Eupatorium Dolichum (Plate 14) by Pierre Joseph Redouté, 1813
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 1813 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.
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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 1813 e stampata in qualità museale. Descrizione completa
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Plate 14 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall green...
Continua a leggerePlate 14 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall green specimen identified beneath the composition as “Eupatorium Dolichum”. A jointed central stem rises through tiers of broad foliage before ending in a loose cluster of small white flowers and buds. Redouté gives the plant ample space against a pale ground, allowing the irregular spread of its leaves—and the contrast between sturdy growth and delicate flowering—to determine the rhythm of the page.
The plate belongs to Redouté’s celebrated record of rare plants cultivated in gardens associated with Joséphine Bonaparte’s estates at Malmaison and Navarre. Such botanical publications joined close scientific observation with a highly developed sense of pictorial refinement: plants had to be recognisable and informative, yet they could also be arranged with the poise of a formal portrait. Redouté, often called the “Raphael of flowers”, became particularly renowned for this balance. Here, botanical description never hardens into diagram; the specimen retains its weight, vitality and individual habit.
A closer look
The strongest visual concentration occurs in the lower half, where large leaves overlap around the stem. Their surfaces are modelled through fine veins and gradual shifts from deep, shadowed green to lighter yellow-green at the edges. Some turn slightly towards the viewer, while others angle away, creating a layered structure without the need for a surrounding landscape. The pale beige field remains almost entirely open, making every contour legible and lending the branching silhouette an understated decorative quality.
Moving upwards, the plant becomes progressively lighter and more open. The substantial stem, marked by visible joints and subtle linear texture, divides into slender offshoots bearing smaller leaves. At the upper centre, white and creamy flower heads gather in an airy spray. Minute variations in tone and stippled detail distinguish buds from opened flowers, while the restrained pale yellow accents prevent the cluster from disappearing into the background.
The asymmetry is especially effective. A broad sweep of foliage extends towards the lower left, countered by smaller leaves and branching forms on the right. This distribution feels natural rather than geometrically imposed, yet the entire specimen remains carefully balanced around its vertical axis. Beneath it, the elegant scientific inscription provides a quiet typographic conclusion, linking the sensuous rendering above to the classificatory purpose of the publication.
Context and significance
Redouté worked within a botanical tradition in which accuracy depended upon sustained attention to structure: the junction of leaf and stem, the character of veining, the organisation of buds and blossoms. His distinction lay in making such information visually graceful without diminishing its usefulness. The rare plants cultivated at Malmaison and Navarre offered subjects through which horticulture, collecting and natural history could meet, and this 1813 publication preserves that cultivated world specimen by specimen.
Plate 14 is compelling precisely because its drama is so restrained. Luminous greens, waxy leaf surfaces and a modest crown of pale flowers are sufficient to create a study that is at once exact and composed. It rewards close attention to small transitions—the darkening of a vein, the turn of a leaf, the creamy edge of a bud—details through which Redouté transformed botanical record into sustained visual pleasure.
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.
Plate 14 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a tall green specimen identified beneath the composition as “Eupatorium Dolichum”. A jointed central stem rises through tiers of broad foliage before ending in a loose cluster of small white flowers and buds. Redouté gives the plant ample space against a pale ground, allowing the irregular spread of its leaves—and the contrast between sturdy growth and delicate flowering—to determine the rhythm of the page.
The plate belongs to Redouté’s celebrated record of rare plants cultivated in gardens associated with Joséphine Bonaparte’s estates at Malmaison and Navarre. Such botanical publications joined close scientific observation with a highly developed sense of pictorial refinement: plants had to be recognisable and informative, yet they could also be arranged with the poise of a formal portrait. Redouté, often called the “Raphael of flowers”, became particularly renowned for this balance. Here, botanical description never hardens into diagram; the specimen retains its weight, vitality and individual habit.
A closer look
The strongest visual concentration occurs in the lower half, where large leaves overlap around the stem. Their surfaces are modelled through fine veins and gradual shifts from deep, shadowed green to lighter yellow-green at the edges. Some turn slightly towards the viewer, while others angle away, creating a layered structure without the need for a surrounding landscape. The pale beige field remains almost entirely open, making every contour legible and lending the branching silhouette an understated decorative quality.
Moving upwards, the plant becomes progressively lighter and more open. The substantial stem, marked by visible joints and subtle linear texture, divides into slender offshoots bearing smaller leaves. At the upper centre, white and creamy flower heads gather in an airy spray. Minute variations in tone and stippled detail distinguish buds from opened flowers, while the restrained pale yellow accents prevent the cluster from disappearing into the background.
The asymmetry is especially effective. A broad sweep of foliage extends towards the lower left, countered by smaller leaves and branching forms on the right. This distribution feels natural rather than geometrically imposed, yet the entire specimen remains carefully balanced around its vertical axis. Beneath it, the elegant scientific inscription provides a quiet typographic conclusion, linking the sensuous rendering above to the classificatory purpose of the publication.
Context and significance
Redouté worked within a botanical tradition in which accuracy depended upon sustained attention to structure: the junction of leaf and stem, the character of veining, the organisation of buds and blossoms. His distinction lay in making such information visually graceful without diminishing its usefulness. The rare plants cultivated at Malmaison and Navarre offered subjects through which horticulture, collecting and natural history could meet, and this 1813 publication preserves that cultivated world specimen by specimen.
Plate 14 is compelling precisely because its drama is so restrained. Luminous greens, waxy leaf surfaces and a modest crown of pale flowers are sufficient to create a study that is at once exact and composed. It rewards close attention to small transitions—the darkening of a vein, the turn of a leaf, the creamy edge of a bud—details through which Redouté transformed botanical record into sustained visual pleasure.
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.
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.
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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 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.
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
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- 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.
