Pierre Joseph Redouté’s Rosa Centifolia, published between 1817 and 1824, presents the centifolia or cabbage rose in luxuriant flower. A single branching stem fills the upright composition: the principal bloom opens on the right in densely layered pink petals, while a cluster of crimson buds rises towards the upper left. Deep green foliage and the warm cream ground temper these floral colours, giving the study both botanical clarity and an ornamental, almost sculptural presence.

Redouté was among the most accomplished flower painters of the late eighteenth and early nineteenth centuries, celebrated for combining close natural observation with exceptional refinement. His career developed within a European culture increasingly absorbed by botany, classification and the cultivation of rare or admired plants. He also worked for distinguished patrons, including Marie Antoinette and Joséphine de Beauharnais, whose celebrated interest in gardens formed part of the wider enthusiasm for botanical collecting. In Redouté’s hands, the scientific specimen became an object of sustained aesthetic attention: recognisable in its structure, yet arranged with the poise of a formal portrait.

A closer look

The great rose at centre right is built from successive, irregular rings of petals. Their colouring moves from pale blush at the outer edges to warmer pink and richer red nearer the crowded centre. Fine tonal transitions establish each fold without making the flower appear hard or diagrammatic; highlights catch the curled margins, while soft shadows gather between overlapping petals. The result conveys the distinctive fullness suggested by the name centifolia—literally “hundred-leaved” or “hundred-petalled”.

Above and to the left, the unopened buds provide a concentrated counterpoint to the expansive bloom. Their saturated red surfaces are enclosed by pointed green sepals, and subtle passages of highlight and shade give them rounded volume. This diagonal relationship between bud and flower quietly records different stages of growth. It also prevents the specimen from becoming rigidly symmetrical, guiding the eye across the branch before returning it to the dominant rose.

The lower foliage repays equally close attention. Serrated leaflets spread from the stem in alternating directions, their darker green edges and carefully observed veins creating a crisp framework around the softer petals. Small thorn-like projections interrupt the stem, adding a sharper texture to an otherwise polished arrangement. Beneath the plant, the labels “Rosa centifolia” and “Rosier à cent feuilles” identify the subject in restrained lettering, linking the image’s decorative elegance to its botanical purpose.

Context and significance

Botanical illustration in Redouté’s period occupied fertile ground between art and natural history. Such images needed to distinguish the form of a plant, but they also addressed an audience for whom flowers were objects of cultivation, connoisseurship and pleasure. The uncluttered ground isolates the rose for study, while the carefully balanced stem transforms classification into visual theatre. Nothing extraneous competes with the specimen; variation is found instead within the plant itself, from the tight buds and veined leaves to the densely folded flower.

Rosa Centifolia exemplifies Redouté’s ability to make precision appear effortless. Its appeal lies not merely in the abundance of the central bloom, but in the controlled contrast between openness and enclosure, pale and saturated colour, velvety petals and sharply toothed leaves. It remains an especially eloquent example of the moment when botanical knowledge and flower painting were treated as closely allied forms of attention.

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.

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.

Read our full delivery and local production guide

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.

Every Unique Maps piece begins with an authentic cartographic source or an original design from our London studio.

For our historic maps, we source rare originals from libraries, archives, auction houses and private collections around the world. We carefully restore each map for print—repairing age-related damage, balancing colour and improving clarity while preserving its original detail, texture and character.

Once restored, the map is prepared for your chosen size and finish. Your piece is then printed and, where selected, framed close to its delivery destination.

Our map prints use acid-free 200gsm archival matte paper and fade-resistant pigment inks, creating a rich, non-glossy finish designed to last. Framed maps use crystal-clear optical acrylic and arrive ready to hang.

Canvas, cotton-rag and other specialist presentations are also available. Learn more about our materials and finishes.

Personalising your map

You can add a short title or dedication, mark one meaningful place, or request one considered visual detail. For personalised designs, we send a proof before printing and you can request changes before approval.

For more complex bespoke commissions, contact our design team.

Original or Aged

Choose Original for true-to-source colour, or Aged for a warmer, richer antique character created with our specialist ageing process. See examples of our Aged maps.

Learn more about The Unique Maps Co.

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.