Pierre-Joseph Redouté’s Choix des plus belles fleurs, plate 006, published in 1827, presents Amaryllis equestre as a poised study of growth in several stages. A fully opened flower occupies the upper right, its broad pink petals curling gently around a brilliant yellow throat, while long leaves and unopened buds rise diagonally from the lower left. The asymmetry gives the specimen an unusual sense of movement: rather than sitting rigidly at the centre of the page, the plant seems to unfurl across its pale ground.

Redouté was among the most admired botanical artists of the late eighteenth and early nineteenth centuries, celebrated for reconciling scientific observation with courtly refinement. Born in the region now known as Belgium and active chiefly in Paris, he worked for patrons including Marie Antoinette and the Empress Joséphine. His flower studies emerged at a time when illustrated botanical books appealed simultaneously to scholars, horticulturalists and collectors. The title Choix des plus belles fleurs—“Selection of the Most Beautiful Flowers”—aptly expresses this meeting of classification and connoisseurship: each plant is recorded with close attention, yet arranged with the composure of an independent work of art.

A closer look

The open bloom commands attention through colour rather than sheer symmetry. Rose-pink petals deepen towards their bases and soften towards the edges, where slight folds and irregular contours prevent the flower from appearing diagrammatic. Fine veins run through the petal surfaces, while measured tonal transitions describe their curves. At the centre, yellow extends out from the throat, warming the surrounding pinks; slender filaments project from within, adding a delicate linear counterpoint to the broad petal forms.

Beneath the flower, the quieter structures of the plant establish the composition’s rhythm. A pale green bud, still tightly enclosed, sits just below the open head, with a second, less developed form carried on another stem nearer the centre. Two elongated leaves arc upwards from the lower left. Their cool and varied greens balance the saturated bloom without competing with it, while their sweeping contours lead the eye back towards the flower. Redouté leaves much of the page unoccupied, allowing the intervals between stem, leaf and bud to become part of the design.

The background is almost entirely free of setting or ornament. This deliberate spaciousness isolates the specimen and makes small distinctions easier to notice: the fine changes of green along a leaf, the junction between bud and stem, and the transition from yellow to pink within the open flower. At the bottom centre, the name “Amaryllis equestre.” appears in restrained script, anchoring the elegant arrangement in botanical identification.

Context and significance

Redouté’s reputation as the “painter of flowers” rested on precisely this balance between precision and grace. Botanical illustration had to make a plant intelligible, but in his hands the conventions of specimen display also became compositional possibilities. Here, different phases of flowering communicate structure and development, while the diagonal stems, generous negative space and carefully modulated colour ensure that the plate never feels merely instructional.

Plate 006 retains the clarity of a scientific study while rewarding the slower attention given to a painting. Its appeal lies not only in the vivid flower but in the disciplined relationships around it: open and closed forms, warm petals and cool foliage, minute observation and broad empty space. It is an especially characteristic example of Redouté’s ability to make botanical knowledge visually lucid without diminishing the individuality of the plant.

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.