Scarlet Avens (Geum cocineum, Plate 12) by Pierre Joseph Redouté, 1827
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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 nel nostro laboratorio di Londra dall’opera originale del 1827 e stampata in qualità museale. Descrizione completa
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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 1827 e stampata in qualità museale. Descrizione completa
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Pierre-Joseph Redouté’s 1827 study of scarlet avens (Geum cocineum) appeared as plate 12 in Choix des plus belles fleurs. The plant rises...
Continua a leggerePierre-Joseph Redouté’s 1827 study of scarlet avens (Geum cocineum) appeared as plate 12 in Choix des plus belles fleurs. The plant rises in a gently asymmetrical cluster, its vivid red flowers opening among yellow buds and fresh green foliage. Rather than presenting a single bloom in isolation, Redouté records several stages of growth at once: tightly closed buds, partially unfurled petals and broad, mature flowers gathered around finely observed centres. Against the restrained cream ground, each stem and serrated leaf remains exceptionally clear.
Redouté was among the most admired botanical artists of the early nineteenth century, celebrated for reconciling scientific description with unusual delicacy. Often called the “Raphael of flowers”, he helped establish a visual language in which botanical specimens could be studied accurately while also being appreciated as elegant compositions. Choix des plus belles fleurs belongs to this tradition of natural-history publishing, created at a time when carefully observed flower studies served both educational and decorative purposes.
A closer look
The largest flower occupies the central foreground, its rounded arrangement of overlapping petals held around a small yellow centre. The red is not uniform: richer colour gathers towards the inner folds, while the edges soften into paler, warmer tones. This subtle gradation gives the petals volume without sacrificing the clarity of their outlines. Further blooms rise at the upper right, varied in scale and degree of openness so that the grouping feels grown rather than geometrically arranged.
At the upper left, a compact gathering of yellow buds provides a sharp chromatic counterpoint to the scarlet flowers. A smaller yellow bloom appears just below the centre, partially enclosed by surrounding stems and petals. These touches of yellow guide the eye through the composition, linking the flower centres with the unopened buds and preventing the dominant red from becoming visually heavy.
The foliage becomes particularly detailed towards the lower right. Individual leaf veins branch through soft green surfaces, while sharply serrated edges lend the plant a precise, tactile character. Stems cross and separate with considerable economy, creating a shallow sense of depth across the otherwise open page. Beneath the specimen, the French name “Bénoîte écarlate” is paired with the botanical designation “Geum cocineum”, while Redouté’s name appears at the lower left. The lettering is discreetly placed, preserving the generous negative space around the plant.
Context and significance
Redouté’s reputation rested on precisely this balance between close observation and compositional refinement. His career unfolded in Paris across a period of profound political change, yet his sustained subject was the cultivated and collected plant. Working within a flourishing culture of botanical study, he transformed the conventions of specimen illustration into images distinguished by spaciousness, tonal subtlety and an almost portrait-like attention to individual flowers.
This plate is especially revealing in the way it makes botanical information visually pleasurable. The different states of the blooms clarify the plant’s structure and development, while the restrained background and carefully paced diagonals give the cluster an independent decorative rhythm. The result is neither a crowded bouquet nor a dry diagram, but a lucid study in which colour, growth and classification are held in unusually graceful equilibrium.
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 1827 study of scarlet avens (Geum cocineum) appeared as plate 12 in Choix des plus belles fleurs. The plant rises in a gently asymmetrical cluster, its vivid red flowers opening among yellow buds and fresh green foliage. Rather than presenting a single bloom in isolation, Redouté records several stages of growth at once: tightly closed buds, partially unfurled petals and broad, mature flowers gathered around finely observed centres. Against the restrained cream ground, each stem and serrated leaf remains exceptionally clear.
Redouté was among the most admired botanical artists of the early nineteenth century, celebrated for reconciling scientific description with unusual delicacy. Often called the “Raphael of flowers”, he helped establish a visual language in which botanical specimens could be studied accurately while also being appreciated as elegant compositions. Choix des plus belles fleurs belongs to this tradition of natural-history publishing, created at a time when carefully observed flower studies served both educational and decorative purposes.
A closer look
The largest flower occupies the central foreground, its rounded arrangement of overlapping petals held around a small yellow centre. The red is not uniform: richer colour gathers towards the inner folds, while the edges soften into paler, warmer tones. This subtle gradation gives the petals volume without sacrificing the clarity of their outlines. Further blooms rise at the upper right, varied in scale and degree of openness so that the grouping feels grown rather than geometrically arranged.
At the upper left, a compact gathering of yellow buds provides a sharp chromatic counterpoint to the scarlet flowers. A smaller yellow bloom appears just below the centre, partially enclosed by surrounding stems and petals. These touches of yellow guide the eye through the composition, linking the flower centres with the unopened buds and preventing the dominant red from becoming visually heavy.
The foliage becomes particularly detailed towards the lower right. Individual leaf veins branch through soft green surfaces, while sharply serrated edges lend the plant a precise, tactile character. Stems cross and separate with considerable economy, creating a shallow sense of depth across the otherwise open page. Beneath the specimen, the French name “Bénoîte écarlate” is paired with the botanical designation “Geum cocineum”, while Redouté’s name appears at the lower left. The lettering is discreetly placed, preserving the generous negative space around the plant.
Context and significance
Redouté’s reputation rested on precisely this balance between close observation and compositional refinement. His career unfolded in Paris across a period of profound political change, yet his sustained subject was the cultivated and collected plant. Working within a flourishing culture of botanical study, he transformed the conventions of specimen illustration into images distinguished by spaciousness, tonal subtlety and an almost portrait-like attention to individual flowers.
This plate is especially revealing in the way it makes botanical information visually pleasurable. The different states of the blooms clarify the plant’s structure and development, while the restrained background and carefully paced diagonals give the cluster an independent decorative rhythm. The result is neither a crowded bouquet nor a dry diagram, but a lucid study in which colour, growth and classification are held in unusually graceful equilibrium.
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
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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
- 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.
