On Libraries, Bibliophiles & Images: Taj Art Auctions 13

by Eliezer Brodt and Dan Rabinowitz

Taj Art Auctions will hold its 13th auction this Sunday, April 7th (the catalog is available here). The auction contains many items worth highlighting, especially those related to historic Jewish libraries, as well as other unique books and ephemera.

Recently, arguably, the most significant Jewish library reopened its doors. The National Library of Israel, housed at Hebrew University for decades, moved into its own building, designed by the starchitects Herzog & de Meuron, who count the Tate Modern among other outstanding projects. Books are integral to the Jewish experience, and the library’s location, next to some of the most important institutions of the Jewish state, the Knesset, the Israel Museum, and the Supreme Court, echoes that sentiment. The library’s ground floor houses the Jewish Studies reading room, which contains over 200,000 volumes. The library itself holds over four million books (and counting). These are now accessed by a quartet of robots that fetch requested books. There is even a window to watch them in action. The Scholem room has been transformed from its small, cramped quarters into a spacious room that houses the collections of several kabbalah scholars. Scholem’s desk is still present. There is a permanent exhibit of some of the library’s treasures, but that is only accessible on an official tour.

Nonetheless, it is undoubtedly worth seeking out. An exhibition of manuscripts of one the greatest privately held collections of Judaica, the Braginsky Collection, opens this month. While the National Library’s new building and collection are exceptional, many precursor Jewish libraries existed throughout the Jewish diaspora.

The oldest functioning Jewish library in the world is the Ets Haim Library in Amsterdam, dating from 1616. (An exhibition of its books was held at the National Library of Israel, then known as the Jewish National and University Library, in 1980). Its antiquity is tied to the date the school opened with the same name. This school became well-known for its unique curriculum and success in imparting that curriculum. Unlike the Central and Eastern European schools that almost immediately started studying Mishna and Talmud, the Talmud Torah applied a more systematic approach to Jewish literature. R. Shabbetai Seftil, the son of R. Yeshaya ha-Levi Horowitz (Shelah or Shelah ha-Kodesh), traveled from Frankfurt to Pozen via ship. That journey took him through Amsterdam, where he saw that the students’ studies operated in sequence. First, they studied the entire corpus of Tanakh and then completed the Mishha, and when they matured, they only began studying Talmud, and this approach contributed to their unique success. Seeing the benefits, he broke down crying, “Why don’t we follow the same approach in our countries [of Central and Eastern Europe]? Suppose only we could institute this throughout the Jewish communities. What would the harm be in first completing the Torah and Mishna until the student reaches thirteen and then begins Talmud? With that background, it will take only a year to become proficient in the intricacies of Talmud study, unlike our current approach that requires years to reach that level of fluency.”

In an example of the intertwining nature of the library and the school, the bibliographer R. Shabbetai Bass (1641-1718), who wrote the first Hebrew bibliography, Sifte Yeshenim (today, most well-known for this commentary on Rashi, Sifte Hakhim). Bass was born and lived in what is today the Czech Republic (Czechia). Around 1680, he went to Amsterdam to print Sifte Yeshenim. During that time, he visited the library and school and described the students as “students of giants: young children dancing like locusts and like so many lambs. To my eyes, they were giants, so well-versed in their knowledge of Torah and grammar. They could write Hebrew verse and poetry in meter and converse in clear Hebrew.” He also describes the unique aspect of the library. “Within the midrash, they have a special school, and there they have many books, and all the time they are in the yeshivah, this room is also open, and whoever wishes to study, anything he desires is lent to him. But not outside the beit midrash, even if he provides a large sum of money.”

Among the Ets Hayim Library treasures is an Amsterdam print, the first Haggadah with copperplate illustrations. While illustrations in printed Haggados began with the Prague Haggadah of 1526, these were woodcuts. Copperplates, however, produce much finer illustrations. In 1695, the convert, Abraham ben Yaakov, designed and executed these copperplates, and the Haggadah was printed by the famed Amsterdam publisher, Proops. (Copperplates were already used in printing decades before the Haggadah. Perhaps one of the most significant recent examples is a 1635 copper etching by Rembrandt that the Jewish art scholar Simon Schama donated to the Rijksmuseum in Amsterdam last year.)  The illustrations are based on the Christian biblical illustrations of Mathis Marin. While most are innocuous, the temple image at the end of the Haggadah is topped with a cross. In addition to the fine illustrations, the Haggadah also contains a large foldout map of the Jews’s journeys from Egypt to Israel; it is among the first Jewish maps of the Holy Land.

The Ets Hayim Library holds a unique edition of this Haggadah, considered one of its most treasured books. First, it contains an extra title page. But, more importantly, it is hand colored. While the copperplates are a significant improvement, the coloring makes this an especially striking Haggadah. It is listed among 18 Highlights from the Es Haim: The Oldest Jewish Library in the World, published by the library in 2016. The book includes three full-page reproductions of various details of the Haggadah and smaller reproductions of other pages. There are only two other copies of this version. One is at the Hebrew Union College in Cincinnati, and the other is being auctioned at Taj Art Auctions (lot 89). The copy at the auction was a gift from the printer Solomon Proops.

Similar images from the Haggadah’s title page were reused in Menoras ha-Me’or, Amsterdam, 1722, (lot 84), and the Amsterdam Haggadah final illustration of the Beis ha-Mikdash, that if one looks closely, the Christian cross was left intact from the original Mathis Marin illustration, also appears in the beautiful and unique title page adorning Birkas Shmuel, Frankfurt, 1782 (lot 152).

Amsterdam was home to another significant library, the Rosenthaliana. It was collected in Hanover but eventually landed in Amsterdam. The catalog related to this library attests to the rarity of another book in this auction. This library was amassed by Eliezer (Leeser) Rosenthal (1794-1868). Born in Warsaw, he eventually traveled to Hanover, where he served as a Rabbi. His wife came from a wealthy family that allowed Rosenthal to indulge in his passion, book collecting. At their death, his library comprised more than 5,200 volumes, including twelve incunabula and numerous rare and unique books. After his death, his son, George, commissioned the bibliographer Meyer (Marcus) Roest to complete a bibliography of the library. It was published in two volumes in 1875 and reproduced in 1966. Roest’s work incorporated Rosenthal’s catalog of his library, Yodeah Sefer. Despite the many rare books in the collections, there was at least one book he could not procure, at least a complete copy. In his entry, 1524, for the Ibbur Shanim, Venice, 1679, he says that “it is a terrible loss, that my copy is incomplete, it is missing the last pages, my copy ends at page 95 … and is missing the calendric charts for 150 years, beginning from 1675, my copy is missing from 95 of these charts, from 1731 onward… This is a scarce (yekar mitzius) book and is not listed in R. Hayim Michael’s [Or Meir] or the Shem ha-Gedolim, or Di Rossi’s bibliography.” The National Library of Israel received a complete copy from the Valmaddona Trust, which was digitized and available online. (One can bid on four of the Valmadonna books, Talmud Bavli, Seder Zeriam, Lublin, 1618, lot 70 , as well as lots 12, 54, and 68). A complete copy of the book appears in the auction at lot 2. (For more on calendar books, see Elisheva Carlebach, Palaces of Time: Jewish Calendar and Culture in Early Modern Europe, and pp. 51-55 regarding Ibbur Shanim. His work is also a source for the Tu be-Shevat seder, see our post, “Is there a Rotten Apple in the Tu be-Shevat Basket“). The book has its own intersting history that is briefly described in the timely post, “Kitniyot and Mechirat Chametz: Paradoxical Approaches to the Chametz Prohibition.”

Yet another seminal Jewish library was that of R. Dovid Oppenheim (1664-1736), considered “the greatest Jewish bibliophile that ever lived.” (See Alexander Marx, Studies in Jewish History and Booklore, 213). Oppenheim started his rabbinic career in Moravia, moved to Prague, and was eventually elevated to Bohemia’s Chief Rabbi. At age 24, his library consisted of 480 books, and by 1711, his library stood at over 2,100 books, missing only 140 books from those listed in Shabbetai Bass’s bibliography of all Hebrew books. After his death (with some additions from his son, Yosef), the library rose to 4,500 printed books and 780 manuscripts. Although Oppenheim lived in Prague, the library was in Hanover. This was due to the heavy book censorship, which included the potential for confiscation by the authorities. Oppenheim visited his library, but perhaps because his time was limited, his works do not indicate that he was acquainted with the book’s contents. Instead, he should be considered a consummate bibliophile, and his collection consisted of rarities and special beautiful and unique copies, with a considerable number on blue paper. For example, there were 51 books printed on vellum, 40 of which he commissioned himself, out of about 200 known books printed on that medium until 1905.

After his death and multiple attempts to sell the library, it eventually went to the Bodleian Library at Oxford University. A complete history of the library was most recently accounted for by Joshua Teplitsky in his Prince of the Press: How One Collector Built History’s Most Enduring and Remarkable Jewish Library. But before its final resting place, there were a handful of catalogs of the library or various aspects of it. The first complete printed catalog of the library was issued in 1782 and was intended to elicit interest from potential Jewish and non-Jewish buyers. Thus, it contains two title pages, one in Hebrew and the other in Latin. This rare bibliophilic item is lot 156.

Finally, the auction also includes books from the library of R. Nachum Dov Ber Friedman, the Sadigur Rebbe. His library was recently described in Amudei Olam by R. Zusya Dinklos, pp. 419-39. Aside from traditional works, the library also held Haskalah works, as the one in lot 71.

Illustrated Books

We discussed Ibur Shanim, and in addition to its rarity, it is also among the small number of Hebrew books that contain illustrations. Because the book’s purpose was to elucidate and explain Hebrew calendrical calculations, including the determination of the tekufos (which he vehemently criticizes some Rishonim and others for dismissing them as old wives tales), there are a handful of tutorial images.

Likewise, Sefer ha-Ivronot, Offenbach, 1722 (lot 73) includes celestial images, in this instance, a movable wheel of the heavenly apparatuses. While there was some speculation that the title page image depicting a heliocentric universe was deliberately to align with the book’s contents, that is unlikely as the image was reused in at least three other books printed in Offenbach that are unrelated to astronomy.

Moshe Hefetz, perhaps more well-known for the 19th-century modification of his portrait attached to the first edition of his Melechet Machshevet, which depicts him bare-headed, authored a book on the Bet ha-Mikdash, Haknukas ha-Bayis, 1696, (lot 20), within which several Temple elements are illustrated.

Two books contain eclectic images of the Jewish star. Igeret Ayelet Ahavim, Amsterdam, 1665 (lot 140) and the first edition, 170 Amsterdam, Raziel HaMalach, (lot 120) include unusual adaptations of the star. (For another kabbalistic rarity, lot 116, is the kabbalist, Rabbi Yosef Erges’ personal copy of the Rosh ha-Shana and Yom Kippur machzorim with his kabbalistic additions.)

There are a handful of artistic title pages, with at least two Greek gods, Hercules and Venus (see lots 10 and 48), and some potentially objectionable ones that Marc Shapiro discussed in his book Changing the Immutable (lots 64 & 78).

One of the most unusual title pages is a special one that its owner inserted into the book. The title page, taken from a non-Jewish architectural image by the 18th-century engraver Franz Carl Heissig, was filled in by hand with the book’s publication information (lot 5).

Finally, while censorship in Jewish books is somewhat common, undoing censorship is less common. Lot 62 is a unique copy of the Shu’T Maharshal that includes the otherwise expunged name of an informer. Other copies only refer to the person obliquely; this copy, although crossed out, the name is still visible. For more on this see Elchanan Reiner, “Lineage (Yihus) and Libel:  Mahral, the Bezalel Family, and the Nadler Affair,” in Elchanan Reiner, ed., Maharal: Biography, Doctrine, Influence, 101-26 (Hebrew).

Pesach, Haggadah, Art & Sundry Matters: A Recap of Important Seforimblog Articles

Among the more interesting aspects of the history of Haggados, is the inclusion of illustrations. This practice dates back to the Medieval period and, with the introduction of printing, was incorporated into that medium. Marc Michael Epstein’s excellent book regarding four seminal Haggadah manuscripts, The Medieval Haggadah: Art, Narrative & Religious Imagination, was reviewed here, and a number of those illustrations, were analyzed in “Everything is Illuminated: Mining the Art of IllustratedHaggadah Manuscripts for Meaning.” Epstein edited and wrote an introduction to the recently published facsimile edition of the Brother Haggadah, which resides in the British Library. This is the first reproduction in full color of this important manuscript. Another recent reproduction of a manuscript Haggadah is Joel ben Simon’s Washington Haggadah. This Haggadah is particularly relevant this year, as it contains an alternative text for  Eruv Tavshilin blessing. Whether or not this was deliberate was the subject of some controversy, see “Eruv Tavshilin: A Scribal Error or Deliberate Reformation?”

The first illustrated printed Haggadah, Prague, 1526, introduced new illustrations and recycled and referenced some of the common ones in manuscripts (see here for a brief discussion and here for Eliezer Brodt’s longer treatment). That edition would serve as a model for many subsequent illustrated Haggados but also contains surprising elements, at least in some religious circles, regarding the depiction of women, and was subsequently censored to conform with the revisionist approach to Jewish art. See, “A Few Comments Regarding The First Woodcut Border Accompanying The Prague 1526 Haggadah,” and Elliot Horowitz’s response, “Borders, Breasts, and Bibliography.” The Schecter Haggadah: Art, History and Commentary, a contemporary treatment of the art and the Haggadah, (for Elli Fischer’s review, see here), that unintentionally reproduced a version of one of the censored images in the first edition. It was restored in subsequent editions. Women appear in other contexts in illustrated Haggados. The most infamous example is the “custom” that implies a connection between one’s spouse and marror (discussed here), but our article, “Haggadah and the Mingling of the Sexes” documents more positive and inclusive examples of women’s participation in the various Passover rituals in printed Haggados.  Similarly, the c. 1300 Birds Head Haggadah has an image of female figures in snoods preparing the matza and a woman at the center of Seder table.

As detailed in chapter 8 of Epstein’s Medieval Haggadah, the early 14th Century Golden Haggadah is perhaps the most female-centric Haggadah and may have been commissioned for a woman. That manuscript emphasizes the unique, positive, and critical role women played in the Exodus narrative. Although it also depicts the practice of overzealous cleaning with a woman sweeping the ceiling. The 1430 Darmstadt Haggadah has a full-page illumination of women teachers, but its connection to the text is opaque. Finally, we argue that one printed Haggadah uses a subtle element in explicating the midrashic understanding of the separation of couples as part of the Egyptian experience.

One of the most creative contemporary Haggados was produced by the artist, David Moss. Moss was commissioned by David Levy to create a Haggadah, on vellum in the tradition of Medieval Jewish manuscripts. Moss worked for years on the project the result surely equals, if not surpasses, many of the well-known Medieval haggados, both artistically and its ability to bring deeper meaning to the text. The manuscript is adorned with gold and silver leaf and contains many paper-cuts (technically vellum-cuts).  One of the most striking examples of the silver decoration is the mirrors that accompany the passage that “in each and every  generation one is obligated to regard himself as though he personally came out of Egypt.” The mirrors appear on facing pages, interspersed with one with male and the other with female figures in historically accurate attire from Egypt to the modern period. Because the portraits are staggered when the page opens, each image is reflected on the opposite page, and when it is completely opened, the reader’s reflection literally appears in the Haggadah — a physical manifestation of the requirement to insert oneself into the story. The page is available as a separate print.

After completing the Haggadah, Moss was asked to reproduce it, and, with Levy’s permission, produced, what the former Librarian of Congress, Daniel Bornstein, described as one of the greatest examples of 20th-century printing. The reproduction, on vellum, nearly perfectly replicates the handmade one. This edition was limited to 500 copies, all of which were sold. From time to time, these copies appear at auction and are offered by private dealers, a recent copy sold for $35,000. President Regan presented one of these copies to the former President of Israel, Chaim Herzog, when he visited the White House in 1987. While that is out of reach for many, this version is housed at many libraries, and if one is in Israel, one can visit Moss at his workshop in the artist colony in Jerusalem, where he continues to produce exceptional works of Judaica and view the reproduction.  There is also a highly accurate reproduction, on paper that is available (deluxe edition) and retains the many papercuts and some of the other original elements, that is still available. This edition also contains a separate commentary volume, in Hebrew and English. (There is also one other available version that simply reproduces the pages, but lacks the papercuts.)

While the entire Moss Haggadah is worth study, a few examples. One paper-cut is comprised of eight panels, each depicting the process of brick making, the verso, using the same cuttings, depicts the matza baking process, literally transforming bricks into matza. The first panel of the matza baking is taken from Nuremberg II Haggadah, which we previously discussed here, and demonstrated that it preserves the Ashkenazi practice of only requiring supervision from the time of milling and not when the wheat was cut.

The illustration accompanying the section of Shefokh, reuses the illustrations of Eliyahu from the Prague 1526 and the Mantua 1528 Haggados to great effect. In the original and vellum reproduction, the cup of Eliyahu physically turns without any visible connection to the page — an extraordinary technical achievement. This section and the illustrations were discussed by Eliezer Brodt in “The Cup of the Visitor: What Lies Behind the Kos Shel Eliyahu, and, in this post, he identified an otherwise unknown work relating to the topic, for another article on the topic, see Tal Goiten’s “The Pouring of Elijah’s Cup (Hebrew).”  Eliezer revisited the topic in (here) his conversations with Rabbi Moshe Schwed, in the series, Al Ha-Daf. In last year’s conversation, he discussed a number of other elements of the history of the Haggadah, and three years ago the controversy surrounding machine produced matza. (All of the episodes are also streaming on Apple Podcasts, Spotify & 24Six.) Additionally, he authored “An Initial Bibliography of Important Haggadah Literature,” and two articles related to newly published Haggados, “Elazar Fleckeles’s Haggadah Maaseh BR’ Elazar ” and XXI. Rabbi Eliezer Brodt on Haggadah shel Pesach: Reflections on the Past and Present ,” regarding Rabbi Yedidya Tia Weil’s (the son of R. Rabbi Netanel Weil author of “Korban Netanel”) edition, and a review of David Henshke’s monumental work, Mah Nistanna. 

In one of the first haggadot printed in the United State published in 1886 Haggadah contains a depiction of the four sons.  Depicting the four sons is very common in the illustrated manuscripts and printed haggadot. In this instance, the wicked son’s disdain for the seder proceedings shows him leaning back on his chair and smoking a cigarette. According to many halakhic authorities, smoking is permitted on Yom Tov, nonetheless, the illustration demonstrates that at least in the late 19th-century smoking was not an acceptable practice in formal settings. (For a discussion of smoking on Yom Tov, see R. Shlomo Yosef Zevin, Mo’adim be-Halakha (Jerusalem:  Mechon Talmud Hayisraeli, 1983), 7-8).

The cup of Eliyahu is but one of many Passover food-related elements. The identification of Marror with the artichoke in Medieval Haggados, is debated by Dan Rabinowitz and Leor Jacobi , while Susan Weingarten provides an overview of the vegetable, in “The Not-So-Humble Artichoke in Ancient Jewish Sources.” Jacobi also discusses the fifth cup in his article, “Mysteries of the Magical Fifth Passover Cup II, The Great Disappearing Act and this printed article.  The history of the restriction of Kitniyot and the development of the practice of selling hametz is discussed in our article, “Kitniyot and Mechirat Chametz: Paradoxical Approaches to the Chametz Prohibition,” and was revisited on Rabbi Drew Kaplan’s Jewish Drinking podcast (and in an audio version on apple podcasts and spotify). Another guest was Marc Epstein, discussing his book on Medieval Haggados, and Dr. Jontahan Sarna where he gives an overview of the use of raisin wine for the kiddush and the four cups, based on his article, “Passover Raisin Wine,” as was the frequent contributor to the Seforimblog, Dr. Marc Shapiro. His interview, like many of his posts and his book, Changing the Immutable, discusses censorship and, in particular, the censored resposum of R. Moshe Isserles regarding taboo wine (also briefly touched upon in Changing the Immutable, 81-82, and for a more comprehensive discussion of the responsum, see Daniel Sperber, Nitevot Pesikah, 104-113).  For another wine related post, see Isaiah Cox’s article, “Wine Strength and Dilution.” The history of Jewish drinking and Kiddush Clubs was briefly discussed here.

Whether coffee, marijuana and other stimulants falls within the Kitniyot category appears here. Marc Shapiro’s article, “R. Shlomo Yosef Zevin, Kitniyot, R. Judah Mintz, and More,” regarding Artscroll’s manipulation of R. Zevin’s Moadim be-Halakha regarding kitniyot. Another coffee related article explores the history and commercial relationship between the Maxwell House Haggadah.  Finally, the last (pun intended) food discussion centers on the custom of stealing the afikoman.

The Amsterdam 1695 Haggadah was an important milestone in the history of printed illustrated Haggados, it was the first to employ copperplates rather than woodcuts. This new technique enabled much sharper and elaborate illustrations than in past Haggados. While some of the images can be traced to earlier Jewish Haggados, many were taken from the Christian illustrator, Mathis Marin. It also was the first to include a map. As we demonstrated that map, however, is sourced from a work that was a early and egregious example of forgery of Hebrew texts. For an Pesach related plagiarism, see “Pesach Journals, Had Gadyah, Plagiarism & Bibliographical Errors.” Kedem’s upcoming auction of the Gross Family collection includes, with an estimate of $80,00-$100,000, one of the rarest, beautiful, and expensive illustrations of Had Gadya by El Lissitzky published by Kultur Lige, Kiev, 1919. Eli Genauer reviews another number related edition, not in price, but convention, “The Gematriya Haggadah.”

Chag kasher ve-sameach!