Witches Sabbath After Parmigianino 1503 - 1540 18th century Oil Canvas Restored

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Witches Sabbath After Parmigianino 1503 - 1540 18th century Oil Canvas Restored:
$230750.00

Witches Sabbath After Parmigianino 1503 - 1540 18th century Oil Canvas Restored
AfterGirolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino of the Italian High Renaissance.
ImportantMannerismWork: Only known painting of 18th Century recreation of Parmigianino famous Witches Sabbath painting which was later the subject ofBernard Picart 1732 engraving. (see image 6).
Interpretation of work..
It's a historical fact that Parmigianino was devastated by the Sacking of Rome in 1527, after which Parmigianino was reported to go into a mystical period. A vast majority of Parmigianino works were of religious subjects. Our interpretation is that after the Sacking of Rome Parmigianino felt the World (or his World) was coming to and end i.e. Armageddon.
The painting is of the anti-Christ (possibly Charles V) riding the Leviathan at the end times.The cast of characters in the upper left are demonic figures, possibly the seven sins? awaiting the slaying of the chaos monster by God.The angel is subduing the beast with God's light appearing from upper right.
From Wikipedia -- Leviathan can also be used as an image of the devil, endangering both God's creatures—by attempting to eat them—and God's creation—by threatening it with upheaval in the waters of Chaos. A "Dragon" (Drakon), being the usual translation for the Leviathan in the Septuagint, appears in the Book of Revelation. Although the Old Testament nowhere identifies the Leviathan with the devil, the seven-headed dragon in the Book of Revelation is. By this the battle between God and the primordial chaos monsters shifts to a battle between God and the devil. In the Book of Job, the Leviathan is translated as Sea-Monster (ketos). In the following chapter, a seven-headed beast, described with the same features as the dragon before, rises from the waters endowing a Beast of the Earth with power. Dividing the beasts into monster of water and one of dry earth is probably a recalling of the monstrous pair Leviathan and Behemoth. In accordance with Isaiah 27:1, the dragon will be slain by God on the last day and cast into the abyss. The annihilation of the chaos-monster results in a new world of peace, without any trace of evil.The final image of the anti-Christ riding Leviathan in from a early bible manuscript dated 1120 AD.
It should be noted that the sea monster symbolism is ancient.
Sea serpents feature prominently in the mythology of the ancient Near East. They are attested by the 3rd millennium BC in Sumerian iconography depicting the god Ninurta overcoming a seven-headed serpent. It was common for Near Eastern religions to include a Chaoskampf: a cosmic battle between a sea monster representing the forces of chaos and a creator god or culture hero who imposes order by force. The Babylonian creation myth describes Marduk's defeat of the serpent goddess Tiamat, whose body was used to create the heavens and the earth.
We believe this painting is the earliest discovered work done after Parmigianino original work of this important and compelling subject matter.
If this was to be proven to be the original Parmigianino painting it would be a sensational discovery in the art World. We welcome comments from art historians and forensic art scholars and scientists. We welcome thoughtful forensic testing to determine the age and potential authenticity of this work. (message us via ).
Please note the reproduction or unauthorized downloading of images of this painting is prohibited. We reserve ownership of the digital images) of this Witches Sabbath after Parmigianino work. Unauthorized use of images will be referred to our legal counsel. please note only the seller of this work has the right to create prints of this work on or elsewhere BBF 3/21/2021)
Size: Sight of canvas; 22 inches (56 centimeters) wide, 16 1/2 inches 32 (centimeters) tall.Framed: 28 1/2 inches (72.5 centimeters) wide, 23 1/2 inches tall (99.5 centimeters)
Condition: This painting was professionally restored (over 1 year project). It was found mounted on board (pic 8). This board was carefully removed and the painting was relined and mounted on wood frame. There was a slight reduction in the size of the painting due to non-restorable areas (loss paint) primarily on the top edge of painting. Final image is remnant fragment of painting that has been remove. This fragment is available (for a fee) to be analyzed and tested by forensic art science expert. Obviously, an earlier dating of this work could prove it to be a very, very important renaissance masterwork.
If It was determined that the painting was 16th century further lengthy scholarship and scientific study could lead it to be the original work of Parmigianino. From research we have done the original Parmigianino (1503 -1540) Witches Sabbath painting has been declared "lost". We have included several stages of the restoration project, image 9 shows the amount of paint lost that was later in-painted.
With all things considered we are selling this work as an 18th century (after) painting of Parmigianino. We do not represent this as being the original work. But we will likely have the canvas examined by art historians / scientists and reserve the right to change the price of the painting if not sold.
Provenance: This painting was purchased from the Dr. Fischinger estate (at sale) who owned the Fresquiennes chateau in Normandy France. (see pic # 11). Dr. Peter J. Fischinger M.D., Ph.D., former Associate Director, National Cancer Institute. No prior provenance exists prior to Dr. Fischinger who died in 2018. His estate of fine art was considerable which can be verified by the sale company handling his estate.Local pickup only.Buyer or their agent must fully inspect and accept item (as describedin listing) and condition before leaving our possession. Once it leaves we will not accept returns. Any shipping charges are entirely the responsibility of the buyer. Buyer must sign a no return agreement and that item isas describedin listingincluding conditionupon pickup. If this is not signed the transaction will be cancelled and funds returned.
Qualified buyers have the right to inspect before purchase. Private message us via . All related enquires have to be sold on .
Analytical Theory That Painting Predates Engraving

To make the case that the painting was created before the engraving, we can analyze the stylistic elements, composition, and context of both artworks.

Detailed Analysis of Composition and Elements:
- Both the painting and the engraving depict a similar scene with nearly identical characters, positioning, and dynamics. This suggests that one was a direct inspiration or copy of the other.
- The painting shows more intricate details and vibrant colors, which are typical of original works intended for direct viewing. Engravings, on the other hand, are often made to reproduce and disseminate the image more widely, indicating that the painting might be the original source.
Engraving as a Reproductive Medium:
- Historically, engravings were commonly used to replicate existing artworks. The purpose of engravings was to document and share artwork with a broader audience, especially when transporting a painting was impractical. This suggests that the painting was created first, and the engraving was made to capture and distribute its imagery.
Artist and Date Information:
- The engraving is signed by B. Picart and dated 1733. It states that it is based on the design of François Mazzoli, known as Le Parmesan. This gives us a concrete date for the engraving, but not for the painting. The fact that the engraving credits an earlier artist and provides a date helps establish a timeline.
- If we can identify the painting's artist and any associated dates, it can help confirm its creation before 1733. The stylistic approach of the painting could also be compared to known works of François Mazzoli to establish precedence.
Artistic Style and Techniques:
- The painting’s use of color, light, and detail could indicate it was created during a period when such techniques were prominent. The engraving, being a black-and-white reproduction, lacks these features and therefore relies on the painting’s original composition and detail.
Provenance and Historical Records:
- Historical records, sale catalogs, or museum archives might hold provenance information about the painting, indicating its creation and exhibition history before the engraving. Cross-referencing this data can provide further evidence.

In summary, the stylistic analysis, the historical use of engravings for reproduction, the date on the engraving, and potential provenance records collectively support the argument that the painting preceded the engraving. For more conclusive evidence, art historians typically rely on detailed provenance research and technical analysis.