White Rose (Rosa alba foliacea) 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 Alba foliacea, published in 1817, presents a white rose with the concentration usually reserved for portraiture. One fully opened...
Continua a leggerePierre-Joseph Redouté’s Rosa Alba foliacea, published in 1817, presents a white rose with the concentration usually reserved for portraiture. One fully opened bloom commands the centre of the composition, its layered ivory petals unfolding around a small yellow heart. Deep green foliage spreads below and beside it, while a cluster of pink-tinted buds rises towards the upper right, giving the carefully balanced study a gentle sense of growth.
Redouté was among the most accomplished flower painters of the late eighteenth and early nineteenth centuries, renowned above all for his studies of roses. His work belongs to a period in which botanical illustration served both scientific enquiry and a cultivated appreciation of plants. Precise enough to record structure, yet composed with exceptional grace, his flower studies helped establish a visual language in which botanical specimens could be examined as closely as they were admired. Rosa Alba foliacea exemplifies that union of classification and elegance: the plant is isolated for clarity, but never reduced to a dry diagram.
A closer look
The open rose is constructed through minute tonal changes rather than emphatic outlines. Pale grey, cream and the faintest blush define the folded petals, with deeper shadows gathering where one layer passes over another. Their irregular edges prevent the flower from appearing overly symmetrical; instead, the bloom seems caught at a particular stage of opening. At its centre, closely worked yellow details form a warm, concentrated point against the surrounding white.
The leaves provide a more robust counterpoint. Those at the lower left are dark and richly textured, with pale veins branching across their surfaces and fine serrations articulating the edges. Changes from olive to deeper forest green distinguish overlapping forms and give the foliage convincing volume. Slender stems thread upwards from this dense lower section, leading towards the smaller buds. Their colour shifts delicately from muted green at the sepals to soft rose pink at the tips, offering the composition’s warmest notes.
Much of the plate’s refinement depends upon its spacious, nearly cream ground. With no garden setting or horizon, every stem, leaflet and petal remains legible, while the plant’s diagonal rise creates movement within the otherwise still field. Along the lower margin, the Latin name appears beside a French identification, linking the flower’s visual presence to the naming systems through which botanical knowledge was organised and circulated.
Context and significance
Botanical illustration flourished during Redouté’s lifetime as European naturalists, gardeners and collectors sought increasingly exact records of cultivated and newly classified plants. The strongest examples had to reconcile two demands: they needed to distinguish botanical characteristics clearly, but also to convey the colour, delicacy and living habit of the specimen. Redouté’s reputation rests on the ease with which he brought those aims together. Here, the visible veins, toothed leaves and differing stages of bud and flower offer careful descriptive information, while the ascending arrangement gives the rose an unmistakable compositional poise.
The plate rewards attention to contrasts that are initially easy to overlook: the softness of the bloom against the firmer geometry of the foliage; the bright centre held within cool white petals; and the compact buds set above the expansive mature flower. These relationships make Rosa Alba foliacea more than a record of a particular rose. It is also a lucid example of how early nineteenth-century botanical art could turn close observation into an image of remarkable restraint and vitality.
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 Alba foliacea, published in 1817, presents a white rose with the concentration usually reserved for portraiture. One fully opened bloom commands the centre of the composition, its layered ivory petals unfolding around a small yellow heart. Deep green foliage spreads below and beside it, while a cluster of pink-tinted buds rises towards the upper right, giving the carefully balanced study a gentle sense of growth.
Redouté was among the most accomplished flower painters of the late eighteenth and early nineteenth centuries, renowned above all for his studies of roses. His work belongs to a period in which botanical illustration served both scientific enquiry and a cultivated appreciation of plants. Precise enough to record structure, yet composed with exceptional grace, his flower studies helped establish a visual language in which botanical specimens could be examined as closely as they were admired. Rosa Alba foliacea exemplifies that union of classification and elegance: the plant is isolated for clarity, but never reduced to a dry diagram.
A closer look
The open rose is constructed through minute tonal changes rather than emphatic outlines. Pale grey, cream and the faintest blush define the folded petals, with deeper shadows gathering where one layer passes over another. Their irregular edges prevent the flower from appearing overly symmetrical; instead, the bloom seems caught at a particular stage of opening. At its centre, closely worked yellow details form a warm, concentrated point against the surrounding white.
The leaves provide a more robust counterpoint. Those at the lower left are dark and richly textured, with pale veins branching across their surfaces and fine serrations articulating the edges. Changes from olive to deeper forest green distinguish overlapping forms and give the foliage convincing volume. Slender stems thread upwards from this dense lower section, leading towards the smaller buds. Their colour shifts delicately from muted green at the sepals to soft rose pink at the tips, offering the composition’s warmest notes.
Much of the plate’s refinement depends upon its spacious, nearly cream ground. With no garden setting or horizon, every stem, leaflet and petal remains legible, while the plant’s diagonal rise creates movement within the otherwise still field. Along the lower margin, the Latin name appears beside a French identification, linking the flower’s visual presence to the naming systems through which botanical knowledge was organised and circulated.
Context and significance
Botanical illustration flourished during Redouté’s lifetime as European naturalists, gardeners and collectors sought increasingly exact records of cultivated and newly classified plants. The strongest examples had to reconcile two demands: they needed to distinguish botanical characteristics clearly, but also to convey the colour, delicacy and living habit of the specimen. Redouté’s reputation rests on the ease with which he brought those aims together. Here, the visible veins, toothed leaves and differing stages of bud and flower offer careful descriptive information, while the ascending arrangement gives the rose an unmistakable compositional poise.
The plate rewards attention to contrasts that are initially easy to overlook: the softness of the bloom against the firmer geometry of the foliage; the bright centre held within cool white petals; and the compact buds set above the expansive mature flower. These relationships make Rosa Alba foliacea more than a record of a particular rose. It is also a lucid example of how early nineteenth-century botanical art could turn close observation into an image of remarkable restraint and vitality.
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 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.
