Burnet Rose (Rosa pimpinellifolia pumila) by Pierre Joseph Redouté, 1817
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 1817 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.
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 1817 e stampata in qualità museale. Descrizione completa
Guida alle dimensioni delle mappe
Le mappe con dettagli intricati si apprezzano al meglio in formati più grandi, che permettono di valorizzare maggiormente i toponimi e gli elementi più piccoli. Ogni mappa è realizzata su ordinazione, quindi è disponibile anche il formato personalizzato: seleziona 'custom size' nella pagina prodotto e inserisci le tue dimensioni, oppure aggiungile alle note dell'ordine al momento del checkout.
La tua mappa occupa l'intero foglio, senza alcun bordo bianco aggiuntivo. Il design viene presentato come mostrato nelle immagini del prodotto. Per richiedere spazio extra intorno alla mappa, ti invitiamo a contattarci oppure a lasciare una nota con il tuo ordine.
Confronta qui sotto una selezione dei nostri formati standard, mostrati in orientamento orizzontale e verticale.
| 16x12in (40x30cm) | 20x16in (50x40cm) | 24x18in (60x45cm) |
36x24in (90x60cm) |
| 12x16in (30x40cm) | 16x20in (40x50cm) | 18x24in (45x60cm) |
24x36in (60x90cm) |
Mappe con cornice
Le nostre cornici standard aggiungono circa 2 cm (0,75 in) per lato. Ad esempio, una mappa da 45x60 cm misura circa 49x64 cm cornice inclusa, mentre una mappa da 24x36 in misura circa 25,5x37,5 in. Tieni conto di queste dimensioni esterne quando misuri lo spazio sulla parete.
Le mappe oltre 125 cm/50 in hanno generalmente cornici più larghe. Per una larghezza o uno stile di cornice specifici, scopri le nostre opzioni di incorniciatura personalizzata.
Mappe senza cornice
Hai intenzione di incorniciare la tua mappa autonomamente? Le indicazioni qui sotto ti aiuteranno a scegliere la soluzione giusta, in particolare per mappe di grandi dimensioni e formati meno convenzionali.
Scegliere una cornice adatta
Utilizza le dimensioni indicate per la mappa scelta per selezionare una cornice. Considera la misura dell'opera che la cornice può contenere, piuttosto che le dimensioni esterne della cornice stessa.
Ad esempio, una mappa da 18x24 pollici richiede una cornice che 'fits artwork' di 18x24 pollici. Per una mappa da 60x90 cm, scegli una cornice adatta a un'opera da 60x90 cm.
Per i formati insoliti, come 24x11 pollici (61x29 cm), consigliamo di attendere l'arrivo della mappa prima di ordinare una cornice. Le dimensioni possono variare di qualche millimetro, quindi misurare prima la stampa aiuterà a garantire una perfetta vestibilità.
Per una mappa che deve adattarsi a dimensioni esatte in centimetri o pollici, vi preghiamo di contattarci. Il ridimensionamento su misura è disponibile senza costi aggiuntivi per mappe superiori a 50in/125cm.
Incorniciare mappe di grandi dimensioni
Prima di ordinare una cornice separata per una mappa di grandi dimensioni, attendete l’arrivo della stampa e misuratela. In questo modo avrete le dimensioni necessarie per scegliere una cornice con sicurezza.
Se vi rivolgete a un corniciaio locale, portate con voi la mappa così potrà misurarla e realizzare una cornice su misura.
Un montaggio accurato aiuta le mappe di grandi dimensioni a rimanere ben distese e riduce il rischio di ondulazioni. Per un risultato con finitura professionale, saremo lieti di incorniciare la vostra mappa per voi.
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!
La scelta di collezionisti, designer e di chi cerca un regalo speciale
Oltre 8.000 recensioni a 5 stelle
Pierre-Joseph Redouté’s Rosa Pimpinellifolia Pumila, dated 1817 and published during the period 1817–1824, studies a diminutive form of the burnet rose with...
Continua a leggerePierre-Joseph Redouté’s Rosa Pimpinellifolia Pumila, dated 1817 and published during the period 1817–1824, studies a diminutive form of the burnet rose with characteristic clarity and restraint. A slender stem rises through the centre of the composition, carrying open white flowers, tightly folded buds and small, finely divided leaves. The blooms are quiet rather than showy: pale petals gather around warm yellow centres, while the plant’s irregular branching gives the otherwise orderly plate a persuasive sense of natural growth.
Redouté was among the most accomplished botanical artists of the early nineteenth century, admired for reconciling scientific description with unusual pictorial refinement. This study belongs to the world of his celebrated rose illustrations, produced at a time when botanical publications served both serious study and cultivated visual pleasure. Plants had to be rendered clearly enough for their structures to be understood, yet Redouté’s arrangements never feel like dry inventories. Here, ample space around the specimen turns careful observation into an elegant composition, without sacrificing the rose’s thorns, leaf veins or successive stages of flowering.
A closer look
The eye follows the plant upwards from the lower stem, where clusters of serrated green leaves overlap in alternating directions. Their tones range from muted olive to fresher green, with fine veins and sharply described margins giving each leaflet an individual presence. Small prickles interrupt the stem’s smooth ascent, a modest but important detail that distinguishes the rose as a living botanical subject rather than an idealised floral ornament.
Higher in the composition, several white flowers open towards the viewer. Their petals are not arranged with rigid symmetry: edges curl, overlap and tilt at slightly different angles, allowing soft grey-green shadows to suggest their thinness. The concentrated yellow stamens form bright points at the centre of each bloom. Nearby buds introduce quieter notes of cream and faint pink, recording the plant at more than one stage of development and creating a gentle rhythm between enclosed and fully opened forms.
The warm cream ground is left almost entirely bare. This generous negative space isolates the branching silhouette and makes even the finest hairs and contours legible. At the lower right, the French identification Petit Rosier Pimprenelle anchors the specimen within the conventions of botanical publication. The lettering remains visually subordinate to the plant, yet its presence reminds us that the plate was made to name and communicate as well as to delight.
Context and significance
Redouté’s flower studies emerged from a culture in which gardens, botanical classification and illustrated natural history were closely connected. His best-known rose project, Les Roses, was issued between 1817 and 1824 and brought together botanical precision with highly controlled tonal modelling. Rather than placing flowers within elaborate settings, Redouté generally presented them against open grounds, allowing branching habit, foliage and reproductive structures to be studied without distraction.
Rosa Pimpinellifolia Pumila is especially engaging for its measured scale and understated palette. The near-white blossoms initially command attention, but sustained looking reveals a more exacting portrait: the minute serrations of the foliage, the prickled stem, the transition from bud to flower and the subtle asymmetry of the whole plant. It is this balance of descriptive discipline and visual grace that gives Redouté’s botanical work its enduring distinction.
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.
Pierre-Joseph Redouté’s Rosa Pimpinellifolia Pumila, dated 1817 and published during the period 1817–1824, studies a diminutive form of the burnet rose with characteristic clarity and restraint. A slender stem rises through the centre of the composition, carrying open white flowers, tightly folded buds and small, finely divided leaves. The blooms are quiet rather than showy: pale petals gather around warm yellow centres, while the plant’s irregular branching gives the otherwise orderly plate a persuasive sense of natural growth.
Redouté was among the most accomplished botanical artists of the early nineteenth century, admired for reconciling scientific description with unusual pictorial refinement. This study belongs to the world of his celebrated rose illustrations, produced at a time when botanical publications served both serious study and cultivated visual pleasure. Plants had to be rendered clearly enough for their structures to be understood, yet Redouté’s arrangements never feel like dry inventories. Here, ample space around the specimen turns careful observation into an elegant composition, without sacrificing the rose’s thorns, leaf veins or successive stages of flowering.
A closer look
The eye follows the plant upwards from the lower stem, where clusters of serrated green leaves overlap in alternating directions. Their tones range from muted olive to fresher green, with fine veins and sharply described margins giving each leaflet an individual presence. Small prickles interrupt the stem’s smooth ascent, a modest but important detail that distinguishes the rose as a living botanical subject rather than an idealised floral ornament.
Higher in the composition, several white flowers open towards the viewer. Their petals are not arranged with rigid symmetry: edges curl, overlap and tilt at slightly different angles, allowing soft grey-green shadows to suggest their thinness. The concentrated yellow stamens form bright points at the centre of each bloom. Nearby buds introduce quieter notes of cream and faint pink, recording the plant at more than one stage of development and creating a gentle rhythm between enclosed and fully opened forms.
The warm cream ground is left almost entirely bare. This generous negative space isolates the branching silhouette and makes even the finest hairs and contours legible. At the lower right, the French identification Petit Rosier Pimprenelle anchors the specimen within the conventions of botanical publication. The lettering remains visually subordinate to the plant, yet its presence reminds us that the plate was made to name and communicate as well as to delight.
Context and significance
Redouté’s flower studies emerged from a culture in which gardens, botanical classification and illustrated natural history were closely connected. His best-known rose project, Les Roses, was issued between 1817 and 1824 and brought together botanical precision with highly controlled tonal modelling. Rather than placing flowers within elaborate settings, Redouté generally presented them against open grounds, allowing branching habit, foliage and reproductive structures to be studied without distraction.
Rosa Pimpinellifolia Pumila is especially engaging for its measured scale and understated palette. The near-white blossoms initially command attention, but sustained looking reveals a more exacting portrait: the minute serrations of the foliage, the prickled stem, the transition from bud to flower and the subtle asymmetry of the whole plant. It is this balance of descriptive discipline and visual grace that gives Redouté’s botanical work its enduring distinction.
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.
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.
