Allium carolinianum by Pierre Joseph Redouté, 1802
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 1802 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.
Restaurato a Londra • Stampato e incorniciato nell’UE
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 1802 e stampata in qualità museale. Descrizione completa
Scegli il formato
Scegli la finitura
(Maggiori informazioni)
Gift message & custom finish
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.
Every order is custom made, so if you need the size adjusted slightly, or printed on an unusual material, just let us know. We've done thousands of custom orders over the years, so there's (almost) nothing we can't manage.
You can also contact us before you order, if you prefer!
La scelta di collezionisti, designer e di chi cerca un regalo speciale
Oltre 8.000 recensioni a 5 stelle
Pierre-Joseph Redouté’s Allium carolinianum, dated 1802, presents the plant as a complete botanical specimen rather than a conventional flower arrangement. Slender green...
Continua a leggerePierre-Joseph Redouté’s Allium carolinianum, dated 1802, presents the plant as a complete botanical specimen rather than a conventional flower arrangement. Slender green stems rise through a generous field of warm off-white, culminating in clustered pale blossoms, while the lower portion records the plant’s leaves, bulb and fine brown roots. The upright structure is subtly asymmetrical: the flowering heads sit at different heights, giving the composition a natural rhythm without compromising its remarkable clarity.
Redouté worked at the height of European enthusiasm for botanical classification, when illustrated plant studies served scientific enquiry while also becoming objects of considerable aesthetic refinement. Known as the “painter of flowers”, he was closely associated with French courtly and botanical culture and developed a reputation for combining close observation with exceptional delicacy. Here, the requirements of identification and the pleasures of looking are inseparable: every part is isolated for study, yet the plant retains the grace and animation of a living form.
A closer look
The eye is first drawn to the rounded flower clusters in the upper part of the composition. Each is assembled from numerous small white blooms, with hints of green appearing around their bases. Minute changes in petal size and direction prevent the heads from becoming uniform patterns. Instead, they seem lightly articulated, their clustered geometry set against the unmarked ground. The absence of landscape or surrounding vegetation removes any distraction and makes the finest divisions within the flowers unusually legible.
Below, long stems and narrow leaves establish the composition’s vertical movement. Fine linear detail follows their length, registering slight variations in surface and hue. The leaves bend in gentle arcs rather than forming rigid botanical diagrams; where they overlap, small shifts in tone create a restrained impression of depth. Redouté’s control is particularly apparent in these transitions, which define one green form against another without resorting to heavy outlines or dramatic shadow.
At the base, the study becomes more anatomical. Brown roots separate into increasingly slender fibres, providing an earthy counterweight to the pale blossoms above. Darker touches around the meeting point of leaf, bulb and root clarify how the elements connect. This downward tapering of the plant answers the expanding flower heads at the top, creating a composition that is both balanced and organically varied. Along the lower edge, the identification “Allium Carolinianum / Ail de Caroline” places the specimen within the multilingual conventions of historical botanical literature.
Context and significance
Botanical illustration of this period occupied a productive space between art and science. Before photography, an accomplished illustrator could clarify a specimen by presenting successive structures together, selecting an ideal viewpoint and suppressing incidental background detail. Such images were valued not simply for likeness, but for their ability to make the characteristic forms of a plant readable. Redouté excelled in precisely this balance, preserving the distinctions of stem, leaf, blossom and root while maintaining an unusually harmonious whole.
Allium carolinianum rewards attention at both scales. From a distance it is a spare arrangement of pale flower heads, cool greens and warm brown; closer inspection reveals the minute linear textures, overlapping leaves and individual variations within each cluster. Its enduring appeal lies in that union of disciplined description and decorative poise—a plant recorded with scientific concentration, but never reduced to a merely technical specimen.
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 Allium carolinianum, dated 1802, presents the plant as a complete botanical specimen rather than a conventional flower arrangement. Slender green stems rise through a generous field of warm off-white, culminating in clustered pale blossoms, while the lower portion records the plant’s leaves, bulb and fine brown roots. The upright structure is subtly asymmetrical: the flowering heads sit at different heights, giving the composition a natural rhythm without compromising its remarkable clarity.
Redouté worked at the height of European enthusiasm for botanical classification, when illustrated plant studies served scientific enquiry while also becoming objects of considerable aesthetic refinement. Known as the “painter of flowers”, he was closely associated with French courtly and botanical culture and developed a reputation for combining close observation with exceptional delicacy. Here, the requirements of identification and the pleasures of looking are inseparable: every part is isolated for study, yet the plant retains the grace and animation of a living form.
A closer look
The eye is first drawn to the rounded flower clusters in the upper part of the composition. Each is assembled from numerous small white blooms, with hints of green appearing around their bases. Minute changes in petal size and direction prevent the heads from becoming uniform patterns. Instead, they seem lightly articulated, their clustered geometry set against the unmarked ground. The absence of landscape or surrounding vegetation removes any distraction and makes the finest divisions within the flowers unusually legible.
Below, long stems and narrow leaves establish the composition’s vertical movement. Fine linear detail follows their length, registering slight variations in surface and hue. The leaves bend in gentle arcs rather than forming rigid botanical diagrams; where they overlap, small shifts in tone create a restrained impression of depth. Redouté’s control is particularly apparent in these transitions, which define one green form against another without resorting to heavy outlines or dramatic shadow.
At the base, the study becomes more anatomical. Brown roots separate into increasingly slender fibres, providing an earthy counterweight to the pale blossoms above. Darker touches around the meeting point of leaf, bulb and root clarify how the elements connect. This downward tapering of the plant answers the expanding flower heads at the top, creating a composition that is both balanced and organically varied. Along the lower edge, the identification “Allium Carolinianum / Ail de Caroline” places the specimen within the multilingual conventions of historical botanical literature.
Context and significance
Botanical illustration of this period occupied a productive space between art and science. Before photography, an accomplished illustrator could clarify a specimen by presenting successive structures together, selecting an ideal viewpoint and suppressing incidental background detail. Such images were valued not simply for likeness, but for their ability to make the characteristic forms of a plant readable. Redouté excelled in precisely this balance, preserving the distinctions of stem, leaf, blossom and root while maintaining an unusually harmonious whole.
Allium carolinianum rewards attention at both scales. From a distance it is a spare arrangement of pale flower heads, cool greens and warm brown; closer inspection reveals the minute linear textures, overlapping leaves and individual variations within each cluster. Its enduring appeal lies in that union of disciplined description and decorative poise—a plant recorded with scientific concentration, but never reduced to a merely technical specimen.
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.
