The Lilies (Plate 17) 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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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 Les Liliacées, Plate 17, published in 1805, presents a flowering plant as an object of both scientific scrutiny and compositional...
Continua a leggerePierre-Joseph Redouté’s Les Liliacées, Plate 17, published in 1805, presents a flowering plant as an object of both scientific scrutiny and compositional refinement. A compact cluster of pink blooms rises above broad green leaves, while the roots remain visible at the base. Centred on a pale cream ground and surrounded by generous empty space, the specimen seems at once firmly observed and exceptionally light: every contour is clear, yet the plant never feels diagrammatic or inert.
The plate belongs to Redouté’s celebrated early nineteenth-century series devoted to lilies and related plants. Botanical illustration then served a practical intellectual purpose, recording specimens for scholars, gardeners and collectors at a time when the classification and cultivation of plants commanded growing attention. Redouté’s distinction lay in reconciling that documentary function with unusual elegance. His flowers retain the structures necessary for study, but their placement, colour and rhythm give each plate the poise of an independent composition.
A closer look
The strongest colour is concentrated in the flower heads. Their petals move from deeper rose-pink towards paler edges, with fine tonal gradations giving the clustered forms a delicate sense of volume. Several blooms are seen from subtly different angles, allowing the eye to register changes in shape rather than a repeated decorative motif. Smaller buds and floral elements extend towards the upper left, loosening the otherwise upright arrangement and preventing the composition from becoming rigidly symmetrical.
Below, overlapping leaves create a denser passage of cool and warmer greens. Fine linear detailing traces their veins and edges, while restrained shading distinguishes one surface from another. The transition from foliage to exposed root is especially revealing: rather than ending the plant neatly at ground level, Redouté includes the slender, branching structures beneath it. This small shift from floral display to botanical anatomy gives the study much of its scholarly character.
The nearly vacant background is an active part of the design. With no landscape, vessel or decorative border to establish scale, attention remains fixed on the specimen’s internal relationships: the weight of the leaves, the branching stems and the contrast between robust foliage and fragile petals. Along the lower edge, handwritten botanical labels—including inscriptions recorded as “Ophrys l. italica” and “Ophrys a. fallacis”—anchor the otherwise airy presentation in the language of classification.
Context and significance
Redouté was a French painter and printmaker whose reputation rests above all on his flower illustrations. Working within a long European tradition of botanical art, he brought exceptional clarity to the genre without suppressing the irregularities that make a living plant visually persuasive. His compositions often rely on isolation rather than abundance: a single specimen is given sufficient room for its growth pattern, leaves and flowers to be read almost sequentially from root to tip.
Plate 17 demonstrates why Les Liliacées remains so closely associated with Redouté’s name. Its scientific precision is never separated from visual judgement. The restrained cream, green and pink palette, the subtle asymmetry of the stems and the inclusion of roots and labels all contribute to an image poised between taxonomy and portraiture—a plant recorded with exacting attention, yet granted the presence of an individual subject.
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 36x24in (90x60cm) 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 Les Liliacées, Plate 17, published in 1805, presents a flowering plant as an object of both scientific scrutiny and compositional refinement. A compact cluster of pink blooms rises above broad green leaves, while the roots remain visible at the base. Centred on a pale cream ground and surrounded by generous empty space, the specimen seems at once firmly observed and exceptionally light: every contour is clear, yet the plant never feels diagrammatic or inert.
The plate belongs to Redouté’s celebrated early nineteenth-century series devoted to lilies and related plants. Botanical illustration then served a practical intellectual purpose, recording specimens for scholars, gardeners and collectors at a time when the classification and cultivation of plants commanded growing attention. Redouté’s distinction lay in reconciling that documentary function with unusual elegance. His flowers retain the structures necessary for study, but their placement, colour and rhythm give each plate the poise of an independent composition.
A closer look
The strongest colour is concentrated in the flower heads. Their petals move from deeper rose-pink towards paler edges, with fine tonal gradations giving the clustered forms a delicate sense of volume. Several blooms are seen from subtly different angles, allowing the eye to register changes in shape rather than a repeated decorative motif. Smaller buds and floral elements extend towards the upper left, loosening the otherwise upright arrangement and preventing the composition from becoming rigidly symmetrical.
Below, overlapping leaves create a denser passage of cool and warmer greens. Fine linear detailing traces their veins and edges, while restrained shading distinguishes one surface from another. The transition from foliage to exposed root is especially revealing: rather than ending the plant neatly at ground level, Redouté includes the slender, branching structures beneath it. This small shift from floral display to botanical anatomy gives the study much of its scholarly character.
The nearly vacant background is an active part of the design. With no landscape, vessel or decorative border to establish scale, attention remains fixed on the specimen’s internal relationships: the weight of the leaves, the branching stems and the contrast between robust foliage and fragile petals. Along the lower edge, handwritten botanical labels—including inscriptions recorded as “Ophrys l. italica” and “Ophrys a. fallacis”—anchor the otherwise airy presentation in the language of classification.
Context and significance
Redouté was a French painter and printmaker whose reputation rests above all on his flower illustrations. Working within a long European tradition of botanical art, he brought exceptional clarity to the genre without suppressing the irregularities that make a living plant visually persuasive. His compositions often rely on isolation rather than abundance: a single specimen is given sufficient room for its growth pattern, leaves and flowers to be read almost sequentially from root to tip.
Plate 17 demonstrates why Les Liliacées remains so closely associated with Redouté’s name. Its scientific precision is never separated from visual judgement. The restrained cream, green and pink palette, the subtle asymmetry of the stems and the inclusion of roots and labels all contribute to an image poised between taxonomy and portraiture—a plant recorded with exacting attention, yet granted the presence of an individual subject.
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 36x24in (90x60cm) 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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- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
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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 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.
