Borders, Breasts, and Bibliography
Borders, Breasts, and Bibliography
Appendix by Dan Rabinowitz:
In addition to the censored reproductions discussed in the post and the one provided by Elliott Horowitz, we provide an additional example in this ever growing genre. One of the more well-known series that reproduce facsimile haggadot are those published on behalf of the Diskin Orphan Hospital Ward of Israel. As a fundraiser, they publish and distribute a different reprint of an earlier haggadah both print and manuscript. (See here discussing the Washington Haggadah reprint that led to accusation of heresy ). The first haggadah reprinted in this series is the Prague 1526. But, there are numerous errors and significant omissions in this reproduction. First the title, “The First Known Printed Passover Haggadah by Gershom Kohen Prague 5287/1527.” This edition of the haggadah is not the first known printed haggadah, that is likely circa 1486, by Soncino (see Yerushalmi, Haggadah & History, plates 2-3; Issakson, no. 29), and the first illustrated is the 1512 Latin. In the introduction written by Dr. Aaron Rosmarin, he offers that Prague 1526 is “the oldest printed Hagadah graced with woodcuts.” Again that is wrong. The 1486 haggadah already includes a handful of woodcuts.
Instead, at best, Prague 1526 is the first fully illustrated haggadah for a Jewish audience. The title also contains an error regarding the secular date, giving it at 1527. Rosmarin compounds this error. First he hedges on the secular year, when he explains that this editions was “printed by Gershom ben Shlomoh ha-Kohen and his brother Gronem in Prague 1526/27” but then zeros in on exactly when it “was completed on Sunday, the 26th of the month of Teves, 5287 (in January 1527).” It was December 30, 1526 and not some time in January 1527.
Additionally, regarding the nude image accompanying Ezekiel 16:7 that is omitted in its entirety. Although this omission (as well as a two other seeming non-offensive images) is not noted in the introduction, Rosmarin is careful to explain (without irony) that the 1526 edition contains some minor textual variants and omits the songs Ehad mi Yodeh and Had Gadyah, therefore this facsimile is not being reproduced to be used at the seder as “there are Hagadahs in abundance” for that purpose. Instead, the reason for reproducing Prague 1526 is because “this Hagadah is of great value for its art and uniqueness.”
The Cup for the Visitor: What lies behind the Kos Shel Eliyahu?
door during Shefoch Chamascha for Eliyahu Hanavi.
because it is a segulah to say “Eliyahu” to get rid of mazikim [destructive forces], and we do various things on the seder night to chase away the mazikim.[9]
Eliyahu Hanavi? Rabbi Falk suggests that it this might the reason we do not find any mention of a Kos Shel Eliyahu in the Gemara, but today, when there is no one amongst the goyim who worship in this manner, it’s not a problem.[13]
Rabbi Avraham Benidict devoted two articles to proving that this Haggadah is a forgery.[17] One of the points he discusses relates to our topic. In 1582, the Mahral publised his work about Pesach and the seder titled Gevuros Hashem. In this work, the Maharal writes that one may drink a fifth cup, but he doesn’t connect the fifth cup to Kos Shel Eliyahu.
it. The reason it is called Kos Shel Eliyahu is that Eliyahu is going to come and tell us what the din is.[23]
and that there are many different versions of what is said by Shefoch Chamascha.[29]
was a belief that when the door is opened by Shefoch Chamascha that there is a connection to Eliyahu Hanavi and Moshiach.
used to sleep on Pesach on the bed that he leaned on during the meal and he does not know what his reason for this was.[37] Rabbi Avidah suggests that he was sleeping there to remind himself of the concept that on Pesach night we show that we eagerly await Moshiach.[38]
is that one cannot take any of it out of the house so they used to lock the door. After bentching, they would go to the roof to say Hallel, so they opened the door.[44]
Earlier I mentioned the Bais Halevi and others who say that the opening of the door at the seder by Shefoch Chamascha is to get rid of mazikin. According to Rabbi Yuzpeh Shamsash this was the also reason some used to draw pictures of Eliyahu and Moshiach.
He also told said that Eliyahu or a messenger comes to every great person on the night of the seder.[50]
wanted to come to see this so they asked him permission to come. He answered, “Why not?” While they were there, they fell into a deep sleep until the seder was over.[52]
NOTES
Shel Eliyahu. As I mentioned a few weeks ago I recently reprinted this work with additions from the author’s copy. Another earlier useful article on the topic is from Yehudah Rosenthal, Mechkarim 2, pp. 645- 651. For general useful collections of material related to Eliyahu Hanavi see the two volume work Romot Gilod from Rabbi Eliezer Veisfish, (2005) and the earlier work of Aharon Weiner, The Prophet Elijah in the Development of Judaism (1978). I would like to thank my good friend Yisroel Israel for help with the beautiful pictures to accompany this article.
recently reprinted in his Koso Shel Eliyahu pp. 53-57where he explains why he does not believe that the Gra actually said this idea.
A Few Comments Regarding The First Woodcut Border Accompanying The Prague 1526 Haggadah
A Few Comments Regarding The First Woodcut Border Accompanying The Prague 1526 Haggadah
The Prague 1526 edition of the Haggadah is one of the most important illustrated haggadot ever published. It is perhaps the earliest printed illustrated haggadah for a Jewish audience and served as a model for many subsequent illustrated haggadot.[1] The earliest printed haggadah with illustration was published in 1512 in Latin and for a non-Jewish audience. That haggadah contains six woodcuts, and was intended as a response to the infamous anti-Semite Pfefferkorn’s screeds against Judaism.[2]The woodcut accompanying the first page shows three Jews around the seder who have four cups in front of them. Although the Talmud explicitly states that one is not required to have four distinct cups of wine, presumably the image is a crude method of indicating the four-fold nature of the wine during the seder rather than prescribing custom.
The Prague 1526 edition was published by Gershom and his brother Gronom Katz on Sunday, 26th of Tevet 5287 or December 30, 1526.[3] This detailed publication information does not appear on the title page, rather it appears at the end of the book and is referred to as a colophon. The colophon is a manuscript convention that was incorporated into earlier printed books. The Prague 1526 edition does not have a title page at all. At that time, the usage of the title page was only in its early stages.[4]
- The Earliest Hebrew Title Pages
As with non-Hebrew titles, the title page developed over time, both in terms of content as well as usage.[5] The first Hebrew title page is that of the Sefer Rokeah published in Fano in 1505.[6] But that title page is really one of the more basic forms of the title page, known as a “label title page” providing only the title and author and no other ornamentation or information.[7] In that same year, an edition of Abarbanel’s Zevah Pesach was published in Constantinople. This edition was the first to contain a border with the title and author, but no place or date of publication.[8] The first Hebrew book containing all the elements of a traditional title page, border, title, author, place and date is likely the 1511 Pesaro edition of the Talmud published by Soncino.[9]
Traditionally, the Hebrew title page is referred to as a “sha’ar” or gate. The theory behind this description is that many title page borders are comprised of “gates,” the most common are the pillars that adorn many Hebrew books and are assumed to be those at Saint Peter’s Basillica in Rome. Their inclusion in Hebrew books is perhaps linked to the (discredited) notion that the Catholic Church maintains certain portions of the Jewish Temple, and these pillars were actually in the Temple. The first Hebrew book to use an architectural border is Daniel Bomberg’s edition of the Jerusalem Talmud published in 1522.[10]
- Illustrations in Hebrew Books
Returning to the Prague 1526 haggadah, as mentioned previously, this edition was copiously illustrated, including the first page of the book. This is not the first example of Hebrew printed illustrations. The earliest illustration to appear in a Hebrew book is that of a lulav and a handful of other explanatory images accompanying the Rome edition of the Sefer Mitzvot Gedolot dated to before 1480.[11]

The first fully illustrated Hebrew book was published in the incunabula period as well, it is Isaac ben Solomon Ibn Sahula’s Meshal ha-Qadmoni, printed in Italy, circa 1491, by Gershom Soncino.[12]
The border surrounding the first page of the Prague 1526 incorporates both Jewish as well as non-Jewish elements. First, it is obvious that a Jew had a hand in the border as, in the inset, it displays someone performing bedikat hametz (searching for the bread) where he is using the traditional implements of a candle and chicken feather. The outside border is less Jewish, and as many have noted, appears to be a copy of Italian/German renaissance borders. The two most likely candidates for models for Prague are the border first used in the 1518 edition of Sacri Doctoris by Raymond Lulli (available here) or a border first used in 1519 for Paolo Ricci’s, Lepida et litere in Augsburg and reused in an Augsburg 1522 edition of Erasmus, Ad reverendum (available here). Although we cannot pinpoint exactly which of these, if any, served as a model, what is clear is that among the images included in this border are bare-breasted women.
The use of bare breasted women to illustrate the haggadah is not limited to Prague. Both Charles Wengrov and Elliot Horowitz have pointed to earlier manuscript antecedents for Prague’s usage of such illustrations.[13] Aside from the printed example of the Prague 1526 Haggadah, this convention continued in manuscripts as well illuminated after 1526. There are at least four such 16th century examples.[14] Additionally, and contrary to Horwitz’s contention that Spanish Jews were less accepting of such displays,[15] the Sarajevo Haggadah, which originated in Spain around 1350, includes two panels of Adam and Eve both depicting a bare-breasted Eve.

Likewise, the Golden Haggadah, 1320 Spanish manuscript includes the same form of illustration of the Adam and Eve scene. Additionally, the Golden Haggadah includes images of nude bathers when it depicts Miriam standing from afar to see what will become of baby Moses.[16]

III. Censorship in Modern Reprints of Prague 1526
These historical antecedents notwithstanding, recent reprints of Prague 1526 have not been as accepting. This initial border has been altered to airbrush and removes the bare breasts. In 1989, a facsimile edition of Prague 1526 was published with the commentary of the Prague rabbi, Rabbi Yehuda Loew (Maharal). This border has been “touched up.”

Similarly, in 1998, a colorized facsimile edition of Prague 1526 was published. Although the publishers took great pains to provide color where before there was black and white, they also altered this border.

Oddly enough, although they found this image offensive, they decided to reproduce it in two other places in this reprint even though this image only appears once in the original. Here is the original:

Not only is the first border altered, but other instances of bare breasts have been removed; most notably the image accompanying the verse from Ezekiel 16:7 “I made you grow like a plant of the field. You grew up and developed and became the most beautiful of jewels. Your breasts were formed and your hair grew, you who were naked and bare.”

(As discussed previously here a later, Venice 1609, edition also altered this page.) Again in 2001, a facsimile of Prague 1526 “published by the Religious Council of Efrat in honor of the settlement’s twentieth anniversary . . . . two illustrations are surreptitiously deleted: the bare breasted woman” accompanying the verse from Ezekiel.[17] Most recently, in 2009, the airbrushed image of this woman was reproduced in The Schechter Haggadah: art, history; commentary.[18]
[1] There may be an earlier illustrated print haggadah, however, only 12 leaves of this haggadah are extant making it difficult to date (or identify the country of origin). For a bibliography regarding this fragment haggadah see Y. Yudlov, Otzar haHaggadot, Magnes Press, Jerusalem:1997, entry 9; and most recently, Eva Frojmovic, “From Naples to Constantinople: The Aesop Workshop’s Woodcuts in the Oldest Illustration Printed Haggadah,” in The Library, Sixth Series, Vol. XVIII, No. 2, June:1996, pp. 87-109.
[2] See R. Cohen, Jewish Icons: Art & Society in Modern Europe, University of California Press, CA:1998, pp. 21-22; see also Y.H. Yerushalmi, Haggadah; History: A Panorama in Facsimile, Philidelphia:1978, plates 6-8.
[3] Aside from the edition discussed herein, there is at least one copy of another haggadah that is also published by Cohen in Prague that same year. While both versions are substantially similar, some of the images and borders have been changed. Relevant for our purposes, is that the image accompanying “Sefokh” which is a full
page border with images of bare breasted women, has been replaced with a more innocuous border found elsewhere in the haggadah. See Yudlov, Otzar, entry 8; A. Ya’ari, Bibliography of the Passover Haggadah,
Bamberg & Wahrman, Jerusalem:1960, entry 7; Rabbi Charles Wengrov, Haggadah & Woodcut: an Introduction to the Passover Haggadah Completed by Gershom Cohen in Prague, Shulsinger Bros., New York:1967, pp. 78-9.
[4] The first Prague imprint to include a separate title page is in a 1526 edition of Yotzrot published by Cohen. See Wengrov, Haggadah & Woodcut, p. 82 n.238.
[5] Although, with regard to the adoption of the title page, Jews appear to adopt this convention at or near the time as society at large, that was not the case with other literary advances. While the majority of the western world adopted the codex and discarded the scroll some time in the third century, the first recorded Jewish reference to the codex does not occur until the late
eighth or the early ninth centuries. See Anthony Grafton, “From Roll to Codex: A Christian Initiative,” in Crossing Borders, Hebrew Manuscripts as a Meeting-place of Cultures, ed. Piet van Boxel & Sabine Arndt, Bodleian Library:2012, pp. 15-20.
[6] A.M. Habermann, Title Pages of Hebrew Books, Museum of Printing Art, Safed:1969, pp. 8-9.
[7] For a discussion of the development of the title page as well as the different types, i.e., label, border, end-title, see M.M. Smith, The Title-Page its early development 1460-1510, The British Library & Oak Knoll Press, London & Deleware:2000.
[8] See M.J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus, Brill, Leiden & Boston:2004, vol. I, pp. 6-7.
[9] The border used for the Pesaro Talmuds first appeared in Decachordum Christianum (The Christian Ten String Harpsichord) published in Fano, 1507 by Gershom Soncino. See M.J. Heller, Printing the Talmud, pp. 104-117 Additionally, see Heller’s discussion, id. p. 113, regarding Soncino’s reuse of the Dechachaordum‘s frames. In reality, although the frames were originally cut for Decachordum, they were first used on Gershom’s edition of Bahya ibn Pakua’s commentary on the Torah, published four months prior to Decachordum. See M.J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus, Brill, Leiden & Boston:2004, vol. I, p. 41; Smith, The Title-Page, supra, pp. 47-59 (discussing the use of the blank title page).
[10] See A.M. Habermann, “The Jewish Art of the Printed Book,” in Jewish Art, An Illustrated History, ed. Cecil Roth [revised ed. by B. Narkiss], New York Graphic Society Ltd., Connecticut:1971, pp. 167-68. In Habermann’s earlier work, Title Pages of Hebrew Books, p. 9, he erroneously asserts that the earliest works to include architectural title pages were Soncino’s Melitza le-Maskil and Bomberg’s Tanach, both published in 1524/25.
[11] See Joshua Bloch, “The Library’s Roman Hebrew Incunabula,” in Hebrew Printing & Bibliography, ed. Charles Berlin, New York:1976, p. 140. For a description of this work see S. Iakerson, Catalogue of Hebrew Incunabula from the Collection of the Library of the Jewish Theological Seminary of America, JTS, New York & Jerusalem:2005, entry 7.
[12] See A.M. Habermann, “The Jewish Art of the Printed Book,” supra, at 169. Habermann appears to argue that this is first printed Hebrew book containing illustrations, is incorrect. As discussed above, the first was the Rome edition of Sefer Mitzvot Gedolot. He is not alone in this error. Ursula Schubert makes the same error. See Ursula Schubert, Jewish Book Art, From the Renaissance until Emancipation, [Hebrew], Kibbutz hami-Uchad, Tel Aviv:1994, p. 27. Habermann, id., notes that the great Hebrew bibliographer, Mortiz Steinschneider, was tricked with regard to one of the illustrations contained in Meshal
ha-Qadmoni. Steinschneider, in a discussion about the alleged Christian origins of these illustrations, called attention to the fact that in one of them contains a monk wearing a crucifix. But, in the interim we have learned “that this last embellishment was a
practical joke played by a Christian scholar. . . [the crucifix] having been added by [a later] hand!” Regarding the history and origins of the images included in Meshal ha-Qadmoni, see César Merchán-Hamann, “Fables from East to West,” in Crossing Borders, pp. 35-44; Ursula Schubert, Jewish Book Art, pp. 27-8.
[13] Rabbi Charles Wengrov, Haggadah & Woodcut, p. 47 nn.112-13;Elliot Horowitz, “Between Cleanliness and Godliness,” in Tov Elem: Memory, Community & Gender in Medieval & Early Modern Jewish Societies, ed. E. Baumgarten, et al., Bialik Institute, Jerusalem:2011, *38-*39.
[14] Mendel Metzger, La Haggada Enluminée, E.J. Brill:1973, plate LIV, nos. 303-305; Chantily Haggadah, Musée Condé, Ms.
732, fol. 13, reproduced in Index of Jewish Art, eds. B. Narkiss & G. Sed-Rajna, Jerusalem-Paris:1976, vol. I, card no. 36.
[15] Horowitz, “Between Cleanliness,” at *38, (“One suspects that a Spanish Jew coming to Germany in the early 15th century would have been equally surprised to see an image of a naked woman” in a Hebrew manuscript.).
[16] The Golden Haggadah, ed. Bezalel Narkiss, Pomegranate Artbooks, California:1997, figs. 17 & 24.
[17] Id. n.37. Horowitz only notes the 2001 example of censorship of Prague 1526, and apparently is unaware of the earlier
examples. Additionally, he chastises the Efrat reproduction for erroneously indicating a 1527 publication date. Efrat is not only in erring regarding the secular date. The first facsimile edition (Berlin:1925), which includes a scholarly introduction, full title
is: “Die Pessach Haggadah Des Gerschom Kohen Gedruckt Zu Prag 5287/1527.” Perhaps one can excuse the error as, in reality, it was completed on the eve of 1527, December 30, 1526.
[18] The Schechter Haggadah: Art, History & Commentary, [illustrations selected and annotated by David Golinkin], Schechter Institute of Jewish Studies, Jerusalem:2009, p. 36, fig. 16.1.
Torah mi-Sinai and More
אבל אם יאמר פסוקים אלה נביא אחר כתב אותם מפי הגבורה ומודה שקטע זה הוא מן השמים ומפי הגבורה, אדם שאומר כך אינו נקרא אפיקורוס, מה שהגדיר אותו כאפיקורוס אינו זה שאמר שלא משה כתב את הקטע אלא בזה שהוא אומר שדבר שזה מדעתו ומפי עצמו אמרו ושאין זה מן השמים
This too can provide a religious justification for Biblical Criticism.
Here is how R. Elefant told the story, in his own words:
Rav Shlomo Fisher is a member of my faculty and one of the most brilliant talmudists of this generation. He was born and raised in the heart of Meah Shearim, but he has connections with religious Zionist institutions. I once came into Rav Shach, and he started calling Rav Shlomo a kalyekker [someone not firmly devoted to the purest Torah ideals]. I was annoyed, but I didn’t say anything. This happened a second time. I said to myself then, “If this happens again, I have to do something about it.” It happened again. So I went into Rav Shlomo’s room here in the yeshiva, and I took out a letter written by the Steipler in which he calls Rav Shlomo “pe’er ha-dor” (glory of the generation). Next time I went to Rav Shach, he said again that Rav Shlomo is a kalyekker. I said, “Rav Shach, listen to me. The Steipler is also a kalyekker.” He looked at me like I was crazy, but then I showed him the letter. I never heard any more complaints about Rav Shlomo. I told this to Rav Shlomo and it didn’t mean a thing to him. The only thing he cares about is understanding the Torah.
Then there was a time when a member of my own staff came to me with similar objections. He wanted me to get rid of Rav Shlomo. He quotes Bialik, Nietzsche, and all sorts of other things that are generally unacceptable in yeshivot.[17] I told him, “You’re right, but I’ve got one problem. You and me, we can teach these boys here how to understand Talmud. But there’s a lot more to education than that. Who’s going to teach these kids about purity, humility, and integrity? You? Me? That’s what we need Rav Shlomo for.” The guy chuckled and agreed with me.
I went into Rav Shach’s room. He greeted me and asked what my lecture was about. I said, “Rav Shach, let’s be frank with each other. You don’t want to know what I lectured about, and I don’t want to know what you lectured about. I came here because you want to shoot the breeze.” His laugh was worth a million bucks to me.
The other story relates to a conflict between R. Shach and R. Yehudah Zev Segal of Manchester. R. Shach was upset with R. Segal because the latter didn’t accept R. Shach’s views which were creating great conflict between the yeshiva world and the hasidim.
Rav Shach heard that I was a friend of Rabbi Segal’s, so he told me he wanted to talk with me about him next time I was in Bnei Brak. It wasn’t too long before I was there, and Rav Shach asked me what I knew about Rabbi Segal. I told him, “I’ll tell you the truth. Rav Shach, you are the most powerful man in this world. You build governments, you break governments. What you say goes. People say about you “kocho ug’vuraso molei olam.” But Rabbi Segal is different. His opinion counts over there in the other world.Rav Shach’s attendants were dumbstruck. They couldn’t believe I had the nerve to say that to his face. But I didn’t meant to insult Rav Shach and he wasn’t fazed. He asked, “Do you really mean that?” I said I did, and after that he left Rabbi Segal alone.
When Lieberman came to Israel, the Brisker Rav acted like he was his best friend. They asked him why, and he had a one-word explanation, “mishpochoh.” They were cousins.
One of the Rav’s sons, I think it was Meir, got engaged to a girl from a family called Benedikt. I was invited to the engagement party. The Brisker Rav was sitting next to Saul Lieberman. I saw it. On Lieberman’s other side was the Mir Rosh Yeshiva, Reb Leizer Yehudah Finkel. That time Lieberman was persona non grata.
Lieberman was good friends with Rav Hutner. They were both students of Rav Kook, and they palled around in New York back in the fifties. They both used to go to the 42nd Street Library because there were lots of seforim there. Rav Hutner had a beard as black as coal back then. He wore a short jacket. Lieberman was once standing there in the library and who should come in but his friend, Rav Hutner. Lieberman says in Yiddish, “Here comes God’s dog.” Rav Hutner retorted, “Better to be a dog of God than to be a god to dogs.” Rav Hutner told me that one himself.
Finally, I am curious to hear what some of the lawyers reading this post have to say about the following: Some time ago, I was contacted by a man who wanted to talk to me about being an expert witness for the defense in the appeal of a sexual abuse conviction. The case is actually one of the worst we have seen. I was told that my role would only be to answer questions about sexual mores in the hasidic world, in particular, how they understand tzeniut. While I am far from an expert on this, not being from that world, the defense team wanted an academic on the stand. (Needless to say, there are academics who would also be much better choices than me.) .
Nothing came of this discussion, and I myself decided that I would have nothing to do with the case after learning the particulars, which are indeed sickening. My question is as follows: We know that defense lawyers are not personally tainted even if they represent horrible people. We recognize that this is their job. My sense is that people would not give the same leeway to an expert witness, and he would be viewed very negatively, as one who was helping to free a sexual abuser. Yet I would like to get some feedback from the lawyers. If I would have agreed to be called to the stand to answer general questions about halakhah and tzeniut, does the fact that I was part of the defense team’s strategy mean that I would be “helping” the defense? It was made clear to me that my role would be to simply to answer general questions and I would have nothing to do with the defendant per se. Another way of framing the question is, would it have been immoral for me to agree to this role if, after having examined the evidence, I was convinced that the defendant committed terrible crimes and should remain in jail?
5. For the runoff quiz I asked the following:
People convincing themselves that their leaders could not really mean what they say is obviously not merely a haredi issue. Here is what Paul Veyne writes: “Under France’s Old Regime, people believed and wanted to believe in the king’s kindness and that the entire problem was the fault of his ministers. If this were not the case, all was lost, since one could not hope to expel the king the way one could remove a mere minister.” See Did the Greeks Believe in Their Myths (Chicago, 1988), p. 91.
Everyone in the class thought this was very nice. One day I came to school and the poster was gone. Someone told me that R. Pinchas Teitz had taken it down. I couldn’t for the life of me understand why he would do that. I didn’t know then what I know now, about how many people strongly opposed R. Elchanan’s viewpoints (e.g., R. Zvi Yehudah Kook wouldn’t allow R. Elchanan’s Kovetz Ma’amarim in Merkaz ha-Rav’s library. See Hilah Wolberstein, Mashmia Yeshuah [Or Etzion, 2010], pp. 192-193, 404). But even if I knew that, this would not have been a reason for R. Teitz to take down the poster. I went to see him, first to get my poster back, and also to understand why he took it down. He explained that since we had a minyan in the classroom, it was improper to have a picture of a man on the wall, even if this man was R. Elchanan.
Two New Seforim for sale
כוסו של אליהו הנביא, נפתולי מנהג בהתרקמותו, ר’ יהודה אבידע זצ”ל, נדפס לראשונה בירושלים תשי”ח, ועתה יצא לאור במהדורת צילום עם הוספות שונות ומפתח ותיקונים שנמצאו בגנזי המחבר ע”י אליעזר יהודה בראדט, כריכה רכה, 84 עמודים.
קונדיטון, מזיגה ראשונה, ר’ יחיאל גולדהבר, לשאלת חרם על ספרד משפטיך תהום רבה אסון: הטיטאניק מנקודת מבטו של העולם היהודי, כריכה קשה, 204 עמודים.














