Veltheimia glauca (Plate 20) 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.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 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, Pl. 20, dated 1805, presents Veltheimia glauca as a poised vertical study: a tall stem crowned by...
Continua a leggerePierre Joseph Redouté’s Les liliacées, Pl. 20, dated 1805, presents Veltheimia glauca as a poised vertical study: a tall stem crowned by a dense cluster of pink tubular flowers, rising from a sculptural arrangement of broad green leaves. The plant occupies the centre of an otherwise pale, spacious field. Warm rose tones and small yellow accents enliven the flower head, while the foliage curls and overlaps below in cool, subtly varied greens. This balance between concentrated botanical detail and generous empty space gives the plate both scientific clarity and unusual visual grace.
The study belongs to Redouté’s celebrated Les liliacées, published between 1805 and 1816 and devoted to lilies and related flowering plants. Redouté was among the defining botanical artists of the early nineteenth century, admired for reconciling close observation with the refined taste of his period. His plants are sufficiently precise to support study, yet they never appear reduced to specimens alone: stems bend rhythmically, leaves are arranged with compositional intelligence, and colour remains delicate without becoming vague. Here, Veltheimia glauca is isolated and ordered so that its structure can be understood at a glance, while retaining the presence of a living plant.
A closer look
The flower cluster commands the upper part of the composition. Numerous narrow blossoms hang around the tip of the stem, their pink colouring deepening and fading in gentle transitions rather than forming a single uniform mass. Minute yellow tips punctuate the cluster, bringing definition to individual flowers and preventing the crown from becoming visually heavy. Fine touches along the petals create texture, while the slender central stalk holds the elaborate inflorescence above the broader forms beneath it.
The leaves provide the plate’s most expressive movement. Long, substantial blades rise and fold around the stem, their wavy margins creating a sequence of curves and counter-curves. Some turn towards the viewer; others overlap or recede, producing a restrained sense of depth against the flat pale background. Carefully articulated veins and soft tonal shading suggest a smooth, slightly glossy surface. Near the lower edge, the botanical names “Veltheimia glauca” and “Veltheimia glauque” identify the subject without competing with it, while a small subsidiary botanical detail at the lower left extends the plate’s analytical purpose.
Redouté’s use of negative space is especially effective. Nothing distracts from the distinction between the narrow upright stem, the compact flowering crown and the expansive foliage below. The asymmetry of the leaves prevents the arrangement from feeling diagrammatic, yet every part remains legible. Even the faint shadowing beneath overlapping forms is controlled, giving the plant volume while preserving the lightness associated with botanical plate design.
Context and significance
Botanical illustration in Redouté’s period served both scientific enquiry and cultivated appreciation. Works such as Les liliacées allowed plants to be examined through images that recorded growth, colour and anatomical detail while also satisfying a strong contemporary appetite for elegantly produced natural history. Redouté’s particular distinction lies in this dual register: his studies communicate information through separation and precision, but their rhythms of line and colour also reward sustained aesthetic attention.
Plate 20 exemplifies that achievement with striking economy. The coral-pink flowers, yellow-tipped details and layered blue-green foliage form a restrained yet memorable palette, while the quiet ground gives each contour room to register. It is an image of a named botanical subject, but also a carefully constructed portrait in which the distinctive bearing of Veltheimia glauca becomes the entire focus.
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, Pl. 20, dated 1805, presents Veltheimia glauca as a poised vertical study: a tall stem crowned by a dense cluster of pink tubular flowers, rising from a sculptural arrangement of broad green leaves. The plant occupies the centre of an otherwise pale, spacious field. Warm rose tones and small yellow accents enliven the flower head, while the foliage curls and overlaps below in cool, subtly varied greens. This balance between concentrated botanical detail and generous empty space gives the plate both scientific clarity and unusual visual grace.
The study belongs to Redouté’s celebrated Les liliacées, published between 1805 and 1816 and devoted to lilies and related flowering plants. Redouté was among the defining botanical artists of the early nineteenth century, admired for reconciling close observation with the refined taste of his period. His plants are sufficiently precise to support study, yet they never appear reduced to specimens alone: stems bend rhythmically, leaves are arranged with compositional intelligence, and colour remains delicate without becoming vague. Here, Veltheimia glauca is isolated and ordered so that its structure can be understood at a glance, while retaining the presence of a living plant.
A closer look
The flower cluster commands the upper part of the composition. Numerous narrow blossoms hang around the tip of the stem, their pink colouring deepening and fading in gentle transitions rather than forming a single uniform mass. Minute yellow tips punctuate the cluster, bringing definition to individual flowers and preventing the crown from becoming visually heavy. Fine touches along the petals create texture, while the slender central stalk holds the elaborate inflorescence above the broader forms beneath it.
The leaves provide the plate’s most expressive movement. Long, substantial blades rise and fold around the stem, their wavy margins creating a sequence of curves and counter-curves. Some turn towards the viewer; others overlap or recede, producing a restrained sense of depth against the flat pale background. Carefully articulated veins and soft tonal shading suggest a smooth, slightly glossy surface. Near the lower edge, the botanical names “Veltheimia glauca” and “Veltheimia glauque” identify the subject without competing with it, while a small subsidiary botanical detail at the lower left extends the plate’s analytical purpose.
Redouté’s use of negative space is especially effective. Nothing distracts from the distinction between the narrow upright stem, the compact flowering crown and the expansive foliage below. The asymmetry of the leaves prevents the arrangement from feeling diagrammatic, yet every part remains legible. Even the faint shadowing beneath overlapping forms is controlled, giving the plant volume while preserving the lightness associated with botanical plate design.
Context and significance
Botanical illustration in Redouté’s period served both scientific enquiry and cultivated appreciation. Works such as Les liliacées allowed plants to be examined through images that recorded growth, colour and anatomical detail while also satisfying a strong contemporary appetite for elegantly produced natural history. Redouté’s particular distinction lies in this dual register: his studies communicate information through separation and precision, but their rhythms of line and colour also reward sustained aesthetic attention.
Plate 20 exemplifies that achievement with striking economy. The coral-pink flowers, yellow-tipped details and layered blue-green foliage form a restrained yet memorable palette, while the quiet ground gives each contour room to register. It is an image of a named botanical subject, but also a carefully constructed portrait in which the distinctive bearing of Veltheimia glauca becomes the entire focus.
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
- 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.
