Garden Tulip (Tulipa gesneriana, Plate 108) by Pierre Joseph Redouté, 1827
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 1827 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.
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 1827 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s Choix des plus belles fleurs, plate 108, published in 1827, presents three garden tulips (Tulipa gesneriana) in a poised vertical...
Continua a leggerePierre-Joseph Redouté’s Choix des plus belles fleurs, plate 108, published in 1827, presents three garden tulips (Tulipa gesneriana) in a poised vertical arrangement. A luminous yellow bloom occupies the centre, its petals edged and streaked with red; beside it, a dark purple flower and a richly crimson tulip create a concentrated chord of contrasting colour. Long green leaves rise and curve around the blossoms, while the otherwise unoccupied cream ground gives each stem, fold and petal ample space to be seen.
Redouté was among the most accomplished botanical artists working in France during the late eighteenth and early nineteenth centuries. His flower studies united close observation with the cultivated elegance expected of luxury botanical publications, making them useful records of plant form as well as highly refined compositions. Choix des plus belles fleurs belongs to this tradition: its title announces a selection based not simply on botanical interest, but on visual distinction. Here, the familiar garden tulip becomes an exercise in variation, demonstrating how dramatically flowers of the same species may differ in colour and character.
A closer look
The yellow tulip provides the composition’s brightest note. Its cup-like flower is modelled through gentle transitions from pale lemon to warmer gold, with irregular red markings gathering along the petal edges. These streaks interrupt the bloom’s apparent symmetry and sharpen its relationship with the red tulip nearby. Delicate shading defines where one petal overlaps another, giving the flower convincing volume without sacrificing the clarity required of a botanical study.
To one side, the purple tulip forms the plate’s darkest mass. Its colour is not entirely uniform: slight tonal changes distinguish the curved petals and suggest their smooth, faintly lustrous surfaces. The crimson bloom answers it with a warmer intensity. Although the three flowers overlap slightly, each remains individually legible, with a distinct silhouette and arrangement of petals. Redouté balances their strong colour by keeping the stems slender and the surrounding space remarkably open.
The leaves contribute a quieter but equally careful rhythm. Some stand almost upright, while others arch outwards or bend back towards the central group. Fine lines indicate veins and subtle folds, and restrained shadows give the foliage weight without competing with the flowers. Along the lower edge, the names “Tulipe de Gesner” and “Tulipa Gesneriana” identify the subject in delicate script, anchoring the decorative display in the language of botanical classification.
Context and significance
Botanical illustration in Redouté’s era occupied a productive borderland between science and art. A successful plate had to communicate recognisable structures—the shape of the leaves, the growth of the stems, the construction of the flower—while also presenting its specimen with grace and coherence. Redouté’s particular achievement lay in making those demands appear effortless. His plants are sufficiently precise to reward close examination, yet they never feel crowded by information or reduced to diagrams.
Plate 108 is especially effective because it treats variety itself as the subject. Rather than isolating a single specimen, Redouté brings three differently coloured tulips into measured conversation. The deep purple, saturated red and variegated yellow are held together by shared green foliage and spacious negative ground. The result preserves the observational purpose of a botanical plate while possessing the balance and chromatic assurance of an independent flower 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 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 Choix des plus belles fleurs, plate 108, published in 1827, presents three garden tulips (Tulipa gesneriana) in a poised vertical arrangement. A luminous yellow bloom occupies the centre, its petals edged and streaked with red; beside it, a dark purple flower and a richly crimson tulip create a concentrated chord of contrasting colour. Long green leaves rise and curve around the blossoms, while the otherwise unoccupied cream ground gives each stem, fold and petal ample space to be seen.
Redouté was among the most accomplished botanical artists working in France during the late eighteenth and early nineteenth centuries. His flower studies united close observation with the cultivated elegance expected of luxury botanical publications, making them useful records of plant form as well as highly refined compositions. Choix des plus belles fleurs belongs to this tradition: its title announces a selection based not simply on botanical interest, but on visual distinction. Here, the familiar garden tulip becomes an exercise in variation, demonstrating how dramatically flowers of the same species may differ in colour and character.
A closer look
The yellow tulip provides the composition’s brightest note. Its cup-like flower is modelled through gentle transitions from pale lemon to warmer gold, with irregular red markings gathering along the petal edges. These streaks interrupt the bloom’s apparent symmetry and sharpen its relationship with the red tulip nearby. Delicate shading defines where one petal overlaps another, giving the flower convincing volume without sacrificing the clarity required of a botanical study.
To one side, the purple tulip forms the plate’s darkest mass. Its colour is not entirely uniform: slight tonal changes distinguish the curved petals and suggest their smooth, faintly lustrous surfaces. The crimson bloom answers it with a warmer intensity. Although the three flowers overlap slightly, each remains individually legible, with a distinct silhouette and arrangement of petals. Redouté balances their strong colour by keeping the stems slender and the surrounding space remarkably open.
The leaves contribute a quieter but equally careful rhythm. Some stand almost upright, while others arch outwards or bend back towards the central group. Fine lines indicate veins and subtle folds, and restrained shadows give the foliage weight without competing with the flowers. Along the lower edge, the names “Tulipe de Gesner” and “Tulipa Gesneriana” identify the subject in delicate script, anchoring the decorative display in the language of botanical classification.
Context and significance
Botanical illustration in Redouté’s era occupied a productive borderland between science and art. A successful plate had to communicate recognisable structures—the shape of the leaves, the growth of the stems, the construction of the flower—while also presenting its specimen with grace and coherence. Redouté’s particular achievement lay in making those demands appear effortless. His plants are sufficiently precise to reward close examination, yet they never feel crowded by information or reduced to diagrams.
Plate 108 is especially effective because it treats variety itself as the subject. Rather than isolating a single specimen, Redouté brings three differently coloured tulips into measured conversation. The deep purple, saturated red and variegated yellow are held together by shared green foliage and spacious negative ground. The result preserves the observational purpose of a botanical plate while possessing the balance and chromatic assurance of an independent flower 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 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.
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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
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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.
