Amaryllis brasiliensis and Amaryllis breutienne (Plate 48) by Pierre Joseph Redouté, 1805
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 1805 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.
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 in Canada
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 1805 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 Les Liliacées, Plate 48, dated 1805, presents Amaryllis brasiliensis and Amaryllis breutienne as both botanical specimens and a carefully staged...
Continua a leggerePierre-Joseph Redouté’s Les Liliacées, Plate 48, dated 1805, presents Amaryllis brasiliensis and Amaryllis breutienne as both botanical specimens and a carefully staged arrangement. Three expansive red flowers command the centre, their veined petals edged with narrow flashes of white, while long green leaves rise and curve around them. Below, a rounded reddish-brown bulb anchors the composition, making the plant’s structure—from root to bud and open bloom—part of its visual drama.
The plate belongs to Redouté’s celebrated Les Liliacées, published between 1805 and 1816 and devoted to lilies and related plants. Produced during a period of intense European interest in botanical classification, such illustrations had a dual purpose: they recorded natural forms with scholarly clarity while also appealing to an audience attuned to elegance and decorative beauty. Redouté’s exceptional ability to reconcile those demands earned him the enduring epithet “the Raphael of flowers”. Here, precision never becomes rigid; the specimens retain the poise and rhythm of a composed floral portrait.
A closer look
The strongest colour is concentrated in the central blossoms. Their rich scarlet-red petals overlap and turn at subtly different angles, so that each flower has its own orientation rather than repeating a single diagrammatic pose. Fine veins run through the petals, deepening towards their centres, while pale margins give the silhouettes unusual crispness against the warm cream ground. Smooth tonal transitions suggest the slight folds and lustrous surfaces of the flowers without obscuring their botanical structure.
A group of unopened buds at the upper right provides a quieter counterpoint to the full blooms. Their muted green and purplish colouring records an earlier stage of flowering, while their compact forms contrast with the broad, unfurled petals below. Around them, the foliage creates the plate’s underlying movement: some leaves stand almost upright, others bow outwards, and several overlap to establish a convincing sense of depth. Delicate linear work traces their central veins and smooth surfaces, with restrained shading giving each blade volume.
The lower portion is especially revealing. Rather than concealing the plant beneath an ornamental mass of foliage, Redouté includes the swelling bulb and the points from which the stems and leaves emerge. Reddish-brown shading describes its rounded, papery form, while fine details around the base clarify the plant’s growth. Along the lower edge, the names Amaryllis brasiliensis and Amaryllis breutienne appear in elegant script, unobtrusively connecting the sensuous display above with the taxonomic purpose of the plate.
Context and significance
Redouté’s botanical art exemplifies a tradition in which close observation and aesthetic judgement were mutually reinforcing. The pale, largely unoccupied background removes the plants from any garden setting, allowing the distinctions between bulb, leaves, buds and blossoms to be read with unusual ease. At the same time, the balanced arcs of foliage and the measured clustering of the flowers prevent the subject from feeling like a detached scientific sample.
This union of information and grace explains the lasting appeal of Les Liliacées. Plate 48 rewards both immediate attention to its intense reds and slower examination of its fine veins, pale petal fringes and successive stages of bloom. It is an image shaped by the classificatory ambitions of early nineteenth-century botany, yet animated by Redouté’s gift for giving an individual plant the presence of a formal portrait.
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 36x24in (90x60cm) 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 Les Liliacées, Plate 48, dated 1805, presents Amaryllis brasiliensis and Amaryllis breutienne as both botanical specimens and a carefully staged arrangement. Three expansive red flowers command the centre, their veined petals edged with narrow flashes of white, while long green leaves rise and curve around them. Below, a rounded reddish-brown bulb anchors the composition, making the plant’s structure—from root to bud and open bloom—part of its visual drama.
The plate belongs to Redouté’s celebrated Les Liliacées, published between 1805 and 1816 and devoted to lilies and related plants. Produced during a period of intense European interest in botanical classification, such illustrations had a dual purpose: they recorded natural forms with scholarly clarity while also appealing to an audience attuned to elegance and decorative beauty. Redouté’s exceptional ability to reconcile those demands earned him the enduring epithet “the Raphael of flowers”. Here, precision never becomes rigid; the specimens retain the poise and rhythm of a composed floral portrait.
A closer look
The strongest colour is concentrated in the central blossoms. Their rich scarlet-red petals overlap and turn at subtly different angles, so that each flower has its own orientation rather than repeating a single diagrammatic pose. Fine veins run through the petals, deepening towards their centres, while pale margins give the silhouettes unusual crispness against the warm cream ground. Smooth tonal transitions suggest the slight folds and lustrous surfaces of the flowers without obscuring their botanical structure.
A group of unopened buds at the upper right provides a quieter counterpoint to the full blooms. Their muted green and purplish colouring records an earlier stage of flowering, while their compact forms contrast with the broad, unfurled petals below. Around them, the foliage creates the plate’s underlying movement: some leaves stand almost upright, others bow outwards, and several overlap to establish a convincing sense of depth. Delicate linear work traces their central veins and smooth surfaces, with restrained shading giving each blade volume.
The lower portion is especially revealing. Rather than concealing the plant beneath an ornamental mass of foliage, Redouté includes the swelling bulb and the points from which the stems and leaves emerge. Reddish-brown shading describes its rounded, papery form, while fine details around the base clarify the plant’s growth. Along the lower edge, the names Amaryllis brasiliensis and Amaryllis breutienne appear in elegant script, unobtrusively connecting the sensuous display above with the taxonomic purpose of the plate.
Context and significance
Redouté’s botanical art exemplifies a tradition in which close observation and aesthetic judgement were mutually reinforcing. The pale, largely unoccupied background removes the plants from any garden setting, allowing the distinctions between bulb, leaves, buds and blossoms to be read with unusual ease. At the same time, the balanced arcs of foliage and the measured clustering of the flowers prevent the subject from feeling like a detached scientific sample.
This union of information and grace explains the lasting appeal of Les Liliacées. Plate 48 rewards both immediate attention to its intense reds and slower examination of its fine veins, pale petal fringes and successive stages of bloom. It is an image shaped by the classificatory ambitions of early nineteenth-century botany, yet animated by Redouté’s gift for giving an individual plant the presence of a formal portrait.
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 36x24in (90x60cm) 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.
