Burnet Rose (Rosa pimpinellifolia inermis) by Pierre Joseph Redouté, 1817
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 1817 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 1817 e stampata in qualità museale. Descrizione completa
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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!
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Pierre-Joseph Redouté’s Rosa Pimpinellifolia Inermis, published between 1817 and 1824, presents a thornless form of the burnet rose with characteristic clarity and...
Continua a leggerePierre-Joseph Redouté’s Rosa Pimpinellifolia Inermis, published between 1817 and 1824, presents a thornless form of the burnet rose with characteristic clarity and grace. Three open flowers spread across the upper half of the composition, their soft pink petals gathered around finely observed yellow stamens. Below them, branching stems carry dense clusters of green leaflets, while several closed and half-open buds record the plant at different stages of growth. Against the warm cream ground, the specimen appears both remarkably immediate and carefully ordered.
The plate belongs to the great early nineteenth-century flowering of botanical publishing, when images served scientific study while also appealing to a cultivated audience of gardeners and collectors. Redouté was among the most accomplished botanical illustrators of the period, admired for reconciling close observation with an instinct for elegant arrangement. His celebrated work on roses gave individual varieties a visual identity extending beyond classification: each plant was shown as a living structure, with its habit of growth, foliage and flowering cycle made intelligible at a glance. The name inermis indicates an unarmed or thornless form, a feature echoed by the French caption, “Rosier Pimpinelle à tiges sans épines”.
A closer look
The composition rises from a slender, slightly angled stem and opens out asymmetrically towards the top. Redouté avoids the stiffness of a diagram: leaves overlap, side stems turn in different directions, and the flowers face the viewer at subtly varied angles. The largest bloom sits near the centre, its petals curling outward in irregular tiers. A second flower lifts above it, while another opens to the left, establishing a gentle triangular rhythm among the blossoms.
Colour is restrained but carefully modulated. The petals move from pale blush at their edges to deeper pink in the folds, with fine tonal lines suggesting their delicate veining. Small touches of sunny yellow concentrate attention at each flower’s centre. The foliage provides a richer counterweight, shifting between fresh and shadowed greens; discreet shading gives the leaflets volume without obscuring their toothed margins or branching veins. Brownish notes along the stems add definition and distinguish the plant’s supporting structure from its softer leaves.
The upper buds are especially revealing. Rather than showing the rose only at its most decorative moment, Redouté includes tightly enclosed forms alongside flowers in full expansion. This progression gives the plate a quiet temporal quality, as though several days of growth had been brought together on one branch. The generous unmarked ground is equally important: it removes the plant from any garden setting, allowing every junction of stem, leaf and bloom to remain legible.
Context and significance
Redouté worked within a botanical tradition that required precision but did not exclude visual refinement. In this study, scientific usefulness lies in the attention paid to leaf structure, thornless stems, buds and overall growth habit; its decorative power comes from the measured spacing and poised upward movement of the branch. The plant is neither flattened into a schematic specimen nor embellished into fantasy. Instead, observation and composition reinforce one another.
Rosa Pimpinellifolia Inermis rewards the same kind of sustained looking that produced it. From a distance, the pink blossoms dominate; closer attention reveals serrated leaf edges, minute stamens, gently folded petals and the careful transitions between new growth and mature foliage. It is this balance of botanical exactness and cultivated restraint that continues to distinguish Redouté’s studies of roses.
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 Rosa Pimpinellifolia Inermis, published between 1817 and 1824, presents a thornless form of the burnet rose with characteristic clarity and grace. Three open flowers spread across the upper half of the composition, their soft pink petals gathered around finely observed yellow stamens. Below them, branching stems carry dense clusters of green leaflets, while several closed and half-open buds record the plant at different stages of growth. Against the warm cream ground, the specimen appears both remarkably immediate and carefully ordered.
The plate belongs to the great early nineteenth-century flowering of botanical publishing, when images served scientific study while also appealing to a cultivated audience of gardeners and collectors. Redouté was among the most accomplished botanical illustrators of the period, admired for reconciling close observation with an instinct for elegant arrangement. His celebrated work on roses gave individual varieties a visual identity extending beyond classification: each plant was shown as a living structure, with its habit of growth, foliage and flowering cycle made intelligible at a glance. The name inermis indicates an unarmed or thornless form, a feature echoed by the French caption, “Rosier Pimpinelle à tiges sans épines”.
A closer look
The composition rises from a slender, slightly angled stem and opens out asymmetrically towards the top. Redouté avoids the stiffness of a diagram: leaves overlap, side stems turn in different directions, and the flowers face the viewer at subtly varied angles. The largest bloom sits near the centre, its petals curling outward in irregular tiers. A second flower lifts above it, while another opens to the left, establishing a gentle triangular rhythm among the blossoms.
Colour is restrained but carefully modulated. The petals move from pale blush at their edges to deeper pink in the folds, with fine tonal lines suggesting their delicate veining. Small touches of sunny yellow concentrate attention at each flower’s centre. The foliage provides a richer counterweight, shifting between fresh and shadowed greens; discreet shading gives the leaflets volume without obscuring their toothed margins or branching veins. Brownish notes along the stems add definition and distinguish the plant’s supporting structure from its softer leaves.
The upper buds are especially revealing. Rather than showing the rose only at its most decorative moment, Redouté includes tightly enclosed forms alongside flowers in full expansion. This progression gives the plate a quiet temporal quality, as though several days of growth had been brought together on one branch. The generous unmarked ground is equally important: it removes the plant from any garden setting, allowing every junction of stem, leaf and bloom to remain legible.
Context and significance
Redouté worked within a botanical tradition that required precision but did not exclude visual refinement. In this study, scientific usefulness lies in the attention paid to leaf structure, thornless stems, buds and overall growth habit; its decorative power comes from the measured spacing and poised upward movement of the branch. The plant is neither flattened into a schematic specimen nor embellished into fantasy. Instead, observation and composition reinforce one another.
Rosa Pimpinellifolia Inermis rewards the same kind of sustained looking that produced it. From a distance, the pink blossoms dominate; closer attention reveals serrated leaf edges, minute stamens, gently folded petals and the careful transitions between new growth and mature foliage. It is this balance of botanical exactness and cultivated restraint that continues to distinguish Redouté’s studies of roses.
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.
- 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.
