Siberian Iris (var. ochroleuca, Plate 18) by Pierre Joseph Redouté, 1805
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The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored in our London workshop from the original 1805 artwork and printed to museum-grade archival standards. Full description
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Need delivery to different addresses? Contact us before ordering.The Collector’s Offer
Choose two eligible works and receive 20% off both. Choose three and the lowest-priced one is complimentary, a maximum saving of 33%.
Mix and match eligible standard maps and fine-art prints. No code is required; the offer is applied automatically at checkout.
Standard made-to-order configurations are included. Bespoke sizes, personalised designs and commissioned work are excluded.
Need delivery to different addresses? Contact us before ordering.
Restored in London • Printed and framed in Canada
Authentic artwork
The artwork we print is faithfully restored from the original source - usually a museum, auction house or private collection.
We never replace, redraw or invent the artist’s work using generative AI.
Restored from the original 1805 artwork and printed to museum-grade archival standards. Full description
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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.
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Pierre Joseph Redouté’s Les liliacées, Pl. 18, dated 1805, presents an iris identified in the lower margin as “Iris de Sibérie, var....
Continue readingPierre Joseph Redouté’s Les liliacées, Pl. 18, dated 1805, presents an iris identified in the lower margin as “Iris de Sibérie, var. ochroleuca”. Several white flowers open around a slender central stem, accompanied by closed buds and a commanding fan of blade-like green leaves. The arrangement is asymmetrical yet carefully poised: the blooms gather towards the centre and left, while the tall foliage rises along the right edge, giving the study an elegant vertical momentum.
The plate was created for Les liliacées, Redouté’s major botanical series devoted to lilies and related plants, issued between 1805 and 1816. Working during a period of intense European interest in natural history and classification, Redouté brought exceptional refinement to the botanical plate. His studies served the demands of close observation while also appealing to collectors who valued plants as subjects of visual culture. Few botanical artists balanced scientific clarity and compositional grace so persuasively.
A closer look
The flowers are distinguished less by emphatic colour than by subtle tonal change. Their petals move from cool white to pale cream and restrained yellow near the base, with delicate veins tracing the folded surfaces. Some blooms turn outwards, revealing their layered structure, while others are seen partly in profile. The unopened buds provide a useful contrast: narrow and tightly held, they register an earlier stage in the plant’s development without disturbing the rhythm of the flowering cluster.
On the right, the leaves introduce a stronger graphic element. Their long, sharply defined edges form ascending diagonals and near-verticals, ranging from fresh green to deeper olive tones. Fine shading gives each blade a gentle central fold and suggests the way light passes across its glossy surface. One leaf curves away from the dominant upright movement, preventing the composition from becoming rigid and directing the eye back towards the blossoms.
The warm cream ground is almost entirely unoccupied, allowing the silhouette of every stem, petal and leaf to remain legible. Near the lower edge, faint supplementary studies appear beside the principal specimen, including a small pod-like form and a lightly drawn floral detail. These quieter elements are easy to overlook, yet they reveal the analytical purpose behind the graceful presentation: the plant is considered not only in bloom, but through its component structures and stages.
Context and significance
Redouté developed his career in Paris and became closely associated with the cultivated botanical world of the late eighteenth and early nineteenth centuries. He worked for distinguished patrons, including Joséphine de Beauharnais, and is particularly remembered for images in which exacting observation is softened by luminous colour and spacious design. Rather than crowding several specimens onto a page, he often allowed an individual plant to assume the presence of a portrait sitter.
This iris demonstrates why botanical illustration could occupy scientific and artistic roles at once. Its identifying caption and careful description of form belong to the culture of classification, while the measured intervals between the stems, the balance of open flowers and buds, and the contrast between soft petals and taut foliage create a composition of unusual delicacy. The result is both a record of botanical structure and a highly considered study in line, proportion and restrained colour.
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, Pl. 18, dated 1805, presents an iris identified in the lower margin as “Iris de Sibérie, var. ochroleuca”. Several white flowers open around a slender central stem, accompanied by closed buds and a commanding fan of blade-like green leaves. The arrangement is asymmetrical yet carefully poised: the blooms gather towards the centre and left, while the tall foliage rises along the right edge, giving the study an elegant vertical momentum.
The plate was created for Les liliacées, Redouté’s major botanical series devoted to lilies and related plants, issued between 1805 and 1816. Working during a period of intense European interest in natural history and classification, Redouté brought exceptional refinement to the botanical plate. His studies served the demands of close observation while also appealing to collectors who valued plants as subjects of visual culture. Few botanical artists balanced scientific clarity and compositional grace so persuasively.
A closer look
The flowers are distinguished less by emphatic colour than by subtle tonal change. Their petals move from cool white to pale cream and restrained yellow near the base, with delicate veins tracing the folded surfaces. Some blooms turn outwards, revealing their layered structure, while others are seen partly in profile. The unopened buds provide a useful contrast: narrow and tightly held, they register an earlier stage in the plant’s development without disturbing the rhythm of the flowering cluster.
On the right, the leaves introduce a stronger graphic element. Their long, sharply defined edges form ascending diagonals and near-verticals, ranging from fresh green to deeper olive tones. Fine shading gives each blade a gentle central fold and suggests the way light passes across its glossy surface. One leaf curves away from the dominant upright movement, preventing the composition from becoming rigid and directing the eye back towards the blossoms.
The warm cream ground is almost entirely unoccupied, allowing the silhouette of every stem, petal and leaf to remain legible. Near the lower edge, faint supplementary studies appear beside the principal specimen, including a small pod-like form and a lightly drawn floral detail. These quieter elements are easy to overlook, yet they reveal the analytical purpose behind the graceful presentation: the plant is considered not only in bloom, but through its component structures and stages.
Context and significance
Redouté developed his career in Paris and became closely associated with the cultivated botanical world of the late eighteenth and early nineteenth centuries. He worked for distinguished patrons, including Joséphine de Beauharnais, and is particularly remembered for images in which exacting observation is softened by luminous colour and spacious design. Rather than crowding several specimens onto a page, he often allowed an individual plant to assume the presence of a portrait sitter.
This iris demonstrates why botanical illustration could occupy scientific and artistic roles at once. Its identifying caption and careful description of form belong to the culture of classification, while the measured intervals between the stems, the balance of open flowers and buds, and the contrast between soft petals and taut foliage create a composition of unusual delicacy. The result is both a record of botanical structure and a highly considered study in line, proportion and restrained colour.
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.
Many of our maps and art prints are chosen as thoughtful gifts for homes, offices, studies and meaningful places.
Choose a framed option for the easiest ready-to-hang gift, or choose an unframed print if the recipient may prefer to select their own frame.
We make orders locally in 24 countries around the world, so gifts can often be produced close to the recipient. This helps them arrive faster, travel more safely, and avoid customs or import duty surprises.
- We can deliver directly to the recipient
- Framed pieces arrive ready to hang
- Unframed prints are carefully packed in a strong protective tube
- Almost every order is made locally, for faster, safer gifting
- 90-day returns give the recipient time to decide
If you are not sure what to choose, please contact us. We can help you pick the right map, size, finish or delivery option.
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.
We work with interior designers, hospitality businesses, property professionals, offices and corporate buyers on individual pieces and larger coordinated projects.
This artwork can be adapted for a particular wall, room or project, and our workshop can help coordinate the dimensions, material and framing before production.
- Exact, oversized and made-to-measure dimensions
- Custom framing, mounting and alternative materials
- Coordinated pieces for several rooms or locations
- Art personalisation, to adjust the colour and style of the piece
- Art and framing guidance from our workshop
- Local production for projects around the world
Every restored art print begins with the original artist’s work—never an AI-generated replacement.
Our London studio works from carefully selected source material from museums, libraries, archives and private collections. We restore age-related damage, faded colour and imperfect reproduction while preserving the artist’s composition, brushwork, line, texture and period character.
We do not use generative AI to redraw, reinterpret or invent the artwork. Digital restoration is used only to recover and reproduce the original work as faithfully as possible.
Once restored, the master artwork is prepared for your chosen size and finish. Your piece is then printed and, where selected, framed close to its delivery destination.
Our giclée art prints use acid-free 200gsm archival matte paper and fade-resistant pigment inks for a rich, museum-quality finish. Framed art prints use crystal-clear optical acrylic and arrive ready to hang.
Framed canvas and specialist cotton-rag editions are also available. Learn more about our materials and finishes.
We’ve been restoring and producing maps and art prints since 1984, and we stand behind every piece.
Every order is covered by our 10-year guarantee and damage-free delivery guarantee. If your piece arrives damaged, we’ll replace or remake it free of charge. If anything else isn’t right, contact our workshop team and we’ll put it right promptly.
See our returns and refund policy for full details.
