Ipomoea (Plate 56) 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. 56, published in 1805, presents four studies of Ipomoea, the genus widely associated...
Continua a leggerePierre-Joseph Redouté’s La botanique de J. J. Rousseau, Pl. 56, published in 1805, presents four studies of Ipomoea, the genus widely associated with morning glories. Rather than describing a complete plant from root to stem, Redouté concentrates attention on the flowers themselves. A large, many-petalled pink bloom occupies the centre, accompanied by smaller examples in pale rose, deep violet and luminous yellow. Their scattered arrangement and generous cream ground give each form the clarity of a specimen while preserving the grace of a floral composition.
Redouté was among the most admired botanical artists working in France around the turn of the nineteenth century. His images belong to a period in which botanical illustration was indispensable to the study, classification and circulation of knowledge about plants. Yet his plates were never merely utilitarian: close observation is matched by an exceptional sensitivity to contour, colour and spacing. The publication’s connection with Jean-Jacques Rousseau also recalls the philosopher’s serious engagement with botany, a subject he valued as a disciplined form of attention to the natural world.
A closer look
The eye settles first on the central pink flower, whose layered petals unfold in pale blush, white and stronger rose tones. Fine lines follow the folds and veins of the petals, while subtle changes in shading distinguish one overlapping layer from the next. Its complexity is set against the simpler flower at the upper left: a small, open form with lightly veined, pale-pink petals and delicate deepening of colour along their edges.
At the upper right, the violet bloom provides the composition’s coolest and most concentrated note. Its darker corolla surrounds slight yellow accents at the centre, a minute detail that rewards close attention. Below it, the broad, rounded petals of the yellow flower introduce warmth without appearing uniform; small tonal variations give the surface a natural softness. Near the lower edge, a fragment of green offers the only pronounced reference to foliage, keeping the plate’s emphasis firmly upon comparative floral form.
Although the specimens differ in size, colour and complexity, they remain connected by the precision of Redouté’s outlines and the restraint of the setting. The empty ground is active rather than incidental: it prevents the four blooms from crowding one another and allows their silhouettes to be compared. A fine serif inscription in the lower margin, including the words “de l’Ipoméaire, de Longchamps”, anchors the otherwise airy arrangement within the ordered language of a botanical plate.
Context and significance
Botanical publications of Redouté’s era occupied a fertile territory between science and art. Before photography, the illustrator had to make structure legible while retaining the particular character of a living specimen. Redouté’s reputation rests in large part on his ability to reconcile these demands. Here, clarity does not produce stiffness: the petals remain supple, their colours modulated with unusual delicacy, while the measured spacing makes differences of shape immediately intelligible.
Plate 56 is especially engaging because it avoids the conventional single-stem format. Its four isolated blossoms read almost as a concise visual essay on variation within Ipomoea. Warm and cool colours, elaborate and simple forms, and large and small specimens are brought into quiet correspondence—an arrangement at once instructive, decorative and characteristic of Redouté’s refined botanical vision.
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 La botanique de J. J. Rousseau, Pl. 56, published in 1805, presents four studies of Ipomoea, the genus widely associated with morning glories. Rather than describing a complete plant from root to stem, Redouté concentrates attention on the flowers themselves. A large, many-petalled pink bloom occupies the centre, accompanied by smaller examples in pale rose, deep violet and luminous yellow. Their scattered arrangement and generous cream ground give each form the clarity of a specimen while preserving the grace of a floral composition.
Redouté was among the most admired botanical artists working in France around the turn of the nineteenth century. His images belong to a period in which botanical illustration was indispensable to the study, classification and circulation of knowledge about plants. Yet his plates were never merely utilitarian: close observation is matched by an exceptional sensitivity to contour, colour and spacing. The publication’s connection with Jean-Jacques Rousseau also recalls the philosopher’s serious engagement with botany, a subject he valued as a disciplined form of attention to the natural world.
A closer look
The eye settles first on the central pink flower, whose layered petals unfold in pale blush, white and stronger rose tones. Fine lines follow the folds and veins of the petals, while subtle changes in shading distinguish one overlapping layer from the next. Its complexity is set against the simpler flower at the upper left: a small, open form with lightly veined, pale-pink petals and delicate deepening of colour along their edges.
At the upper right, the violet bloom provides the composition’s coolest and most concentrated note. Its darker corolla surrounds slight yellow accents at the centre, a minute detail that rewards close attention. Below it, the broad, rounded petals of the yellow flower introduce warmth without appearing uniform; small tonal variations give the surface a natural softness. Near the lower edge, a fragment of green offers the only pronounced reference to foliage, keeping the plate’s emphasis firmly upon comparative floral form.
Although the specimens differ in size, colour and complexity, they remain connected by the precision of Redouté’s outlines and the restraint of the setting. The empty ground is active rather than incidental: it prevents the four blooms from crowding one another and allows their silhouettes to be compared. A fine serif inscription in the lower margin, including the words “de l’Ipoméaire, de Longchamps”, anchors the otherwise airy arrangement within the ordered language of a botanical plate.
Context and significance
Botanical publications of Redouté’s era occupied a fertile territory between science and art. Before photography, the illustrator had to make structure legible while retaining the particular character of a living specimen. Redouté’s reputation rests in large part on his ability to reconcile these demands. Here, clarity does not produce stiffness: the petals remain supple, their colours modulated with unusual delicacy, while the measured spacing makes differences of shape immediately intelligible.
Plate 56 is especially engaging because it avoids the conventional single-stem format. Its four isolated blossoms read almost as a concise visual essay on variation within Ipomoea. Warm and cool colours, elaborate and simple forms, and large and small specimens are brought into quiet correspondence—an arrangement at once instructive, decorative and characteristic of Redouté’s refined botanical vision.
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
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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
- 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.
