Pierre-Joseph Redouté’s Les Liliacées, Pl. 31, dating from 1805, presents water-plantain under the botanical name Alisma Plantago. The plant rises through an exceptionally spacious cream ground: broad, glossy leaves spread from a purple-red base, while slender branching stems carry pale flowers, pink-tipped petals and numerous green buds. The contrast between the substantial foliage below and the airy constellation of blossoms above gives the specimen both botanical clarity and an effortless compositional grace.

The plate belongs to Redouté’s celebrated Les Liliacées, published between 1805 and 1816. Redouté was among the leading botanical artists working in France at the turn of the nineteenth century, when natural-history illustration served scientific study while also appealing to collectors as an art of exceptional refinement. His reputation rested on precisely the qualities visible here: close observation, lucid arrangement and an ability to preserve the individuality of a living plant without sacrificing elegance.

A closer look

The composition begins with three elongated leaves that fan out across the lower half of the plate. Their gently undulating edges prevent the arrangement from becoming rigid, while fine veins run through their green surfaces in carefully controlled lines. Subtle darker margins give each leaf definition, and the slight variations in tone suggest a smooth, reflective texture rather than a flat block of colour. At the centre, the foliage gathers around a warm purple-red section at the base of the stems, a small but vivid accent within the predominantly green and cream palette.

From this dense lower structure, the eye is led upwards along increasingly delicate stems. Open flowers are interspersed with tight green buds, so that the plant is represented at more than one stage of growth. The flowers themselves are remarkably restrained: small white petals carry faint blush-pink markings at their tips, with fine stippling adding substance to forms that might otherwise disappear into the pale ground. The asymmetrical distribution of buds and blossoms makes the specimen appear naturally branching, yet the entire silhouette remains balanced.

Beneath the plant, the inscription names it as “Alisma Plantago” and includes the French “Plantain d’eau”, or water-plantain. The line “P.J. Redouté pinxt.” identifies Redouté as the artist. These understated captions anchor the illustration in the conventions of botanical publication, but they are kept visually subordinate to the specimen itself; the generous negative space allows every stem, vein and petal to remain distinct.

Context and significance

Redouté worked during a period of intense European interest in identifying, classifying and publishing the natural world. Botanical plates had to communicate recognisable structures accurately, yet ambitious publications were also objects of cultivated taste. His work occupies this fertile territory between science and decorative art. Rather than isolating individual anatomical fragments, this plate presents the plant as a coherent living form, its growth pattern made intelligible through careful selection and arrangement.

The study is especially effective in its progression from weight to lightness: substantial leaves establish the plant at the base, then fine stems dissolve into buds and tiny flowers above. That measured transition, together with the restrained touches of pink and purple-red, turns a precise botanical record into an image of unusual visual poise.

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.