Erica cernua (Plate 22) by Pierre Joseph Redouté, 1813
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 1813 e stampata in qualità museale. Descrizione completa
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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.
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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.
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 1813 e stampata in qualità museale. Descrizione completa
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Plate 22 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall specimen identified in...
Continua a leggerePlate 22 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall specimen identified in the lower inscription as Erica cernua. Pierre-Joseph Redouté arranges the plant as an ascending tracery of slender stems, needle-like leaves and pendant pink flowers. The strongest cluster occupies the centre of the composition, where deep rose accents gather within paler petals; above it, a fine green shoot continues into the generous ivory space, giving the specimen both height and an almost calligraphic lightness.
The plate belongs to a botanical project associated with Malmaison and Navarre, the estates of Joséphine de Beauharnais, whose celebrated gardens brought together rare plants cultivated in France during a period of intense horticultural and scientific interest. Redouté was exceptionally well suited to such a commission. His botanical studies unite the descriptive clarity required for identifying a specimen with an elegance that allowed them to be appreciated beyond strictly scientific circles. Here, the plant is isolated for close examination, yet its irregular branching and nodding flowers preserve the character of living growth.
A closer look
The composition develops from the lower branches in a sequence of gentle diagonals. Smaller offshoots carry scattered foliage and additional flowers, while the central stem rises through the plate without becoming rigidly symmetrical. Redouté balances fullness and sparseness with particular care: compact groups of blossoms are separated by open lengths of stem, and the unmarked ground becomes an active part of the arrangement. This spaciousness keeps even the finest leaves distinct.
Within the main floral cluster, the pink is subtly modulated rather than uniformly applied. Pale outer passages deepen towards the centres and tips, creating volume without heavy shadow. Each flower is individually articulated, with slight variations in angle and profile that prevent the grouping from appearing diagrammatic. Tiny green leaves thread between the blossoms, setting cool, restrained foliage against the warmer rose tones.
Closer inspection reveals the disciplined detail beneath the plate’s delicacy. Fine hatching and stippling describe changes in texture across petals, leaves and stems; faint hairs interrupt the otherwise smooth contours, while minute vein patterns sharpen the foliage. The inscription Erica Cernua sits quietly below the specimen, its formal lettering providing a measured counterpoint to the branching organic forms above.
Context and significance
Botanical illustration in the early nineteenth century occupied a productive territory between science, horticulture and art. Expanding cultivation brought unfamiliar plants before European botanists and gardeners, creating a need for images that recorded distinguishing structures with precision. At the same time, publications devoted to rare garden specimens became objects of cultivated visual interest. Redouté’s work exemplifies this dual purpose: nothing extraneous competes with the plant, yet proportion, rhythm and colour are handled with considerable refinement.
Plate 22 is especially effective in the way it reconciles close observation with decorative poise. Its vertical movement, restrained palette and alternating passages of density and open space make the specimen readable at a glance, while the stippled petals, fine stem hairs and individually turned flowers reward slower attention. The result is not merely a record of a cultivated rarity, but a study in how botanical structure can become an elegant pictorial composition.
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 24x36in (60x90cm) 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.
Plate 22 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall specimen identified in the lower inscription as Erica cernua. Pierre-Joseph Redouté arranges the plant as an ascending tracery of slender stems, needle-like leaves and pendant pink flowers. The strongest cluster occupies the centre of the composition, where deep rose accents gather within paler petals; above it, a fine green shoot continues into the generous ivory space, giving the specimen both height and an almost calligraphic lightness.
The plate belongs to a botanical project associated with Malmaison and Navarre, the estates of Joséphine de Beauharnais, whose celebrated gardens brought together rare plants cultivated in France during a period of intense horticultural and scientific interest. Redouté was exceptionally well suited to such a commission. His botanical studies unite the descriptive clarity required for identifying a specimen with an elegance that allowed them to be appreciated beyond strictly scientific circles. Here, the plant is isolated for close examination, yet its irregular branching and nodding flowers preserve the character of living growth.
A closer look
The composition develops from the lower branches in a sequence of gentle diagonals. Smaller offshoots carry scattered foliage and additional flowers, while the central stem rises through the plate without becoming rigidly symmetrical. Redouté balances fullness and sparseness with particular care: compact groups of blossoms are separated by open lengths of stem, and the unmarked ground becomes an active part of the arrangement. This spaciousness keeps even the finest leaves distinct.
Within the main floral cluster, the pink is subtly modulated rather than uniformly applied. Pale outer passages deepen towards the centres and tips, creating volume without heavy shadow. Each flower is individually articulated, with slight variations in angle and profile that prevent the grouping from appearing diagrammatic. Tiny green leaves thread between the blossoms, setting cool, restrained foliage against the warmer rose tones.
Closer inspection reveals the disciplined detail beneath the plate’s delicacy. Fine hatching and stippling describe changes in texture across petals, leaves and stems; faint hairs interrupt the otherwise smooth contours, while minute vein patterns sharpen the foliage. The inscription Erica Cernua sits quietly below the specimen, its formal lettering providing a measured counterpoint to the branching organic forms above.
Context and significance
Botanical illustration in the early nineteenth century occupied a productive territory between science, horticulture and art. Expanding cultivation brought unfamiliar plants before European botanists and gardeners, creating a need for images that recorded distinguishing structures with precision. At the same time, publications devoted to rare garden specimens became objects of cultivated visual interest. Redouté’s work exemplifies this dual purpose: nothing extraneous competes with the plant, yet proportion, rhythm and colour are handled with considerable refinement.
Plate 22 is especially effective in the way it reconciles close observation with decorative poise. Its vertical movement, restrained palette and alternating passages of density and open space make the specimen readable at a glance, while the stippled petals, fine stem hairs and individually turned flowers reward slower attention. The result is not merely a record of a cultivated rarity, but a study in how botanical structure can become an elegant pictorial composition.
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 24x36in (60x90cm) 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 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.
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.
