Wednesday, December 4, 2013

Haggadot and Illuminated Manuscript Facsimiles



 A selection of new arrivals: facsimile editions of printed Haggadot and illuminated manuscript Haggadot as well as an illuminated Megilat Esther and an illuminated Birkat Ha-Mazon. All are available for sale on the hollanderbooks.com website. 

Abravanel. Seder Hagadah shel Pesah ... Ha-Dafsnu'ah Ba-Biurim u-Peirushim Ne'imim ve-Aravim Le-Koreihem ha-loh hemah Ha-Abravanel Sh-nitarekh Biuro Be-Mekomot Ha-Tsrikhin lo Leha-kol ha-Meayin Le-Haveinu Be-Ma'at Ha-Iyon [Amsterdam Haggadah].           

Jerusalem, Makor Publishing Ltd., 1972. Quarto, tan cloth with brown lettering and designs on the spine and front board, marbled gold and olive green endpapers, illustrated half-title page, 62 pp., illustrated capitals, eighth page and third page sized illustrations throughout as well as some small illustrations where appropriate to the text, fold-out map at the rear. The type is regular Amsterdam type, Rashi type and a third sharp angular type. With an 8 pp. stapled paper covered pamphlet by Bezalel Narkiss in Hebrew and in English, entitled, "The Illustrations of the Amsterdam Haggadah and Its Place in the History of Hebrew Printing."  Hardbound. Very Good. In Hebrew. A facsimile of what Cecil Roth believed was the most beautiful printed Haggadah (Yaari 73, Yudlov 120). This is a numbered copy in an edition of 1300 numbered copies. The original edition was published by Proops in Amsterdam in 1712. The fold-out map for which this Haggadah is also quite famous, one of the horizontal maps of the holy land, is reproduced nicely here on clay coated paper.
The magnificent Amsterdam Haggadah was the most famous and most influential of all Passover Haggadahs.  The first illustrated Haggadah to be published with fine copperplate engravings rather than the woodcut illustrations heretofore used in Haggadah illustration, the Amsterdam Haggadah of 1695 and the improved and more richly illustrated 1712 edition which ours is, were destined to become the classical prototypes of  the illustrated Passover Haggadah. 
                The Haggadah illustrations of the proselyte Abraham ben Jacob, many of which were based on the biblical engravings of the Swiss Christian artist Mattheus Merian published in 1625-1630, were copied and imitated more than those of any other in the history of the illustrated Haggadah.   So popular was the Amsterdam Haggadah, that scribes who were hand-writing illuminated Haggadahs in the 18th century would frequently pride themselves by writing on the frontispieces of  their Haggadahs that they were basing their artistry on that of the Amsterdam Haggadah.
                The frontispiece of this lavishly illustrated Haggadah consists of the large figures of Moses and Aaron standing on a stage flanking the introductory text and surmounted by a depiction of Moses before the Burning Bush.  The book opens with ten vignettes depicting the various symbolic acts conducted in the Jewish home during the Passover Seder, and continues with numerous illustrations relating to the text.  There are many large, attractive initial letters, each containing a vignette depicting someone occupied in an observance of the Passover festival.
                The most notable feature of the Amsterdam Haggadah of 1695-1712 is the famous fold-out map of Eretz Israel, the earliest map of Israel in Hebrew, included in our edition.  Laid out horizontally showing the divisions of the land by tribe, the map lists the 41 way-stations of the Israelites during their 40-year-journey from Egypt to the Promised Land, and is introduced by these words:  “This is to inform all intelligent people the route of the travels of the Israelites over forty years, and the breadth and length of the Holy Land from the Nile river to the city of Damascus and from the River Arnon  to the Great (Mediterranean) Sea, and within it the territory of each and every tribe and its portion . . .”
                There are vignettes of the story of Jonah and of cows and a house with beehives - references to Israel being a land of milk and honey, and an eagle along with an inscription of the biblical promises to take the Jews to the land of Israel “on the wings of eagles.”  (30553)      $95.00 

"Israel at Sinai"

Abravanel. Seder Hagadah shel Pesah ... Ha-Dafsnu'ah Ba-Biurim u-Peirushim Ne'imim ve-Aravim Le-Koreihem ha-loh hemah Ha-Abravanel Sh-nitarekh Biuro Be-Mekomot Ha-Tsrikhin lo Leha-kol ha-Meayin Le-Haveinu Be-Ma'at Ha-Iyon [Amsterdam Haggadah].           
Jerusalem, No publisher, 1973. Octavo, illustrated paper covers fold-out map, 62 pp., half-title page illustration is repeated on the front cover, there is a large emblem on the lower half of the title page, illustrated capitals, eighth page and third page sized illustrations throughout as well as some small illustrations where appropriate to the text. The type is regular Amsterdam type, Rashi type and a third sharp angular type. Softbound. Very Good. In Hebrew. A small format facsimile of one of what Cecil Roth believed was the most beautiful printed Haggadah (Yaari 73, Yudlov 120). The original edition was published by Proops in Amsterdam in 1712. The fold-out map for which this Haggadah is also quite famous, one of the horizontal maps of the holy land, is reproduced here. (20561)      $15.00

Benjamin, Chaya, introduction by. The Copenhagen Haggadah: Altona-Hamburg, 1739. Facsimile Edition. Illustrations by Uri Pheibush son of Isac Eisak Segal. 
New York, Rizzoli, 1987. ISBN: 0-8478-0820-3. Quarto, dark brown leatherette with gold decorations on the boards and spine, 68 pp. which reproduces the original entirely in color. With an 8 pp. stapled pamphlet (small quarto) in English. This is the Benjamin introduction. There is a description of the plates and bibliography in addition to the introductory remarks. In an illustrated paper covered slipcase which matches the endpapers, Hardbound. Very Good. In Hebrew. A facsimile of a lavish 18th century illuminated Haggadah executed by Uri Pheibush son of Isaac Eisik Segal in the manner of the illustrations of the Amsterdam Haggadah of 1695, but in color. Though the Amsterdam Haggadah was the model for this Haggadah it has a great variety of detail and idiosyncratic addition (4108)      $60.00

Dreznitz, Samuel Ben Zevi Hirsch, design, illustration and lettering by. Seder birkat ha-mazon: im berakot ha-nahenin: va-im tikun keri'at sema: demut zevua shel Kod. Hebr. XXXII she-be-Sifriya ha-malkutit be-Kopenhagen/ Grace after meals, and other benedictions: facsimile of Cod. Hebr. XXXII in the Royal library, Copenhagen.   
Copenhagen, 1969. 32mo, full red leather with gold lettering and designs, aeg, 42, 12, 12 pp., color illustrations. Hardbound. Very Good. Text is in Hebrew and Yiddish (Ivri-Taytsh) with an introduction in English and Hebrew by Rafael Edelmann. (70457)      $75.00



Early Passover Haggadas. 
Jerusalem, Makor Publishing Ltd., 1972. Three quartos in tan paper covered boards, in a one piece box with a pastedown illustration covering the front panel, three volumes, Trieste Haggadah - 43 pp., b/w illustrations, Adir Hu with musical notation, Offenbach Haggadah - 60 pp., b/w headpieces and illustrations, Prague Haggadah - 76 pp., b/w illustrations in the margins. Very Good. A nice set, in a limited edition (one of/1000) of three of the most interesting printed Haggadot that appeared before the Twentieth Century. (1864, 1722, 1526). Inquire for the specific number. (6947)      $150.00





Four Haggadot: From the Treasures of the Jewish National and University Library in Jerusalem. Facsimile Edition. 
Tel Aviv, W. Turnowsky Ltd., Ca. 1985-1990. Four small duodecimos in a custom box with two pamphlets in a separate slot on the top of the box. The facsimiles reproduce the outward appearance of the originals.
The first is a Yemenite Haggadah dated from the 19th century written by Yosef ben Yosef Hammani. It has paper covers which I assume reproduces soft leather and comes with string for a wrap (which I guess is how the original is kept). 38 pp., with some decorative elements, but not illuminated. Ms. Heb. 8o 6606. Hebrew manuscript No. 8-6606.  Agad’ta D’Pisha - The Passover Hagadah According to the Yemenite Rite, soft cover.  Ornamented with geometric “crown” illuminations at the tops of all pages, and at the end a depiction of an imaginary animal supporting a canopy in which the scribe writes his name, Joseph son of - Mori - my teacher, Joseph Hamami. 


The second is a hardcover from an Italian-rite Siddur, Mantua, 1480 written by Avraham Farisol from Avignon. 56 pp., with some illuminated initials Ms. Heb 8o 5492. Hebrew Manuscript 8-5492.  Part of a manuscript compendium of Hebrew prayers, Sidur HaShalem miKol haShana, written by the Biblical exegete and commentator Abraham Farisol of Avignon in 1480 in Mantua, in honor “of the esteemed and glorious among the ladies. . .” apparently a patron of this brilliant scholar.  (The lady’s name was erased by subsequent owners of the manuscript.)
Some pages are decorated in color and in gold with geometric and scrollwork illuminations.  The final page consists of Psalm 67 written micro-graphically to form a 7-branched Menorah.
         

  The third is a hardcover in the Ashkenazi rite, from mid-15th century Italy written by Yehuda (?) and illuminated by Yoel ben Shimon Ms. Heb 4o 6130. 94 pp., with illluminated first words and initials and with drawings in the margins throughout. The un-rubricated letters are written in red and black. Hebrew Ms. 4-6130, Hagadah according to Ashkenazic rite, northern Italy, 15th century.  The text is accompanied by colored illuminations, mostly textual illustrations and illuminated initial words. From style and pattern it is clear that it is the work of Joel ben Shimon, known as Feibush Ashkenazi of Cologne, the famed artist-illustrator of Hebrew manuscripts, who worked in Germany and northern Italy.  The scribe was probably “Judah,” as he emphasized the word, which occurs in the middle of a chapter in the Hallel portion of the Psalms related in the Haggadah, by placing it at the top of the page and coloring it in red - something he otherwise does only with chapter beginnings - and crowning it with leaves.  The text is written in a fine square Germanic medieval script.
                The textual subjects the illuminator chose to illustrate are for the most part those frequently chosen by other Passover illuminators - e.g., the Talmudic sages in the Ma’ase b’Rabbi Eliezer section of text; the Jews constructing Pithom and Raamses; the individuals performing the Passover Seder ceremonials; Matzah zu - “This unleavened bread;”  Maror zeh - “This bitter herb;” the baking of matzah; the Exodus from Egypt, etc. 
Some of the illuminations depart radically from the norm and manifest the singular concepts of the artist-illuminator and testify to the artist’s originality, such as, for example, his choice of a highly unconventional and non-traditional depiction of a nude woman to adorn the words  v’at erom v’erya - and you were naked and bare.  Another unconventional depiction by the artist is of a gentile man - someone in non-Jewish dress - drinking wine while roasting what looks like a pig over a fire.  Another radical departure from tradition is the depiction of a woman raising her cup to illustrate the text of Sh’foch hamatcha - “Pour out Thy wrath upon the nations.”  But the full text of the verse as we know it today is missing, apparently it not yet having been included in the Passover seder liturgy.
                The Haggadah text ends on a humorous note following the blessing over the fourth cup of wine, when it is incumbent upon the Seder participant to finish the last cup completely, with the words in medieval German-Yiddish:  Nu, trink oys - loosely translated as  “C’mon, drink up already!” followed by Salik Mah-Nishtanah - The traditional Mah Nishtanah Four Questions recited by the youngest in the household at the beginning of the reading of the Passover Hagadah as a pedagogical means of  telling the story of Passover the “answers” which embody the rest of the text - are over, i.e., answered.
                This illuminated manuscript Haggadah was part of the collection of Baron Edmond de Rothschild of Paris and was stolen by the Nazis during World War II.   Somehow it came into the hands of a collector, E.T. Murphy, who presented it to Yale University, his alma mater, in 1948.  In 1980, a researcher in art history at Yale discovered the true owners of the manuscript and alerted the authorities, who contacted the Rothschilds.  Whereupon Baroness Dorothea de Rothschild, widow of Baron James de Rothschild, presented the manuscript to the Jewish National and University Library in Jerusalem.
The fourth is a Central European Haggadah from 1719 by the Scribe/Illustrator Simmel from Polin (Moravia). 56 pp., with text within lined boxes and notes on the Hebrew text in brown ink in Taytsch. Illustrations are within these lined boxes and look much like the illustrations in some of the nicer early printed Haggadot. Hebrew Manuscript 8-5573.  Written in both square Ashkenazic script and in Rashi script, and including directions for the conduct of the Seder ceremonials written in old Yiddish.  The imposing frontispiece with a pictorial frame made up of depictions of Moses and Aaron, and David and Solomon on the sides and a family Passover Seder scene at the bottom, the upper portion with two lions of Judah rampant flanking an ovular cartouche with the Binding of Isaac frames an introductory text by the scribe, who states that the Haggadah was written in honor of the venerated, worthy and generous Nathan son of Isaac Oppenheim of Vienna.
                The illuminations in this richly decorated Haggadah were strongly influenced by, and in large part based upon, those of the famed Amsterdam Haggadah of 1695-1712.  The Haggadah begins with three pages of illuminations consisting of twelve miniatures, each depicting a ceremonial observance of the Passover Seder, followed by a depiction of a family in elegant contemporaneous dress at a family Seder.  
                The pamphlets, which match the Haggadot in size are both stapled wraps. A 16 page pamphlet describes the four Haggadot in both English and Hebrew. The second pamphlet is 32 pp. and offers a standard translation of the Haggadah into English.
All four are housed in a box which is the size of a very large quarto or a small folio and has a paper label over the front panel of the box which illustrated the covers of the four original Haggadot. Hardbound. Very Good. In Hebrew in the facsimiles except as noted and in English in the pamphlets except as noted.
There are significant differences in the text of the Yemenite Haggadah from those of traditional Ashkenazic and Sephardi Haggadot, specifically in the Kiddush - sanctification - over wine and in a number of other sections. (18786)       $80.00

Goldstein, David, introduction, notes on the illuminations, transcription and English translation by. The Ashkenazi Haggadah: A Hebrew Manuscript of the mid-15th Century from the Collections of the British Library. Written and Illuminated by Joel Ben Simon Called Feibush Ashkenazi. With a Commentary Attributed to Eleazar Ben Judah of Worms. 
New York, Abradale Press, Harry N. Abrams, Inc., Publishers, 1985 (1997). ISBN: 0-8109-8192-0. Folio in dust jacket, 40, 98 pp., b/w illustrations in the introduction, bibliography, transcription and translation. The latter 98 pages are a fine color facsimile of the original manuscript. Hardbound. Very Good.  (15388)      $25.00


Hagadah shel Pesah/ Prague Haggada. 
Jerusalem(?), No Publisher, 1970s. Octavo, large quarto, brown cloth with red lettering and an illustration on front and rear board in black ink, 73 pp., illustrations, polychrome lettering and illustrations. Issued without a title-page. Softbound. Very Good. Text is in Hebrew. A facsimile of the Prague Haggadah of 1526, originally printed by Gershom Cohen. It was the first illustrated haggadah (Yaari 6, Yudlov 7). (70454)      $60.00



 "Opening page of the Prague Haggadah"




"Pour out your wrath - Sefokh al ha-Moftim"
Hagadah shel Pesah [Prague Haggadah]. 
Jerusalem, No Publisher, 1973. Octavo, stapled paper covers, 79 pp., b/w illustrations. Softbound. Very Good. In Hebrew. A facsimile of the the Prague Haggadah of 1526, originally printed by Gershom Cohen. It was the first illustrated haggadah (Yaari 6, Yudlov 7). (20562)       $12.50
  

             Kaniel, Michael and Narkiss, Bezalel, commentery by. Kaniel Megillah Esther Rolle. Vollst√§ndige Faksimile-Ausgabe im Originalformat aus den Besistz von Michael Kaniel [Kaniel Megillah Esther Scroll. Complete facsimile edition of the original from the collection of Michael Kaniel]. Facsimile and Commentary volume.  

 
Graz, Austria, Akademische Druck -u. Verlaganstalt, 1984. Scroll: Cloth backed scroll with printed text on brown wooden rollers housed in a gray cloth covered canister with a red leather label with gold lettering. Scroll length approximately fourteen feet. Commentary Volume: Royal octavo, gray cloth with gold lettering, 33 pp., b/w photos. Very Good. This is one of 500 numbered copies. The original manuscript (and thus the facsimile) is a "Ha-Melekh" scroll. Commentary volume is entirely in English with the exception of the title-page.
The "Kaniel Megillah" is an illuminated manuscript with an illustration on the opening pull and has illustrations reflecting the story both above and below the text blocks which are set within a illustrations of columns. The text and illustrations continue along as if one were viewing an arcade. There are no known examples of illuminated Esther scrolls from before the sixteenth century. It is unclear whether there were earlier scrolls but there was some precedent in the ways in which the subject matter could be handled provided by Purim related illustrations in illuminated prayer books. However, with the onset of printing the illuminated Esther Scroll became a popular subject and different approaches to the subject appeared. The Kaniel scroll combined aspects of the different approaches. The illustrations are tied closely to the text that they frame. Though the work is not dated specifically it is likely from the 1740s or 1750s. Images and copy number available upon request. (70459)      $395.00



Kashilsberg, Shlomo, revised and edited by. Hagadah shel Ha-Ir Bazel. Seder Hagadah shel Pesah: im targum Ashkenazi. 
Bene Berak, Hotsaat Shmuel Mor, 1973/4. Royal octavo in dust jacket, 54 pp., 24 b/w illustrations. Hardbound. Very Good. Text is in Hebrew with Ivri Taytsh. Originally published Basel, Switzerland, Bi-defus Vilhelm Haas al-yad R., 1816. In an edition of 500 copies. Contact us for the specific number of the copy. The first Ashkenazi translation written in Hebrew letters. (70455)      $75.00



Morpurgo, Avraham Hai, commentary by. Hagadah shel Pesah im tsiyurim [The Trieste Haggadah]. 
B'nei Brak, Israel, Hotsaat Shmuel Mor, 1971. Folio, light brown cloth spine with a darker brown cloth covering the boards, title and a large illustration of old Prague on the front board, new half-title page which reproduces the illustration from the front cover, 42 pp., b/w illustrations throughout, decorative capitals. Printed on a paper that mimics the look of vellum. In a blank mylar jacket. Hardbound. Very Good. In Hebrew. One of 500 numbered copies in this edition. A facsimile of the original Trieste edition of 1864 which was illustrated by C. Kirchmayr. The original publisher was Jonah Cohen. This edition is at the actual size or approximate of the original. (20568)      $85.00

Morpurgo, Avraham Hai, commentary by. Hagadah shel Pesah im tsiyurim [The Trieste Haggadah]. 
Jerusalem, No publisher, 1973. Octavo, stapled paper covers, 42 pp., b/w illustrations throughout, decorative capitals. Softbound. Very Good. Text is in Hebrew. A facsimile of the original Trieste edition of 1864 which was illustrated by C. Kirchmayr. The original publisher was Jonah Cohen. This edition is much reduced from the size of the original (20560)      $15.00

Roth, Cecil, text by. The Sarajevo Haggadah. 
Belgrade, Yugoslavia, Jugoslavija, 1973. Octavo in dust jacket, (off-white cloth with gold lettering on the spine and a design in gold on the front cover), 48, 152 pp. The first 48 pages are the English language text by Roth which includes notes and a bibliographical note. The facsimile comprises the remainder of the volume. The Haggadah is divided into two portions. The first portion is a series of thirty-four pages each with two panels one above the other. These illustrated pages face each other and between them are facsimiles of the blank pages (68 pages altogether). These pages illustrate the bible story beginning with the creation of the world through the life of Moses and the story of the exodus and ending with the creation of the Temple in Jerusalem (skipping from the Manna to a full page illustration of a group of people leaving what looks like a synagogue with the ark open. The second section is the actual Haggadah text which is illustrated in color and illustrated lead words throughout. There are no blanks in this section (eighty four pages with one final blank leaf). Housed in a cloth covered slip-case which uses the same cloth that binds the volume. Hardbound. Fine.
Roth's text is in English and the Haggadah is in Hebrew. “One day in 1894. . . a child belonging to a family named Cohen, long established in the ancient Sephardi community of Sarajevo, the capital of Bosnia, came to the Jewish communal infant school bearing an old Hebrew service-book under his arm.  His father had recently died, leaving the family in straitened circumstances, and it was necessary for them to realize what was possible from the sale of this volume.  Thus in due course it passed into the possession of the newly-established Bosnian National Museum in the city. . .”  From the introduction - “The Sarajevo Haggadah and its Significance in the History of Art” During the siege of Sarajevo the Haggadah was hidden and preserved. During that time it appeared in public only for the community seders. (20558)      $50.00


Seder Hagadot shel Pesah:  Mantovah 320. Yotsat Me-Hodesh Mahadurah tsilumit Mekudeshet le-zikhro shel Dr. Renato Yarak Milano 1910- Jerusalem 1945/ Mantua Haggadah.     
Jerusalem, Hotsaat Dvir, 1970. Large quarto, gold lettering against a brown panel on the spine, 80 pp., ilustrated throughout. With two additional items one laid in and the other in pocket at the rear, Berakhat ha-Mazon Ba-Nusakh Sefardi ve-Italiani im ha-Shirim Ehad-Mi-Yodeah ve-Had Hadya; Hagadat Mantovah by Re’uven Bonfil. In a illustrated paper covered cardboard slipcase. Hardbound. Very Good. In Hebrew. (23529)      $150.00 

Steinhardt, Jacob, Woodcuts by. Hagadah shel Pesah im pituhe-ets Yakov Steinhardt/ The Pessach Haggadah. 
Tel Aviv, The Dvir Publishing House, 1979. ISBN: 965-01-0013-X. Quarto, off-white cloth covers with gold lettering, mild soiling to the boards, short tear to the spine near the top, 50 pp., b/w woodcuts throughout.  Hardbound. Very Good. In Hebrew. Lettering by Franzisca Baruch. With a brief introduction in English and Hebrew by Z. Mishai-Maisels language. In an edition of 1000 copies which was published together with an edition of 50 Deluxe numbered copies on Arches paper.
                “The original limited edition of 200 copies was immediately sold out and was so well received that in 1923 a publisher decided to reprint a smaller, more popular version. The present facsimile edition is based on Eric Goeritz’s original publication and preserves both its size (with slightly smaller margins) and the quality of its execution."
“Jakob Steinhardt (1887 - 1968), a major figure in modern Jewish art, is best known for his expressive use of the woodcut.  He worked from 1912 on in the German Expressionist style he had begun to use in Berlin, refining it with technical innovations after settling in Jerusalem in 1934.  The [Steinhardt] Haggadah, which he produced with Franzisca Baruch at the peak of the renaissance of Jewish art and culture in Berlin in the early 1920s, has long been one of his most popular works. . .
                “Steinhardt [originally] decided to decorate the Haggadah with etchings, his preferred medium at this time. . .”  After examining the etchings, Franzisca Baruch, a young art student who was to execute the Hebrew lettering and design, convinced Steinhardt that woodcuts would be a better medium, and he created a striking group of dramatic woodcuts, “creating a compellingly modern interpretation of the scenes, whose intense play of flickering lights shooting across the dark backgrounds differentiate them from the long tradition of woodcut illustrations to the Haggadah.  



Opening page of the Steinhardt Haggadah

 "Avadim Hayenu Le-Faro"

 "The five Rabbis at Bene Berak"


                “Baruch then began months of study of medieval Hebrew lettering types, finally selecting a bold style which perfectly balanced the dark woodcuts.  She hand-lettered the entire book and arranged the layout of each page to preserve the compositional tension and expressiveness of the woodcuts.  The result is a book seemingly executed by a single hand, and united in a style of its own to the point that the spectator is unaware that Steinhardt’s woodcuts have been set beside Baruch’s lettering. . .” (Quoted remarks from the introduction.) (20566)      $125.00