Аукцион 100 Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection
от Kedem
Вторник, 21.1.25, 19:00
8 Ramban St, Jerusalem., Израиль

The importance of the Victor (Avigdor) Klagsbald Collection can hardly be overestimated, charting nearly a millennium of Jewish life across the globe – some one thousand years of religion, culture, literature and art.

Mr. Klagsbald, who passed away 5 years ago, was one of the most prominent collectors of Jewish art in the second half of the 20th century and a noted scholar, who built a collection of exceptional quality, much of which is now being offered for auction.

Each item in the collection was professionally catalogued by Mr. Klagsbald himself, who also added detailed descriptions in neat, cursive French along with enclosed photographs. These descriptions were indexed by subject and kept in organized dossiers, of which our researchers made use while preparing the present catalogue. Many items from the collection were made known to the public throughout the years in books and articles he authored; we select for particular mention Klagsbald's catalogue of Moroccan manuscripts, published in Paris in 1980 – Catalogue des manuscrits marocains de la collection Klagsbald – and his book A l'ombre de Dieu: dix essais sur la symbolique dans l'art juif, published in Belgium in 1997. Mr. Klagsbald was also one of the founders of the Museum of Jewish Art and History (mahJ) in Paris, and authored the catalogue of the Cluny collection now preserved in the museum, which was exhibited in the Israel Museum in 1982.

The present catalogue contains a selection of manuscripts, important printed books in first and rare editions, copies of distinguished ownership and with annotations, and letters and signatures spanning Orient and Occident, all scarce to be found. The two hundred lots featured in the catalogue include early manuscripts such as Sefer HaPeliah scribed in Tripoli (Lebanon), 1497; Moshav Zekenim, scribed in Crotone (Italy), 1473 – formerly Ms. Sassoon 409; Midrash HaGadol, written by the renowned scribe R. David son of Benaiah of Sanaa (Yemen), 1473; and several volumes of halachic rulings from Morocco, including hundreds of autographs and thousands of signatures by Moroccan rabbis from various cities. One of the volumes contains a letter handwritten and signed by R. Chaim ibn Attar, the Or HaChaim (many items in the collection originate from the Abensour collection in Fez).

The parchment manuscripts include decorated and illustrated siddurim such as the Arizal's Tikunei Shabbat, crafted by the scribe and illuminator Meshulam Simmel of Polna in Vienna, 1714, and Haggadot illustrated in the style of the Moravian school. The books with handwritten glosses include Zohar Chadash – the personal copy of kabbalist R. Moshe Zacuto, with his glosses, as well as the signature of the Chida; a manuscript of Sefer HaKavanot compiled by kabbalist R. Natan Nata Hannover, with his signature and many glosses in his hand; and a Pri Etz Chaim manuscript, scribed by R. Moshe of Liuboml, which belonged to R. Avraham Gershon of Kitov, brother-in-law of the Baal Shem Tov. The catalogue also includes unpublished manuscript works, including one authored by a disciple of the Pnei Yehoshua and R. Yehonatan Eibeshitz, with an original letter of ordination from the latter; and a Chassidic work with original letters of approbation by Rebbe Mordechai Dov of Hornostaipil and his sons.

On the occasion of its 16th anniversary and its 100th catalogue, Kedem Auction House is honored to present the Klagsbald Collection for public auction. We strive – and will continue to strive – to offer our clients rare and important items and to present them in high-quality and accurate catalogues. We have endeavored to uphold this aspiration in the present catalogue as well.


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ЛОТ 8:

Passover Haggadah – Parchment Manuscript with Unique Illuminations – Niedernai (Niederehnheim), Alsace, 1759


Цена с учетом комиссии и НДС: $ 64 625
Стартовая цена:
$ 50 000
Эстимейт :
$80 000 - $150 000
Комиссия аукционного дома: 25%
НДС: 17% Только на комиссию
теги:

Passover Haggadah – Parchment Manuscript with Unique Illuminations – Niedernai (Niederehnheim), Alsace, 1759

Passover Haggadah. Illuminated parchment manuscript by an unidentified scribe and illustrator. Niedernai (German: Niederehnheim), Alsace, 1759.


The Haggadah text is written in Ashkenazic square script; the Yiddish instructions and the rhyming Hebrew texts accompanying the illustrations are written in Ashkenazic semi-cursive ("Rashi") script.
Following the conclusion of the text of the Haggadah, on p. [22a], is the blessing over the Counting of the Omer. This is followed by the Yiddish song "Almechtiger Gott" (variation of "Adir Hu"), then "Echad Mi Yode'a" in Hebrew and Yiddish, and finally "Chad Gadya" in Aramaic and Yiddish.
The name of the person who commissioned this Haggadah and the year it was created appear at the end of the work, on p. [26a]: "1759, this [Haggadah] belongs to… R. Naftali Hertz son of… R. Itzek of Niederehnheim".

Illustrations and artwork:
Each page of the Haggadah is bordered with a wide frame, decorated with vegetal patterns surrounded by thick greenish-gold lines. The broad bottom panels of the frames bear 49 illustrations, that fall into four principal categories:


1. 14 illustrations depicting the narrative of Haggadah, based on the "Amsterdam Haggadah" (printed in Amsterdam in 1695 and 1712). Included in this category are the illustrations appearing on pp. [2b], [3a], [4a], [4b], [5a], [5b], [6a], [6b], [7a], [7b], [8a], [8b], [9a], and [15a]. These illustrations portray the following scenes or subjects: The "Four Sons"; Abraham smashing the idols; Abraham and the three angels (depicted here as female angels); Moses smiting the Egyptian; the finding of Moses; Moses's staff converting into a serpent; the Plague of Frogs; and more. Many of the illustrations bear relevant captions, as do the illustrations of the Amsterdam Haggadah, after which they are modeled.


2. 16 illustrations depicting biblical scenes, scenes related to the Passover holiday, or urban scenes with human figures in period costume. Included in this category are the illustrations appearing on pp. [1b], [9b], [10a], [10b], [11b], [13b], [14a], [14b], [17a], [18b], [19a], [20a], [22a], [22b], [23a], and [24a]. Among these illustrations are depictions of Adam and Eve, the Binding of Isaac, Samson and the Lion, King David playing his harp, a sentinel standing guard over the gate of a city wall upon which a cannon is mounted, human figures holding a rifle and blowing the shofar, and more. The illustration on p. [14b] presents the Prophet Elijah blowing the shofar to announce the arrival of the Messiah. All these illustrations are apparently based on early, printed editions of the Passover Haggadah – possibly the Mantua Haggadah (1560) or the Prague Haggadah (1590 edition) – as well as on illustrations from the Merian Bible (1625-1630).


3. 13 medallions bearing portraits of men and women in period costume, appearing on pp. [3b], [11a], [12a], [12b], [13a], [15b], [16a], [16b], [17b], [18a], [20b], [21a], and [25a]. These portraits are highly reminiscent of a dozen round portraits which appear in a series of Esther scrolls printed in Europe (specifically the Netherlands) beginning in the early 18th century. In these Esther scrolls, the depicted figures represent the characters of the biblical Book of Esther, with King Ahasuerus holding a scepter, Esther holding a flower, and Haman's wife Zeresh holding a handkerchief. Similarities can be found between these figures and those appearing in the present Haggadah on pp. [12a], [13a], [15b], [16b], [17b], and [25a], in which the female figures are shown holding a flower or fan, while the men are depicted holding a scepter.


4. 6 illustrations depicting animals, appearing on pp. [2a], [19b], [21b], [23b], [24b], and [25b]. Various real and mythical creatures are featured in these, including unicorns, rabbits, birds, a bear climbing a tree, a lion, a goat, and other animals.
In addition to the illustrations mentioned above, on six pages of the Haggadah small medallions with portraits appear in the upper margins. These include pp. [1b], [2a], [2b], [3a], [3b], and [4a].
The colophon on p. [26a] is inscribed between a pair of architectonic columns flanked by the figures of Moses and Aaron. At the top of the page are three medallions, with King David playing the harp in the middle, and two figures in period costume – similar to figures appearing in other parts of the Haggadah – flanking him to the left and right. The margins are decorated with vegetal patterns matching those found throughout the rest of the Haggadah.


Some of the artwork in the present Haggadah – in particular, the illustrations on the last page, the portraits in the medallions, the vegetal patterns, the unicorns, and some of the biblical scenes and urban scenes – are highly reminiscent of illustrations that appear in the Haggadah created by Abraham of Ihringen in 1732 (collection of the Israel Museum, Jerusalem, see below), as well as of illustrations appearing in another Haggadah dated 1731, by an unknown scribe, in the possession of Le Musée d'Art et d'Histoire du Judaïsme (mahJ, Paris, see below).
The scribe and illustrator Abraham of Ihringen (see previous item) was active in Breisach am Rhein, close to the Alsace border, roughly 60 kilometers south of Niedernai, and no doubt the unidentified artist of the present Haggadah was familiar with his work and was influenced by it. The precise nature of the connection between this Haggadah, the Haggadah of Abraham of Ihringen and the one in the collection of the mahJ, is worthy of further investigation.


For comparison, see: Haviva Peled-Carmeli, Illustrated Haggadot of the Eighteenth Century, Jerusalem: The Israel Museum, 1983, Haggadah no. 1, pl. 1, 104; Collection of the Israel Museum, Jerusalem, Ms. 181/48, and the Center for Jewish Art (CJA), Obj. ID 23785; and Le Musée d'Art et d'Histoire du Judaïsme (mahJ, Paris), item D.2020.02.001.


[26] leaves. 20.2X14.5 cm. Fair-good condition. Many creases. Stains and wear. Water damage, affecting text and illustrations. Marginal tears to several leaves. Original binding, contemporary, parchment-coated cardboard, with impressed decorations. Signature on front pastedown: "I. Isaqe(?)"; additional signature on rear endpaper.


Reference: This Haggdah is mentioned and photographed in Victor Klagsbald, A l'ombre de Dieu, Leuven: Peeters, 1997, p. 45, fig. 36.
Exhibition: "Synagoga, Kultgeräte und Kunstwerke von der Zeit der Patriarchen bis zur Gegenwart", Recklinghausen Städtische Kunsthalle, 1960-61, item B42.
Our thanks to Prof. Shalom Sabar for his assistance in preparing this description.