Acacia longifolia (Plate 19) by Pierre Joseph Redouté, 1813
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The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored in our London workshop from the original 1813 artwork and printed to museum-grade archival standards. Full description
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Need delivery to different addresses? Contact us before ordering.The Collector’s Offer
Choose two eligible works and receive 20% off both. Choose three and the lowest-priced one is complimentary, a maximum saving of 33%.
Mix and match eligible standard maps and fine-art prints. No code is required; the offer is applied automatically at checkout.
Standard made-to-order configurations are included. Bespoke sizes, personalised designs and commissioned work are excluded.
Need delivery to different addresses? Contact us before ordering.
Authentic artwork
The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored from the original 1813 artwork and printed to museum-grade archival standards. Full description
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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 Plate 19 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents the long-leaved wattle...
Continue readingPierre-Joseph Redouté’s Plate 19 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents the long-leaved wattle (Acacia longifolia) as a single, elegantly ascending branch. Rising diagonally from the lower left towards the upper right, its slender brown stem carries narrow green foliage and small, vivid yellow flower clusters. The ample cream ground is not merely empty space: it gives each botanical feature room to be examined while lending the composition an unusually light, poised rhythm.
The plate belongs to a period in which botanical illustration served scientific study, horticultural record and cultivated taste at once. The gardens named in the publication’s title were associated with an intense French interest in rare and newly cultivated plants; Malmaison, in particular, was renowned for the botanical ambitions of Joséphine de Beauharnais. Redouté was exceptionally well suited to such a project. Celebrated for combining close observation with delicacy of line and colour, he made specimens legible without reducing them to diagrams, preserving their individual habits of growth as well as their identifying structures.
A closer look
The branch establishes a strong diagonal through the otherwise spacious plate. Its lower section is fine and woody, subtly articulated in warm brown before dividing into greener growth above. From this framework, the foliage extends in alternating directions: some blades run almost parallel to the stem, while others sweep outwards, creating a loose sequence of pointed forms. Their varied angles prevent the specimen from feeling static and guide the eye steadily upwards.
Yellow flowers punctuate the greenery, becoming especially noticeable towards the upper right. Rather than forming one dominant bloom, they appear as a succession of small, textured accents along the branch. The colour is restrained but clear, standing warmly against both the cool greens and the pale background. Fine marks within the foliage suggest veins and surface structure, while delicate changes of tone distinguish overlapping growth without relying on heavy shadow.
At the lower margin, the inscription “Acacia Longifolia.” appears in fluid script. Its graceful lettering forms a quiet counterpart to the plant above: the long strokes of the words echo the specimen’s narrow foliage and elongated composition. With no surrounding landscape or decorative border, identification and observation remain the plate’s central concerns.
Context and significance
Botanical plates of this kind emerged from a culture in which gardens could function as living collections, bringing together specimens valued for their rarity, scientific interest and ornamental character. Redouté’s contribution was to translate those cultivated plants into images that were sufficiently precise to inform, yet refined enough to stand as independent works of botanical art. His compositions often depend upon disciplined simplification: one carefully selected stem, a pale field and colour applied only where it clarifies form.
This study is particularly compelling for the tension between abundance and restraint. The plant itself is intricate—composed of repeated leaves, branching stems and numerous small flowers—yet its presentation remains lucid. Redouté allows the long-leaved wattle’s own structure to determine the design, turning a botanical specimen into an ascending pattern of green, yellow and brown without sacrificing the clarity upon which the plate’s documentary purpose depended.
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 24x36in (60x90cm) 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 19 from Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents the long-leaved wattle (Acacia longifolia) as a single, elegantly ascending branch. Rising diagonally from the lower left towards the upper right, its slender brown stem carries narrow green foliage and small, vivid yellow flower clusters. The ample cream ground is not merely empty space: it gives each botanical feature room to be examined while lending the composition an unusually light, poised rhythm.
The plate belongs to a period in which botanical illustration served scientific study, horticultural record and cultivated taste at once. The gardens named in the publication’s title were associated with an intense French interest in rare and newly cultivated plants; Malmaison, in particular, was renowned for the botanical ambitions of Joséphine de Beauharnais. Redouté was exceptionally well suited to such a project. Celebrated for combining close observation with delicacy of line and colour, he made specimens legible without reducing them to diagrams, preserving their individual habits of growth as well as their identifying structures.
A closer look
The branch establishes a strong diagonal through the otherwise spacious plate. Its lower section is fine and woody, subtly articulated in warm brown before dividing into greener growth above. From this framework, the foliage extends in alternating directions: some blades run almost parallel to the stem, while others sweep outwards, creating a loose sequence of pointed forms. Their varied angles prevent the specimen from feeling static and guide the eye steadily upwards.
Yellow flowers punctuate the greenery, becoming especially noticeable towards the upper right. Rather than forming one dominant bloom, they appear as a succession of small, textured accents along the branch. The colour is restrained but clear, standing warmly against both the cool greens and the pale background. Fine marks within the foliage suggest veins and surface structure, while delicate changes of tone distinguish overlapping growth without relying on heavy shadow.
At the lower margin, the inscription “Acacia Longifolia.” appears in fluid script. Its graceful lettering forms a quiet counterpart to the plant above: the long strokes of the words echo the specimen’s narrow foliage and elongated composition. With no surrounding landscape or decorative border, identification and observation remain the plate’s central concerns.
Context and significance
Botanical plates of this kind emerged from a culture in which gardens could function as living collections, bringing together specimens valued for their rarity, scientific interest and ornamental character. Redouté’s contribution was to translate those cultivated plants into images that were sufficiently precise to inform, yet refined enough to stand as independent works of botanical art. His compositions often depend upon disciplined simplification: one carefully selected stem, a pale field and colour applied only where it clarifies form.
This study is particularly compelling for the tension between abundance and restraint. The plant itself is intricate—composed of repeated leaves, branching stems and numerous small flowers—yet its presentation remains lucid. Redouté allows the long-leaved wattle’s own structure to determine the design, turning a botanical specimen into an ascending pattern of green, yellow and brown without sacrificing the clarity upon which the plate’s documentary purpose depended.
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 24x36in (60x90cm) 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.
Many of our maps and art prints are chosen as thoughtful gifts for homes, offices, studies and meaningful places.
Choose a framed option for the easiest ready-to-hang gift, or choose an unframed print if the recipient may prefer to select their own frame.
We make orders locally in 23 countries around the world, so gifts can often be produced close to the recipient. This helps them arrive faster, travel more safely, and avoid customs or import duty surprises.
- We can deliver directly to the recipient
- Framed pieces arrive ready to hang
- Unframed prints are carefully packed in a strong protective tube
- Almost every order is made locally, for faster, safer gifting
- 90-day returns give the recipient time to decide
If you are not sure what to choose, please contact us. We can help you pick the right map, size, finish or delivery option.
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.
We work with interior designers, hospitality businesses, property professionals, offices and corporate buyers on individual pieces and larger coordinated projects.
This artwork can be adapted for a particular wall, room or project, and our workshop can help coordinate the dimensions, material and framing before production.
- Exact, oversized and made-to-measure dimensions
- Custom framing, mounting and alternative materials
- Coordinated pieces for several rooms or locations
- Art personalisation, to adjust the colour and style of the piece
- Art and framing guidance from our workshop
- Local production for projects around the world
Every restored art print begins with the original artist’s work—never an AI-generated replacement.
Our London studio works from carefully selected source material from museums, libraries, archives and private collections. We restore age-related damage, faded colour and imperfect reproduction while preserving the artist’s composition, brushwork, line, texture and period character.
We do not use generative AI to redraw, reinterpret or invent the artwork. Digital restoration is used only to recover and reproduce the original work as faithfully as possible.
Once restored, the master artwork is prepared for your chosen size and finish. Your piece is then printed and, where selected, framed close to its delivery destination.
Our giclée art prints use acid-free 200gsm archival matte paper and fade-resistant pigment inks for a rich, museum-quality finish. Framed art prints use crystal-clear optical acrylic and arrive ready to hang.
Framed canvas and specialist cotton-rag editions are also available. Learn more about our materials and finishes.
We’ve been restoring and producing maps and art prints since 1984, and we stand behind every piece.
Every order is covered by our 10-year guarantee and damage-free delivery guarantee. If your piece arrives damaged, we’ll replace or remake it free of charge. If anything else isn’t right, contact our workshop team and we’ll put it right promptly.
See our returns and refund policy for full details.
