Rosa gallica Agatha (Var. Prolifera) 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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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 Rosa Gallica Agatha (Var. Prolifera), published in 1817, presents a Gallica rose at the point where luxuriant bloom and botanical...
Continua a leggerePierre-Joseph Redouté’s Rosa Gallica Agatha (Var. Prolifera), published in 1817, presents a Gallica rose at the point where luxuriant bloom and botanical structure are held in perfect balance. A large, many-petalled flower occupies the centre of the composition, its colour shifting from pale blush at the curling edges to fuller pink within the densely folded heart. Two compact red buds rise at the upper left, while serrated green leaves spread to the right, giving the slender stem an asymmetrical but carefully poised silhouette.
Redouté was among the most accomplished botanical artists working in early nineteenth-century France. His career extended across extraordinary political change, from the final years of the ancien régime through the Revolution, the Napoleonic era and the Bourbon Restoration; his patrons included both Marie Antoinette and Joséphine Bonaparte. Yet his botanical studies are distinguished less by courtly grandeur than by their controlled clarity. Close observation, scientific usefulness and decorative refinement meet without strain, allowing each specimen to be read as a plant while retaining the presence of an individual portrait.
A closer look
The fully opened rose immediately commands attention, but much of its vitality lies in Redouté’s subtle variation from petal to petal. Some turn outwards and catch the light, appearing almost translucent; others overlap in tighter, deeper-toned folds. The bloom is not reduced to a neat botanical diagram. Its slight irregularities—the uneven perimeter, shifting planes and crowded centre—convey the complex growth of a double-flowered variety.
Above and to the left, the two smaller buds act as vivid counterpoints. Their stronger crimson-red colouring sharpens the gentler pink of the central flower, while their closed and partly opening forms suggest successive stages of flowering. Fine green stems connect these elements, with small thorns visible along their length. The structure remains legible even where stems cross or disappear behind foliage.
The leaves provide a different kind of detail. Their pointed forms radiate around the stem, with crisp serrations along the edges and fine veins branching across their surfaces. Deep greens gather in the shaded sections, while lighter passages articulate the ridges and slight undulations of each leaf. Against the pale, largely unoccupied ground, there is nowhere for this precision to hide: the generous negative space isolates every contour and gives the plant an almost sculptural clarity. At the lower right, the elegant script label, “Rosier Agathe Prolifère.”, anchors the specimen within the language of French botanical classification.
Context and significance
This study belongs to the period of Redouté’s celebrated work on roses, published between 1817 and 1824. European botanical illustration had long served the practical needs of identification and classification, but Redouté brought unusual softness and visual coherence to the genre. In his hands, leaf venation, thorn placement and stages of flowering become part of a graceful pictorial rhythm rather than a dry inventory of features.
Rosa Gallica Agatha is especially engaging because it preserves that productive tension between disciplined description and floral abundance. The open bloom supplies colour and complexity; the buds, leaves and exposed stem explain how the plant grows. Seen closely, it is not simply a portrait of a rose in flower, but a compact study of development, structure and variation—qualities that continue to make Redouté’s botanical work compelling to gardeners, natural-history enthusiasts and admirers of flower painting alike.
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 Gallica Agatha (Var. Prolifera), published in 1817, presents a Gallica rose at the point where luxuriant bloom and botanical structure are held in perfect balance. A large, many-petalled flower occupies the centre of the composition, its colour shifting from pale blush at the curling edges to fuller pink within the densely folded heart. Two compact red buds rise at the upper left, while serrated green leaves spread to the right, giving the slender stem an asymmetrical but carefully poised silhouette.
Redouté was among the most accomplished botanical artists working in early nineteenth-century France. His career extended across extraordinary political change, from the final years of the ancien régime through the Revolution, the Napoleonic era and the Bourbon Restoration; his patrons included both Marie Antoinette and Joséphine Bonaparte. Yet his botanical studies are distinguished less by courtly grandeur than by their controlled clarity. Close observation, scientific usefulness and decorative refinement meet without strain, allowing each specimen to be read as a plant while retaining the presence of an individual portrait.
A closer look
The fully opened rose immediately commands attention, but much of its vitality lies in Redouté’s subtle variation from petal to petal. Some turn outwards and catch the light, appearing almost translucent; others overlap in tighter, deeper-toned folds. The bloom is not reduced to a neat botanical diagram. Its slight irregularities—the uneven perimeter, shifting planes and crowded centre—convey the complex growth of a double-flowered variety.
Above and to the left, the two smaller buds act as vivid counterpoints. Their stronger crimson-red colouring sharpens the gentler pink of the central flower, while their closed and partly opening forms suggest successive stages of flowering. Fine green stems connect these elements, with small thorns visible along their length. The structure remains legible even where stems cross or disappear behind foliage.
The leaves provide a different kind of detail. Their pointed forms radiate around the stem, with crisp serrations along the edges and fine veins branching across their surfaces. Deep greens gather in the shaded sections, while lighter passages articulate the ridges and slight undulations of each leaf. Against the pale, largely unoccupied ground, there is nowhere for this precision to hide: the generous negative space isolates every contour and gives the plant an almost sculptural clarity. At the lower right, the elegant script label, “Rosier Agathe Prolifère.”, anchors the specimen within the language of French botanical classification.
Context and significance
This study belongs to the period of Redouté’s celebrated work on roses, published between 1817 and 1824. European botanical illustration had long served the practical needs of identification and classification, but Redouté brought unusual softness and visual coherence to the genre. In his hands, leaf venation, thorn placement and stages of flowering become part of a graceful pictorial rhythm rather than a dry inventory of features.
Rosa Gallica Agatha is especially engaging because it preserves that productive tension between disciplined description and floral abundance. The open bloom supplies colour and complexity; the buds, leaves and exposed stem explain how the plant grows. Seen closely, it is not simply a portrait of a rose in flower, but a compact study of development, structure and variation—qualities that continue to make Redouté’s botanical work compelling to gardeners, natural-history enthusiasts and admirers of flower painting alike.
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.
