Sweet Pea (Lathyrus odoratus, Plate 39) by Pierre Joseph Redouté, 1827
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 1827 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 1827 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s plate 39 from Choix des plus belles fleurs, published in 1827, presents the sweet pea (Lathyrus odoratus) as a slender,...
Continua a leggerePierre-Joseph Redouté’s plate 39 from Choix des plus belles fleurs, published in 1827, presents the sweet pea (Lathyrus odoratus) as a slender, ascending bouquet. Pink blossoms gather towards the top, while richer blue and purple flowers punctuate the middle and lower stems. Against the spacious cream ground, the plant’s leaves and curling tendrils create a loose arabesque: botanically informative, yet arranged with the poise of a floral composition.
Redouté was among the defining botanical artists of the late eighteenth and early nineteenth centuries, admired for reconciling natural-history observation with an exceptional delicacy of design. His flower studies belong to a period when botanical images served several audiences at once. They recorded the structures and distinguishing features of plants, but were also collected and appreciated as works of art. Choix des plus belles fleurs—a title meaning “Selection of the Most Beautiful Flowers”—makes that dual purpose especially clear: scientific clarity is preserved, while each specimen is given the presence and refinement of an individual portrait.
A closer look
The composition rises gently upwards and towards the left rather than following a rigid central axis. Near the upper centre, pale pink petals open in soft, folded forms, their edges passing through blush, rose and faint violet. Below them, cooler blossoms introduce deep purple and blue, including subtle transitions from saturated shadow to paler highlights. These shifts of colour help separate overlapping petals and give the flowers an unexpectedly sculptural presence.
The foliage anchors the more flamboyant blooms. Pointed green leaves occupy the lower part of the arrangement, their veins described with fine, controlled lines and restrained tonal shading. Small irregularities in the leaves prevent the study from becoming over-polished; Redouté retains the particularity of a living specimen. The sweet pea’s tendrils are especially graceful details. Threading between stems and flower heads, their coils bring movement to the otherwise poised arrangement and reveal the climbing habit of the plant without requiring any surrounding garden setting.
Negative space is essential to the plate’s effect. The generous pale field isolates every contour, from the broadest petal to the thinnest curling shoot, allowing the eye to move easily through the specimen. At the foot of the composition, the French common name “Pois de senteur” appears alongside the scientific name Lathyrus odoratus, while “P. J. Redouté” is inscribed in smaller script. These labels quietly return the bouquet from decorative arrangement to classified botanical subject.
Context and significance
Redouté helped establish a visual language for flower illustration in which precision never feels clinical. Rather than presenting the sweet pea as a flattened diagram, he uses overlap, tonal gradation and changes of scale to suggest growth and depth. Yet the plant remains lucid: leaves, stems, tendrils and blossoms can all be examined independently. This balance between identification and aesthetic pleasure explains why his work occupies such a distinctive place between natural history and fine art.
The sweet pea is particularly suited to this approach. Its papery, folded petals offer ample scope for nuanced colour, while its fine stems and searching tendrils lend the composition linear rhythm. Redouté turns those contrasting qualities—full blossoms and attenuated shoots, warm pinks and cool violets, descriptive detail and open space—into a study that rewards both botanical curiosity and close visual attention.
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 plate 39 from Choix des plus belles fleurs, published in 1827, presents the sweet pea (Lathyrus odoratus) as a slender, ascending bouquet. Pink blossoms gather towards the top, while richer blue and purple flowers punctuate the middle and lower stems. Against the spacious cream ground, the plant’s leaves and curling tendrils create a loose arabesque: botanically informative, yet arranged with the poise of a floral composition.
Redouté was among the defining botanical artists of the late eighteenth and early nineteenth centuries, admired for reconciling natural-history observation with an exceptional delicacy of design. His flower studies belong to a period when botanical images served several audiences at once. They recorded the structures and distinguishing features of plants, but were also collected and appreciated as works of art. Choix des plus belles fleurs—a title meaning “Selection of the Most Beautiful Flowers”—makes that dual purpose especially clear: scientific clarity is preserved, while each specimen is given the presence and refinement of an individual portrait.
A closer look
The composition rises gently upwards and towards the left rather than following a rigid central axis. Near the upper centre, pale pink petals open in soft, folded forms, their edges passing through blush, rose and faint violet. Below them, cooler blossoms introduce deep purple and blue, including subtle transitions from saturated shadow to paler highlights. These shifts of colour help separate overlapping petals and give the flowers an unexpectedly sculptural presence.
The foliage anchors the more flamboyant blooms. Pointed green leaves occupy the lower part of the arrangement, their veins described with fine, controlled lines and restrained tonal shading. Small irregularities in the leaves prevent the study from becoming over-polished; Redouté retains the particularity of a living specimen. The sweet pea’s tendrils are especially graceful details. Threading between stems and flower heads, their coils bring movement to the otherwise poised arrangement and reveal the climbing habit of the plant without requiring any surrounding garden setting.
Negative space is essential to the plate’s effect. The generous pale field isolates every contour, from the broadest petal to the thinnest curling shoot, allowing the eye to move easily through the specimen. At the foot of the composition, the French common name “Pois de senteur” appears alongside the scientific name Lathyrus odoratus, while “P. J. Redouté” is inscribed in smaller script. These labels quietly return the bouquet from decorative arrangement to classified botanical subject.
Context and significance
Redouté helped establish a visual language for flower illustration in which precision never feels clinical. Rather than presenting the sweet pea as a flattened diagram, he uses overlap, tonal gradation and changes of scale to suggest growth and depth. Yet the plant remains lucid: leaves, stems, tendrils and blossoms can all be examined independently. This balance between identification and aesthetic pleasure explains why his work occupies such a distinctive place between natural history and fine art.
The sweet pea is particularly suited to this approach. Its papery, folded petals offer ample scope for nuanced colour, while its fine stems and searching tendrils lend the composition linear rhythm. Redouté turns those contrasting qualities—full blossoms and attenuated shoots, warm pinks and cool violets, descriptive detail and open space—into a study that rewards both botanical curiosity and close visual attention.
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.
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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
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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.
