Holly (Ilex, Plate 52) by Pierre Joseph Redouté, 1805
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 1805 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 1805 e stampata in qualità museale. Descrizione completa
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Pierre Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 52, published in 1805, examines the holly genus Ilex through an orderly...
Continua a leggerePierre Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 52, published in 1805, examines the holly genus Ilex through an orderly gathering of leaves. Rather than presenting a single flowering specimen, Redouté builds the plate around comparison: dark, compact foliage at the upper left is balanced by a larger, paler leaf to the right, while broader and more delicate forms occupy the lower half. Variations in scale, contour and green give this ostensibly scientific arrangement an understated visual rhythm.
The plate formed part of an illustrated botanical work inspired by Jean-Jacques Rousseau’s interest in plants and nature. At the beginning of the nineteenth century, botanical illustration remained an essential means of recording, classifying and communicating the structures of plants. Redouté was among the period’s most accomplished practitioners, admired for reconciling exact observation with compositional elegance. Here, the leaves are sufficiently precise for comparative study, yet their spacing, gentle overlap and tonal gradation make the page more than a diagram.
A closer look
The upper portion establishes a contrast between two markedly different specimens. At the left, several dark green leaves branch from a slender stem, their close grouping creating one of the densest passages in the composition. Opposite them, a single larger leaf opens into the pale ground. Its central vein and branching network are clearly articulated, while restrained highlights lend the surface a faintly glossy appearance. The generous interval between these forms allows each silhouette to remain distinct.
Further down, a broad leaf curves subtly away from the flat plane of the page. Fine, pale veins spread across its darker surface, and delicate shading near the base suggests thickness and volume without sacrificing clarity. Around the middle, slight overlaps introduce a shallow sense of depth. A smaller, lighter cluster near the lower centre provides a fragile counterpoint to the heavier foliage around it, preventing the arrangement from becoming rigidly symmetrical.
Redouté’s handling of the edges is particularly revealing. Some contours appear smooth and continuous; others carry minute textural changes that distinguish one leaf form from another. The palette is limited but carefully modulated, moving from deep forest green through softer olive and yellow-green tones against a warm, almost creamy ground. At the lower margin, the neat serif inscription “P. J. Redouté.” quietly identifies the artist without competing with the specimens above.
Context and significance
Redouté’s reputation rests on his unusual ability to make botanical accuracy and decorative refinement serve one another. His plants are isolated from a landscape or garden setting, but they do not feel inert: curvature, asymmetry and nuanced shading preserve the impression of living growth. This approach suited an age in which natural history was becoming increasingly systematic while remaining closely connected to cultivated taste and private study.
Plate 52 also demonstrates how much visual interest can be found in foliage alone. Without the immediate colour of flowers or fruit, attention shifts to vein structure, surface, proportion and the subtle differences between related forms. The result is a lucid study of Ilex and an elegant example of botanical illustration functioning simultaneously as observation, classification and art.
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 16x20in (40x50cm) 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 La botanique de J. J. Rousseau, Pl. 52, published in 1805, examines the holly genus Ilex through an orderly gathering of leaves. Rather than presenting a single flowering specimen, Redouté builds the plate around comparison: dark, compact foliage at the upper left is balanced by a larger, paler leaf to the right, while broader and more delicate forms occupy the lower half. Variations in scale, contour and green give this ostensibly scientific arrangement an understated visual rhythm.
The plate formed part of an illustrated botanical work inspired by Jean-Jacques Rousseau’s interest in plants and nature. At the beginning of the nineteenth century, botanical illustration remained an essential means of recording, classifying and communicating the structures of plants. Redouté was among the period’s most accomplished practitioners, admired for reconciling exact observation with compositional elegance. Here, the leaves are sufficiently precise for comparative study, yet their spacing, gentle overlap and tonal gradation make the page more than a diagram.
A closer look
The upper portion establishes a contrast between two markedly different specimens. At the left, several dark green leaves branch from a slender stem, their close grouping creating one of the densest passages in the composition. Opposite them, a single larger leaf opens into the pale ground. Its central vein and branching network are clearly articulated, while restrained highlights lend the surface a faintly glossy appearance. The generous interval between these forms allows each silhouette to remain distinct.
Further down, a broad leaf curves subtly away from the flat plane of the page. Fine, pale veins spread across its darker surface, and delicate shading near the base suggests thickness and volume without sacrificing clarity. Around the middle, slight overlaps introduce a shallow sense of depth. A smaller, lighter cluster near the lower centre provides a fragile counterpoint to the heavier foliage around it, preventing the arrangement from becoming rigidly symmetrical.
Redouté’s handling of the edges is particularly revealing. Some contours appear smooth and continuous; others carry minute textural changes that distinguish one leaf form from another. The palette is limited but carefully modulated, moving from deep forest green through softer olive and yellow-green tones against a warm, almost creamy ground. At the lower margin, the neat serif inscription “P. J. Redouté.” quietly identifies the artist without competing with the specimens above.
Context and significance
Redouté’s reputation rests on his unusual ability to make botanical accuracy and decorative refinement serve one another. His plants are isolated from a landscape or garden setting, but they do not feel inert: curvature, asymmetry and nuanced shading preserve the impression of living growth. This approach suited an age in which natural history was becoming increasingly systematic while remaining closely connected to cultivated taste and private study.
Plate 52 also demonstrates how much visual interest can be found in foliage alone. Without the immediate colour of flowers or fruit, attention shifts to vein structure, surface, proportion and the subtle differences between related forms. The result is a lucid study of Ilex and an elegant example of botanical illustration functioning simultaneously as observation, classification and art.
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 16x20in (40x50cm) 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.
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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.
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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.
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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
- 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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- 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.
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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.
