifts from fresh green to deeper olive suggest the leaves turning towards or away from the light. Gentle shading beneath several forms adds depth without compromising the plate’s clarity.
At the summit, the blossoms provide the strongest chromatic emphasis. Saturated red petals surround brilliant yellow centres and projecting flower parts, creating a sharp but controlled contrast with the foliage. Redouté carefully varies the flowers’ positions: some face outward, others turn to the side, allowing their layered construction to be understood from more than one angle. The transition between yellow and red is softly modulated rather than abrupt, lending the cluster a luminous, living quality.
The generous negative space is an active part of the design. With no landscape or decorative setting to compete with the specimen, the eye can follow the plant from its lower stem to its spreading leaves and final burst of colour. Fine linear studies near the lower right introduce smaller botanical details, while the handwritten caption along the lower edge identifies the subject as “Bojixa Coccinea”. These restrained additions retain the character of a scientific plate without disturbing the central plant’s graceful vertical movement.
Context and significance
Botanical illustration occupied a distinctive position in the early nineteenth century, serving science, horticulture and visual culture at once. Before photography, an accomplished illustrator could clarify features that might be difficult to preserve in a dried specimen: the turn of a petal, the colour of a fresh flower, or the relationship between leaf, stem and bloom. Redouté was particularly adept at making such information immediately legible while allowing the plant to retain its individuality.
Plate 52 demonstrates why his work reached beyond specialist botanical circles. Precise contours and close observation provide a disciplined record, yet the balanced branching, spacious ground and carefully controlled palette give the study its decorative poise. The result is not merely an inventory of botanical features, but a measured portrait of a single cultivated plant at the height of flowering.
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 Plate 52 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a flowering plant as an elegant, self-contained study. Its branching stems rise through the centre of the composition, carrying serrated green leaves and vivid blossoms in red and yellow. Set against a pale cream ground, the specimen appears both abundant and remarkably orderly: each leaf remains distinct, while the concentrated colour of the flowers draws the eye towards the upper part of the plate.
Redouté was among the most celebrated botanical illustrators of the early nineteenth century, admired for reconciling scientific observation with exceptional compositional refinement. This plate belongs to a culture in which gardens, botanical classification and the cultivation of rare plants were closely intertwined. Malmaison and Navarre were associated with Empress Joséphine, whose interest in horticulture helped make her gardens notable centres for unusual and exotic specimens. Redouté’s contribution to their visual record gave these plants a life beyond the garden, preserving their structures in images intended to be instructive as well as aesthetically accomplished.
A closer look
The composition is organised around a slender central stem from which the foliage opens in alternating directions. Larger leaves occupy the middle and lower sections, their finely serrated edges giving the silhouette an animated, almost feathery rhythm. Pale veins travel across their surfaces, while subtle shifts from fresh green to deeper olive suggest the leaves turning towards or away from the light. Gentle shading beneath several forms adds depth without compromising the plate’s clarity.
At the summit, the blossoms provide the strongest chromatic emphasis. Saturated red petals surround brilliant yellow centres and projecting flower parts, creating a sharp but controlled contrast with the foliage. Redouté carefully varies the flowers’ positions: some face outward, others turn to the side, allowing their layered construction to be understood from more than one angle. The transition between yellow and red is softly modulated rather than abrupt, lending the cluster a luminous, living quality.
The generous negative space is an active part of the design. With no landscape or decorative setting to compete with the specimen, the eye can follow the plant from its lower stem to its spreading leaves and final burst of colour. Fine linear studies near the lower right introduce smaller botanical details, while the handwritten caption along the lower edge identifies the subject as “Bojixa Coccinea”. These restrained additions retain the character of a scientific plate without disturbing the central plant’s graceful vertical movement.
Context and significance
Botanical illustration occupied a distinctive position in the early nineteenth century, serving science, horticulture and visual culture at once. Before photography, an accomplished illustrator could clarify features that might be difficult to preserve in a dried specimen: the turn of a petal, the colour of a fresh flower, or the relationship between leaf, stem and bloom. Redouté was particularly adept at making such information immediately legible while allowing the plant to retain its individuality.
Plate 52 demonstrates why his work reached beyond specialist botanical circles. Precise contours and close observation provide a disciplined record, yet the balanced branching, spacious ground and carefully controlled palette give the study its decorative poise. The result is not merely an inventory of botanical features, but a measured portrait of a single cultivated plant at the height of flowering.
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.
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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.
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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
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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.
