Rosa collina Monsoniana by Pierre Joseph Redouté, 1817
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 1817 e stampata in qualità museale. Descrizione completa
L’offerta del Collezionista
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.L’offerta del Collezionista
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 1817 e stampata in qualità museale. Descrizione completa
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Gift message & custom finish
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.
Every order is custom made, so if you need the size adjusted slightly, or printed on an unusual material, just let us know. We've done thousands of custom orders over the years, so there's (almost) nothing we can't manage.
You can also contact us before you order, if you prefer!
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Pierre-Joseph Redouté’s Rosa Collina Monsoniana, dated 1817, presents the rose as both living plant and botanical portrait. A broad pink bloom occupies...
Continua a leggerePierre-Joseph Redouté’s Rosa Collina Monsoniana, dated 1817, presents the rose as both living plant and botanical portrait. A broad pink bloom occupies the centre of the composition, its many petals opening around a bright yellow heart, while serrated leaves, slender stems and tightly furled buds extend above and below. Set against an unadorned pale ground, the specimen appears almost suspended on the page: spaciously arranged, yet rendered with enough tonal detail to convey the weight and curvature of every petal.
Redouté was among the most celebrated botanical artists of the early nineteenth century, admired for combining scientific attentiveness with an exceptionally refined sense of presentation. Often described as the “Raphael of flowers”, he worked during a period of intense European interest in botany, horticultural collecting and the cultivation of ornamental plants. His flower studies did more than record identifying characteristics; they gave individual varieties the compositional dignity traditionally associated with portraiture. Here, exact observation and decorative elegance are held in careful balance.
A closer look
The central flower is built from overlapping layers of pink, deepening towards the bases of the petals and becoming paler along their gently irregular edges. These gradual shifts prevent the bloom from appearing flat, while the minute yellow stamens at its centre form the sharpest point of colour. The petals are neither rigidly symmetrical nor theatrically arranged: some curl inwards, others open broadly, creating the convincing disorder of a flower caught at full bloom.
Around it, Redouté records the less immediately ornamental parts of the plant with equal care. On the lower left, dark green leaves spread out in serrated clusters, their pale veins clearly traced across subtly modelled surfaces. Small, sharply described thorns interrupt the main stem. Towards the lower right, closed buds and smaller blossoms introduce different stages of growth, while a further bud rises near the upper edge, giving the otherwise balanced arrangement a gentle upward movement.
The pale background is an active part of the design. With no garden setting, vase or decorative border to compete for attention, the branching silhouette becomes especially clear. Leaves overlap flowers without obscuring their structure, and the intervals between stems create a rhythm of narrow diagonals and open space. Beneath the plant, the botanical name appears at the lower left, while the inscription at the lower right includes “Rosier de Lad-Monson” and credits Langlois as “sculp.”
Context and significance
Botanical illustration in Redouté’s period occupied a productive territory between science and art. Such works supported the study and comparison of plants, but they also addressed an audience fascinated by gardens, cultivated varieties and the aesthetic possibilities of the natural world. The isolation of a specimen against a light ground made its structure legible, while carefully judged colour and composition transformed classification into an experience of close looking.
Rosa Collina Monsoniana is particularly characteristic of Redouté’s ability to make precision appear effortless. The image rewards attention at several scales: first as a poised arrangement of pink and green, then as a study of veins, prickles, stamens and successive phases of flowering. Its enduring appeal lies in that dual vision—the rose observed closely enough for botanical scrutiny, yet composed with the quiet presence of an individual sitter.
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 Rosa Collina Monsoniana, dated 1817, presents the rose as both living plant and botanical portrait. A broad pink bloom occupies the centre of the composition, its many petals opening around a bright yellow heart, while serrated leaves, slender stems and tightly furled buds extend above and below. Set against an unadorned pale ground, the specimen appears almost suspended on the page: spaciously arranged, yet rendered with enough tonal detail to convey the weight and curvature of every petal.
Redouté was among the most celebrated botanical artists of the early nineteenth century, admired for combining scientific attentiveness with an exceptionally refined sense of presentation. Often described as the “Raphael of flowers”, he worked during a period of intense European interest in botany, horticultural collecting and the cultivation of ornamental plants. His flower studies did more than record identifying characteristics; they gave individual varieties the compositional dignity traditionally associated with portraiture. Here, exact observation and decorative elegance are held in careful balance.
A closer look
The central flower is built from overlapping layers of pink, deepening towards the bases of the petals and becoming paler along their gently irregular edges. These gradual shifts prevent the bloom from appearing flat, while the minute yellow stamens at its centre form the sharpest point of colour. The petals are neither rigidly symmetrical nor theatrically arranged: some curl inwards, others open broadly, creating the convincing disorder of a flower caught at full bloom.
Around it, Redouté records the less immediately ornamental parts of the plant with equal care. On the lower left, dark green leaves spread out in serrated clusters, their pale veins clearly traced across subtly modelled surfaces. Small, sharply described thorns interrupt the main stem. Towards the lower right, closed buds and smaller blossoms introduce different stages of growth, while a further bud rises near the upper edge, giving the otherwise balanced arrangement a gentle upward movement.
The pale background is an active part of the design. With no garden setting, vase or decorative border to compete for attention, the branching silhouette becomes especially clear. Leaves overlap flowers without obscuring their structure, and the intervals between stems create a rhythm of narrow diagonals and open space. Beneath the plant, the botanical name appears at the lower left, while the inscription at the lower right includes “Rosier de Lad-Monson” and credits Langlois as “sculp.”
Context and significance
Botanical illustration in Redouté’s period occupied a productive territory between science and art. Such works supported the study and comparison of plants, but they also addressed an audience fascinated by gardens, cultivated varieties and the aesthetic possibilities of the natural world. The isolation of a specimen against a light ground made its structure legible, while carefully judged colour and composition transformed classification into an experience of close looking.
Rosa Collina Monsoniana is particularly characteristic of Redouté’s ability to make precision appear effortless. The image rewards attention at several scales: first as a poised arrangement of pink and green, then as a study of veins, prickles, stamens and successive phases of flowering. Its enduring appeal lies in that dual vision—the rose observed closely enough for botanical scrutiny, yet composed with the quiet presence of an individual sitter.
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 24 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.
