La botanique de J. J. Rousseau (Plate 22) 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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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 1805 e stampata in qualità museale. Descrizione completa
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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.
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Pierre-Joseph Redouté’s La botanique de J. J. Rousseau, Plate 22, published in 1805, presents a flowering plant as a poised, self-contained specimen....
Continua a leggerePierre-Joseph Redouté’s La botanique de J. J. Rousseau, Plate 22, published in 1805, presents a flowering plant as a poised, self-contained specimen. A slender upright stem rises through an abundance of elongated green leaves towards clustered blue blossoms, their softly graded petals set against an almost empty pale ground. The composition is both exact and graceful: sufficiently clear to reveal the plant’s structure, yet arranged with the balance and cadence of a formal portrait.
Redouté was among the most admired botanical artists of the late eighteenth and early nineteenth centuries, a period in which close observation of the natural world served both scientific enquiry and cultivated taste. Created for La botanique de J. J. Rousseau, this plate belongs to the Enlightenment culture of recording, classifying and communicating plant knowledge through images. Redouté’s particular distinction lay in reconciling those practical demands with an exceptional decorative refinement. His specimens remain legible and informative, but never appear diagrammatic or inert.
A closer look
The plant occupies the vertical centre of the plate, its straight stem providing a quiet axis around which leaves, buds and flowers gather. Across the lower half, the foliage spreads out in a succession of overlapping blades. Some leaves angle upwards beside the stem; others curve gently away, opening the composition towards its edges. Variations from deep leafy green to paler, cooler passages help distinguish one form from another, while fine veins articulate the surfaces without making them appear rigid.
Above this dense green foundation, the blue flowers introduce a marked change in colour and texture. Their rounded clusters are built from delicately shaped petals, with tonal shifts from pale blue to richer, darker accents. Smaller buds punctuate the spaces between the open blooms, giving the upper portion a more intricate rhythm. Although the presentation is predominantly frontal and clear, restrained shading beneath petals and along folded leaves supplies just enough depth to suggest the plant’s volume.
The surrounding blank ground is an active part of the design. It isolates every contour, allowing the eye to follow the stem and examine individual leaves without distraction. At the same time, the generous space prevents the densely foliated specimen from feeling crowded. The lower inscription identifies the subject as “de l’Ipomea de Langlois”, while a discreet artist credit appears at the lower left. These lines of text anchor the botanical study within the ordered conventions of an illustrated plate.
Context and significance
Botanical illustration at this date occupied a productive meeting point between science, publishing and the fine arts. An illustrator needed to communicate recognisable structures—the disposition of foliage, the form of flowers, the relationship between stem and bud—while also creating an image coherent enough to hold attention on the page. Redouté’s work exemplifies that dual purpose. Precision resides in the carefully separated forms and observed venation; elegance emerges through the plant’s central placement, the measured intervals between its branches and the gentle alternation of blue and green.
This plate is especially characteristic of Redouté’s ability to make disciplined observation appear effortless. Nothing competes with the specimen, yet the result is far from austere. The upward movement of the stem, the spreading foliage and the cool crown of flowers give the composition a distinct visual progression, transforming a botanical record into an image of quiet formal sophistication.
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, Plate 22, published in 1805, presents a flowering plant as a poised, self-contained specimen. A slender upright stem rises through an abundance of elongated green leaves towards clustered blue blossoms, their softly graded petals set against an almost empty pale ground. The composition is both exact and graceful: sufficiently clear to reveal the plant’s structure, yet arranged with the balance and cadence of a formal portrait.
Redouté was among the most admired botanical artists of the late eighteenth and early nineteenth centuries, a period in which close observation of the natural world served both scientific enquiry and cultivated taste. Created for La botanique de J. J. Rousseau, this plate belongs to the Enlightenment culture of recording, classifying and communicating plant knowledge through images. Redouté’s particular distinction lay in reconciling those practical demands with an exceptional decorative refinement. His specimens remain legible and informative, but never appear diagrammatic or inert.
A closer look
The plant occupies the vertical centre of the plate, its straight stem providing a quiet axis around which leaves, buds and flowers gather. Across the lower half, the foliage spreads out in a succession of overlapping blades. Some leaves angle upwards beside the stem; others curve gently away, opening the composition towards its edges. Variations from deep leafy green to paler, cooler passages help distinguish one form from another, while fine veins articulate the surfaces without making them appear rigid.
Above this dense green foundation, the blue flowers introduce a marked change in colour and texture. Their rounded clusters are built from delicately shaped petals, with tonal shifts from pale blue to richer, darker accents. Smaller buds punctuate the spaces between the open blooms, giving the upper portion a more intricate rhythm. Although the presentation is predominantly frontal and clear, restrained shading beneath petals and along folded leaves supplies just enough depth to suggest the plant’s volume.
The surrounding blank ground is an active part of the design. It isolates every contour, allowing the eye to follow the stem and examine individual leaves without distraction. At the same time, the generous space prevents the densely foliated specimen from feeling crowded. The lower inscription identifies the subject as “de l’Ipomea de Langlois”, while a discreet artist credit appears at the lower left. These lines of text anchor the botanical study within the ordered conventions of an illustrated plate.
Context and significance
Botanical illustration at this date occupied a productive meeting point between science, publishing and the fine arts. An illustrator needed to communicate recognisable structures—the disposition of foliage, the form of flowers, the relationship between stem and bud—while also creating an image coherent enough to hold attention on the page. Redouté’s work exemplifies that dual purpose. Precision resides in the carefully separated forms and observed venation; elegance emerges through the plant’s central placement, the measured intervals between its branches and the gentle alternation of blue and green.
This plate is especially characteristic of Redouté’s ability to make disciplined observation appear effortless. Nothing competes with the specimen, yet the result is far from austere. The upward movement of the stem, the spreading foliage and the cool crown of flowers give the composition a distinct visual progression, transforming a botanical record into an image of quiet formal sophistication.
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 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.
