Rare Plants Cultivated at Malmaison and Navarre (Plate 50) 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
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 1813 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
Plate 50 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a single plant...
Continua a leggerePlate 50 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a single plant with the measured clarity of a scientific specimen and the poise of a formal portrait. A slender brown-green stem rises through the centre, carrying broad leaves in tones that range from deep forest green to paler, yellow-green highlights. Small white flowers appear discreetly along the lower right, while the generous cream ground leaves every contour, vein and branching point open to inspection.
Redouté was among the most accomplished botanical artists of the early nineteenth century, admired for bringing scientific observation into unusually graceful alignment with decorative refinement. This plate belongs to a culture of collecting and classifying rare plants that flourished in imperial France, particularly in prestigious gardens such as those at Malmaison and Navarre. Such illustrations provided a lasting visual record of prized specimens, but Redouté’s achievement lay in making that record feel neither dry nor merely diagrammatic: the plant retains its delicacy, irregularity and sense of living growth.
A closer look
The composition is built around the quiet upward movement of the main stem. Leaves extend alternately to either side, creating an open, gently asymmetrical rhythm rather than a dense mass of foliage. Those reaching towards the left edge are especially prominent, their crisply described outlines standing out against the pale background. Fine veins divide their surfaces into intricate networks, while soft tonal gradations suggest the shallow folds and subtle curvature of each leaf.
Redouté varies the greens with considerable restraint. Darker passages gather near the central veins and shadowed overlaps; lighter tones occur along raised areas and at the edges, lending the foliage depth without sacrificing botanical legibility. Minute hair-like marks contribute to the tactile character of the leaves. The stem, by contrast, is narrow and understated, acting as a structural line that holds the more expansive forms together.
The diminutive flowers reward closer attention. Their pale, almost translucent petals are defined by gentle shading rather than heavy outlines, giving them a markedly softer presence than the foliage. Nearby, smaller studies of individual botanical parts are arranged beside the principal specimen. These details shift the plate from plant portrait to visual analysis, allowing the reader to consider structures that might be obscured in the complete form. The otherwise unoccupied upper ground is equally purposeful: its spaciousness isolates the specimen and makes even the finest projection or change of direction easy to follow.
Context and significance
Malmaison is closely associated with Joséphine de Beauharnais, whose gardens became renowned for their uncommon and exotic plants. Redouté’s work within this milieu helped establish the visual identity of an ambitious botanical culture in which horticulture, scientific study and imperial patronage intersected. The title’s pairing of Malmaison and Navarre places the plate within that rarefied world of cultivated collections, where recording a plant could be both an act of scholarship and a demonstration of taste.
Yet the enduring appeal of Plate 50 rests in its economy. There is no garden setting and no decorative border to compete with the subject. Instead, stem, leaf, flower and isolated botanical detail are given room to articulate their own patterns. The result exemplifies Redouté’s distinctive balance: exact enough to support study, yet composed with a sensitivity to interval, silhouette and colour that gives the specimen an independent visual elegance.
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 50 from Pierre-Joseph Redouté’s Description des plantes rares cultivées à Malmaison et à Navarre, published in 1813, presents a single plant with the measured clarity of a scientific specimen and the poise of a formal portrait. A slender brown-green stem rises through the centre, carrying broad leaves in tones that range from deep forest green to paler, yellow-green highlights. Small white flowers appear discreetly along the lower right, while the generous cream ground leaves every contour, vein and branching point open to inspection.
Redouté was among the most accomplished botanical artists of the early nineteenth century, admired for bringing scientific observation into unusually graceful alignment with decorative refinement. This plate belongs to a culture of collecting and classifying rare plants that flourished in imperial France, particularly in prestigious gardens such as those at Malmaison and Navarre. Such illustrations provided a lasting visual record of prized specimens, but Redouté’s achievement lay in making that record feel neither dry nor merely diagrammatic: the plant retains its delicacy, irregularity and sense of living growth.
A closer look
The composition is built around the quiet upward movement of the main stem. Leaves extend alternately to either side, creating an open, gently asymmetrical rhythm rather than a dense mass of foliage. Those reaching towards the left edge are especially prominent, their crisply described outlines standing out against the pale background. Fine veins divide their surfaces into intricate networks, while soft tonal gradations suggest the shallow folds and subtle curvature of each leaf.
Redouté varies the greens with considerable restraint. Darker passages gather near the central veins and shadowed overlaps; lighter tones occur along raised areas and at the edges, lending the foliage depth without sacrificing botanical legibility. Minute hair-like marks contribute to the tactile character of the leaves. The stem, by contrast, is narrow and understated, acting as a structural line that holds the more expansive forms together.
The diminutive flowers reward closer attention. Their pale, almost translucent petals are defined by gentle shading rather than heavy outlines, giving them a markedly softer presence than the foliage. Nearby, smaller studies of individual botanical parts are arranged beside the principal specimen. These details shift the plate from plant portrait to visual analysis, allowing the reader to consider structures that might be obscured in the complete form. The otherwise unoccupied upper ground is equally purposeful: its spaciousness isolates the specimen and makes even the finest projection or change of direction easy to follow.
Context and significance
Malmaison is closely associated with Joséphine de Beauharnais, whose gardens became renowned for their uncommon and exotic plants. Redouté’s work within this milieu helped establish the visual identity of an ambitious botanical culture in which horticulture, scientific study and imperial patronage intersected. The title’s pairing of Malmaison and Navarre places the plate within that rarefied world of cultivated collections, where recording a plant could be both an act of scholarship and a demonstration of taste.
Yet the enduring appeal of Plate 50 rests in its economy. There is no garden setting and no decorative border to compete with the subject. Instead, stem, leaf, flower and isolated botanical detail are given room to articulate their own patterns. The result exemplifies Redouté’s distinctive balance: exact enough to support study, yet composed with a sensitivity to interval, silhouette and colour that gives the specimen an independent visual elegance.
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.
- 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.
