Sweet Briar Rose (Rosa rubiginosa) 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
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Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
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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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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.
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Pierre-Joseph Redouté’s Rosa Rubiginosa Zabeth (1817–1824), published in 1817, presents a flowering branch of sweet briar, Rosa rubiginosa, with the poised clarity...
Continua a leggerePierre-Joseph Redouté’s Rosa Rubiginosa Zabeth (1817–1824), published in 1817, presents a flowering branch of sweet briar, Rosa rubiginosa, with the poised clarity for which his botanical studies are celebrated. Two open roses command the centre, their petals passing from pale blush to richer pink around small yellow centres. Above them, tightly furled buds rise among fresh green leaves, giving the composition a quiet sense of growth rather than the formality of a specimen laid flat.
Redouté worked at a moment when botanical illustration served several audiences at once. It was a means of recording and distinguishing plants, a resource for cultivation and classification, and an art collected for its refinement. His particular achievement lay in reconciling these demands: the identifying structures of stem, bud, leaf and flower remain legible, yet each element is arranged with exceptional grace. Roses were among his defining subjects, and this 1817 study belongs to the early nineteenth-century flourishing of botanical publishing, when scientific curiosity and enthusiasm for ornamental plants became closely intertwined.
A closer look
The flowering stem is set against a spacious, light beige ground, with no surrounding landscape to distract from its structure. This generous negative space allows the branch to be read almost as a sequence. Serrated leaves gather towards the lower left; the two mature blooms spread across the centre; and the composition narrows as it climbs towards the cluster of buds at the upper right. The resulting diagonal is lively but balanced, avoiding rigid symmetry while keeping every part of the plant visually connected.
Redouté differentiates the rose’s surfaces through minute tonal changes. Fine lines describe the veins and slight folds of the petals, while soft gradations make their edges appear thin and gently curled. The leaves are more firmly articulated, with crisp toothed margins, branching veins and shifts from deep green to softer, more muted tones. Even the stems reward scrutiny: tiny hairs and delicate irregularities prevent them from becoming merely graphic supports. Overlapping foliage creates a modest sense of depth, and a faint shadow beneath one flower gives the bloom additional volume without disturbing the plate’s overall lightness.
The buds are especially telling. Rather than repeating a single shape, Redouté records several stages of opening, varying their colour, scale and degree of enclosure. Their compact forms contrast with the broad, loose petals below and make the fully opened flowers seem more expansive. Beneath the botanical study, the lettering forms a restrained scholarly base. The title includes the French designation “Eglantine de la Reine Elisbeth”, while “P. J. Redouté pinx.” identifies Redouté as the painter; “Imprimerie de Renaud” appears below.
Context and significance
Botanical illustration depends upon selection as much as accuracy: a plant must be made comprehensible without losing the character of a living thing. Here, the branching habit, serrated foliage, clustered buds and open corollas are all carefully separated, yet the rose never feels diagrammatic. Redouté’s controlled arrangement transforms observation into an elegant visual rhythm, moving from dense greenery through open blossom to nascent flower.
That balance explains the lasting appeal of his work. Rosa Rubiginosa Zabeth can be studied for botanical detail, but it also offers the pleasures of proportion, colour and line. Its pale ground, nuanced pinks and precisely observed foliage preserve the rose at several moments of its growth, making a single branch feel both scientifically attentive and fully alive.
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 Rubiginosa Zabeth (1817–1824), published in 1817, presents a flowering branch of sweet briar, Rosa rubiginosa, with the poised clarity for which his botanical studies are celebrated. Two open roses command the centre, their petals passing from pale blush to richer pink around small yellow centres. Above them, tightly furled buds rise among fresh green leaves, giving the composition a quiet sense of growth rather than the formality of a specimen laid flat.
Redouté worked at a moment when botanical illustration served several audiences at once. It was a means of recording and distinguishing plants, a resource for cultivation and classification, and an art collected for its refinement. His particular achievement lay in reconciling these demands: the identifying structures of stem, bud, leaf and flower remain legible, yet each element is arranged with exceptional grace. Roses were among his defining subjects, and this 1817 study belongs to the early nineteenth-century flourishing of botanical publishing, when scientific curiosity and enthusiasm for ornamental plants became closely intertwined.
A closer look
The flowering stem is set against a spacious, light beige ground, with no surrounding landscape to distract from its structure. This generous negative space allows the branch to be read almost as a sequence. Serrated leaves gather towards the lower left; the two mature blooms spread across the centre; and the composition narrows as it climbs towards the cluster of buds at the upper right. The resulting diagonal is lively but balanced, avoiding rigid symmetry while keeping every part of the plant visually connected.
Redouté differentiates the rose’s surfaces through minute tonal changes. Fine lines describe the veins and slight folds of the petals, while soft gradations make their edges appear thin and gently curled. The leaves are more firmly articulated, with crisp toothed margins, branching veins and shifts from deep green to softer, more muted tones. Even the stems reward scrutiny: tiny hairs and delicate irregularities prevent them from becoming merely graphic supports. Overlapping foliage creates a modest sense of depth, and a faint shadow beneath one flower gives the bloom additional volume without disturbing the plate’s overall lightness.
The buds are especially telling. Rather than repeating a single shape, Redouté records several stages of opening, varying their colour, scale and degree of enclosure. Their compact forms contrast with the broad, loose petals below and make the fully opened flowers seem more expansive. Beneath the botanical study, the lettering forms a restrained scholarly base. The title includes the French designation “Eglantine de la Reine Elisbeth”, while “P. J. Redouté pinx.” identifies Redouté as the painter; “Imprimerie de Renaud” appears below.
Context and significance
Botanical illustration depends upon selection as much as accuracy: a plant must be made comprehensible without losing the character of a living thing. Here, the branching habit, serrated foliage, clustered buds and open corollas are all carefully separated, yet the rose never feels diagrammatic. Redouté’s controlled arrangement transforms observation into an elegant visual rhythm, moving from dense greenery through open blossom to nascent flower.
That balance explains the lasting appeal of his work. Rosa Rubiginosa Zabeth can be studied for botanical detail, but it also offers the pleasures of proportion, colour and line. Its pale ground, nuanced pinks and precisely observed foliage preserve the rose at several moments of its growth, making a single branch feel both scientifically attentive and fully alive.
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.
