Surroundings of Aubert-Henri-Joseph Parent (Cambrai 1753-1835 Valenciennes) Animal scenes Two carved limewood high reliefs One shows a pair of birds protecting their nest containing three chicks in a thorn bush from a snake; signed on the right-hand side in pencil J. Perre(r?) a(er?); set in a wooden frame. Size: 29.1 × 40.3 cm (11 ½ × 15 ¾ in.) With frame: 67 × 56 × 11.5 cm (26 ½ × 22 × 4 ½ in.) The second shows a pair of ducks splashing about with four ducklings, in the background a woodcock with an earthworm in its beak, a sparrow in a nest and congener in flight Dimensions: 29 × 40.5 cm (11 ½ × 16 in.) With frame: 67 × 56 × 11.5 cm (26 ½ × 22 × 4 ½ in.) Provenance: French private collection, Valenciennes. Comparative bibliography : S. Lami, Dictionnaire des Sculpteurs de l'École française au XVIIIe siècle, vol. II, Paris, 1911, reed. 1996, p. 225. A.-M. Kerneis, Aubert Parent: 1753-1835, Master's thesis, Lille III, 1989. C. Streeter, Two Carved Reliefs by Aubert Parent, The J. Paul Getty Museum Journal 13 (January 1985), pp. 53-66, figs. 1a-d. "Acquisitions/1984."The J. Paul Getty Museum Journal 13 (1985), p. 161, 183, no. 6 ; A. Nagel, Parent Aubert, in Dictionnaire historique de la Suisse, online 2009. A. Maze-Sencier, Le Livre des Collectionneurs, Paris, 1885, pp. 660-662. Two carved limewood high reliefs depicting animals, circle of Aubert-Henri-Joseph Parent (Cambrai 1753 - 1835 Valenciennes) Throughout his career, Parent described himself as a sculptor, painter, designer, teacher, archaeologist and architect. He was born in Cambrai, in the north of France, and his clients were largely local aristocrats with links to the French court. Parent often worked in limewood, a soft material that many European sculptors appreciated for its neutral colour and subtle grain. His exceptionally fine reliefs in this material have become emblematic of the artist's work. His career took off when he presented a relief to Louis XVI in 1777, a panel depicting a large basket of flowers accompanied by symbols of war and peace. The king was so impressed by his work that he had it hung in his private dining room at the Château de Versailles. Parent exhibited at the Salon de la Correspondance in Paris from 1779 to 1783. As a result, he came increasingly into contact with the nobility and the entourage of court circles and the upper bourgeoisie, and received numerous commissions. From 1784 to 1788, Parent travelled to Italy on a royal grant, where he observed and immersed himself in the aesthetics of classical architecture. This stay in Italy would continue to have a strong influence on his work throughout his career, culminating four years later in the publication of engravings, a major series of picture books, of neoclassical ornamentation and these engravings show various models of decorative vases, tables, seats, wrought-iron balconies and stair railings. In Florence, he certainly came into contact with the work of the English woodcarver Grinling Gibbons (1648-1721). One of the masterpieces on display at Florence's Pallazo Pitti is the Cosimo panel, a monumental work presented by Charles II, King of England, to Cosimo III de' Medici in 1682. His interest in ancient history did not wane until the end of his life: Parent continued to study Roman ruins, published on ancient art and directed local excavations in Switzerland and Germany, where he had taken refuge during the French Revolution. He teaches classical art at the University of Basel. One of his most loyal clients was Kaufman Johan Rudolf Forcast-Weiss (1749-1834), a wealthy silk manufacturer from Basel. He was undoubtedly influenced by the Liège sculptor Jean-Pierre Putman (Liège, 1764-Paris, 1793). In 1797, he moved to Berlin, where he received a grant from Frederick William II, King of Prussia. He became an associate member of the Berlin Academy of Arts in 1797. After publishing his engravings "Antiquités de la Suisse", he returned to Basel. After more than 20 years in exile, Aubert Parent returned to France in 1813, prompted by fundamentally altered political and social circumstances. The former resident of the King at the Académie de Paris throughout his career had a desire to educate and pass on his knowledge. He taught architecture at the Académie de Valenciennes and worked on architectural projects until his death in 1835. We know of several of his pupils, such as F. Boucher, who worked on the project for the Arc de Triomphe in Valenciennes, P-J. Noêl (1801-1823), A-L. Debaralle (1804-1872), architect for the town of Cambrai in 1829, C. Petiaux (1807-1883), architect for the town of Valenciennes in 1836, and F-E-J. Peinte (1810-1891)..... (Kerneis, loc. cit., p. 62). Aubert Parent contributed to the tradition of wood sculpture in France, influencing future generations of artists in this field. Our panels were certainly made by a talented member of Parent's entourage, one of his pupils in France, Switzerland or Germany, but unfortunately to date, reading the signature has not enabled us to make a link with a particular woodcarver. Our sculptures reflect Parent's technical, lively and poetic portrayal of nature and animals. Our panels show great attention to detail and a meticulous finish. His mastery of the material, combined with a sensitivity to detail and a symbolic approach, make for captivating pieces that celebrate the beauty of the natural world. Representations of animals are not just decorative; they also convey emotions and stories, engaging the viewer and inviting deeper contemplation. Like Aubert, the 'poet' behind our sculptures found inspiration in nature, and flowers and birds were the interpreters of his allegorical sculptures.