Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection

Jan 21, 2025

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Lot 4 Early Decorated Parchment Ketubah – Ferrara, 1656 – Of the Earliest Documented Ketubot from Ferrara – Reused as Binding / Fragment of Decorated Venetian Ketubah – Signatures of Ferrara Rabbis

Two items from Italy, 17th and 18th centuries:

1. Ketubah for the wedding of Eliah son of Refael Shmuel Haggio with Bat

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Early Decorated Parchment Ketubah – Ferrara, 1656 – Of the Earliest Documented Ketubot from Ferrara – Reused as Binding / Fragment of Decorated Venetian Ketubah – Signatures of Ferrara Rabbis

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Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection Jan 21, 2025

Opening: $2,500

Estimate: $3,000 - $4,000

Sold for: $3,750

Including buyer's premium

Two items from Italy, 17th and 18th centuries:

1. Ketubah for the wedding of Eliah son of Refael Shmuel Haggio with Batsheva daughter of Azariah Chaim Haggio. Ferrara, Friday, 9th Shevat (February 4) 1656.

Decorated parchment ketubah – one of the earliest recorded ketubot from Ferrara – which was reused as a binding.

The ketubah text is written in Sephardic square script, within an architectonic frame. Signatures of the witnesses, Ferrara rabbis, appear below: "Menachem Cases son of R. Elchanan" (1602-1664, served earlier as rabbi in Corfu and Modena) and "Paltiah son of R. Chananiah Monselice".

The ketubah is bordered by a broad frame, composed of symmetrical geometric guilloches featuring alternating illustrations of birds of prey and foliage. The margins are decorated with a repeating pattern of clovers and knobs. The marginal decorations incorporate many verses of blessing, from the Priestly Blessing and "Eshet Chayil". Above and below the text of the ketubah appear verses of blessing (Psalm 128) in large red, yellow and brown letters; and the four corners contain initials of additional verses of blessing (see Hebrew description). Some illustrations and verses are decorated in red ink.

The Haggios were an important family in Ferrara. In his Meor Einayim, R. Azariah de Rossi mentions R. Yitzchak Haggio "the pious Spaniard" of Ferrara, who immigrated to Eretz Israel. After his passing, his widow returned to Ferrara, to the home of her elder son R. Yom Tov Haggio, where R. Azariah saw an original ancient shekel coin she had brought from Eretz Israel.

Approx. 58X39 cm. Fair-good condition. The ketubah served as book binding, and its margins were trimmed accordingly: right part lacking and additional pieces missing in all four corners. Creases, stains and folding marks. Several holes, affecting text. Many pinholes across outlines of illustrations, apparently as an aid to copying them.

For a similar ketubah from Ferrara (fragmentary), decorated by the same artist, see NLI catalogue, item 997009840836405171.

2. Fragmentary decorated ketubah. [Presumably Venice, 18th century].

The left-hand margin of a ketubah of the Venetian type (apparently from Venice or another community under its influence): the fragment contains sections of verses and is decorated with vegetal patterns, two medallions with pastoral scenes (grain and grape harvests) and schematic illustrations of a lion and a figure in a dress. For a Venetian ketubah with similar illustrations, see NLI catalogue, item 990003035560205171.

55X15 cm. Fair-good condition. Stains, creases and small tears. Ink faded.

Our thanks to Prof. Shalom Sabar for his assistance in preparing this description.

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Illustrated Manuscripts on Parchment

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Lot 5 Seder Tikunei Shabbat by the Arizal – Illuminated Parchment Manuscript – By the Scribe and Illustrator Meshulam Simmel of Polna – Vienna, 1714

Seder Tikunei Shabbat, by R. Isaac Luria Ashkenazi, the Arizal. Illuminated parchment manuscript, created by the scribe a

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Seder Tikunei Shabbat by the Arizal – Illuminated Parchment Manuscript – By the Scribe and Illustrator Meshulam Simmel of Polna – Vienna, 1714

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Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection Jan 21, 2025

Opening: $35,000

Estimate: $50,000 - $80,000

Sold for: $87,500

Including buyer's premium

Seder Tikunei Shabbat, by R. Isaac Luria Ashkenazi, the Arizal. Illuminated parchment manuscript, created by the scribe and illustrator Meshulam Simmel of Polna (Bohemia). Vienna ("in Amsterdam typeface"), 1714.

Ashkenazic square script, vocalized, in various sizes; and semi-cursive ("Rashi") script.

The contents of the manuscript are detailed on the title page: "Order of Shabbat Tikunim, unprinted in this fashion, from the G-dly man, the holy… R. Isaac Luria Ashkenazi, with the addition of the order for after Shabbat, hymns, Blessing over the Moon and Kiddush for the New Year and the Three Pilgrimage Holidays; created in 1714, here at the Royal City of Vienna, in Amsterdam typeface".

The manuscript is divided into two parts: the first part (leaves 2 to 48a) contains the orders of study and prayer in accordance with the Arizal's kabbalistic teachings, including the Kabbalat Shabbat psalms (with "Lecha Dodi" and "Shalom Aleichem"), Order for the First Meal, Order for the Third Meal, and Order for after Shabbat, with "Pittum HaKetoret", various passages and kabbalistic rites. The second part (leaves 48b to 69) begins with the Order of the Zemirot for Shabbat Eve, followed by additional Orders of Zemirot, including numerous piyyutim for Shabbat Eve, for Shabbat Day, and for after Shabbat, with acrostics and other types of "signatures" of their authors; continuing with Havdalah, Blessing over the Moon, Kiddush for the New Year, and Kiddush for the Three Pilgrimage Holidays.

The scribe signs his name in the colophon on p. 48a (at the end of the first part of the manuscript): "…by the scribe Meshulam called Simmel son of R. Moses of Polin in Bohemia, created in 1714".

Illustrations and artwork:

The manuscript begins with an illuminated title page featuring architectonic elements. At the top of the page is the figure of a man in Oriental Jewish dress (possibly representing the Arizal). Other illustrations and artworks appear intermittently throughout the manuscript, including titles illuminated in various styles and techniques, on pp. [2a], [4a], [6a], [7b], [48b], and [54a], which include a medallion in a vegetal pattern, initials in color in the form of cloth ribbons, initials in gilt, and miniatures in vegetal or geometric patterns. In addition, there are seven miniatures featuring human figures on pp. [8a], [9b], [20a], [29b], [37a], [41a], and [45a], including: an illustration of a woman standing next to a Shabbat table (appearing next to "Eshet Chayil"); the figure of King Solomon (introducing Song of Songs); three illustrations depicting a festive meal (next to the blessings for the start of the first meal, for the end of the first meal, and for the third meal); an illustration depicting angels alongside the figures of Jacob and Esau (at the beginning of "VaYishlach"); and an illustration depicting the Havdalah ceremony. All pages are bordered with greenish-gold rectangular frames.

The scribe and illustrator Meshulam Simmel of Polna (Bohemia, today Czech Republic) is regarded as one of the most prominent and prolific of 18th-century Hebrew manuscript artists, a member of a group known as the "Moravia School", which includes such artists as Aaron Wolf Herlingen, Nathan ben Samson of Meseritsch, Chaim ben Asher Anshel of Kitza (Kittsee), and others. Some 24 manuscripts created by Meshulam Simmel (mostly in Vienna) in the years 1714-1756 are known to be extant, and an additional 16 manuscripts are attributed to him. The present work is one of the earliest of the manuscripts he created and may be the earliest to be extant.

Among Meshulam Simmel's works, some seven manuscripts similar to "Seder Tikunei Shabbat" have been documented, most of them belonging to library or museum collections. These include: The British Museum, London, Add. 11433; Jewish Theological Seminary (JTS) Library, New York, Ms. 4259; Hamburg State and University Library, Cod. Levy 59; The Israel Museum, Jerusalem, 180/5; and others.

For a detailed listing of all the manuscripts he is responsible for, see: Claudia J. Nahson, "An Early Decorated Book of Genesis by Meshullam Zimmel Comes to Light", in Meḥevah le-Menaḥem: Studies in Honor of Menahem Hayyim Schmelzer, Jerusalem, 2019, pp. 145-170.

[69] leaves. 11.5X8 cm. Overall good condition. Dark stains to title page, slightly affecting text and decorations. Stains to margins of some leaves, slightly affecting text and decorations. Original binding, contemporary, dark red leather with gilt decorations; silver clasps missing. Included: original, pull-off case, leather-coated cardboard.

19th-century inked ownership stamp on back pastedown: "Of R.(?) Kaufmann Unrich, Rabbi of Paris, ME" - this is apparently the stamp of R. Koppel Kaufmann Unrich (1792-1852), also known by his French name Marchand Ennery, who became Chief Rabbi of Paris in 1829, and Chief Rabbi of the Central Consistory in 1846.

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Lot 6 Illuminated Perek Shira – Miniature Parchment Manuscript – Ca. 1720 – Attributed to Meshulam Simmel of Polna

Perek Shira (Chapter of Song), verses of praise and glorification of G-d. Parchment manuscript, with illuminated initial word

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Illuminated Perek Shira – Miniature Parchment Manuscript – Ca. 1720 – Attributed to Meshulam Simmel of Polna

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Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection Jan 21, 2025

Opening: $12,000

Estimate: $15,000 - $25,000

Sold for: $18,750

Including buyer's premium

Perek Shira (Chapter of Song), verses of praise and glorification of G-d. Parchment manuscript, with illuminated initial words. [Apparently created by the scribe and illustrator Meshulam Simmel of Polna (Bohemia), Vienna, ca. 1720].

Miniature manuscript containing the six chapters of song, without the introductory or concluding texts, written in Ashkenazic square script, vocalized (titles not vocalized), in brown-colored ink.

At the beginning of each chapter is a rectangular frame, within which are the initial words enclosed in either an oval frame or a cartouche adorned with acanthus leaves, along with additional illustrations, most pertaining to the chapter's subject matter:

First initial word (p. 1a), "Shamayim" (Heavens), enclosed in a cartouche adorned with an angel.

Second initial words (p. 5b), "Shir LaYerakot" (Song of the Vegetables), adorned with depictions of vegetables and fruit.

Third initial words (p. 6b), "Shir LaIlanot" (Song of the Trees), adorned with depictions of flowers and leaves.

Fourth initial words (p. 8a), "Shir LaSheratzim" (Song of the Insects), adorned with a crown and acanthus leaves.

Fifth initial words (p. 10b), "Shir LaOfot" (Song of the Birds), adorned with a pair of birds of prey.

Sixth initial words (p. 16a), "Shir LaBehemot" (Song of the Animals), adorned with acanthus leaves and a pair of birds.

All pages are bordered with brown-colored rectangular frames. The title words "Perek Shira" appear in the upper margin of the first page, and subsequently, the word "Perek" surmounts each right-side leaf, while "Shira" surmounts each left-side leaf.

For further information regarding the scribe and illustrator Meshulam Simmel of Polna, see previous item. Among all the documented copies of Meshulam Simmel's works – or documented works attributed to him – only a handful of manuscripts of "Perek Shira", created in Vienna ca. 1720, are listed as extant. A similar manuscript, likewise attributed to Simmel, can be found in the René Braginsky Collection (item B257).

For a detailed listing of all the manuscripts Meshulam Simmel is responsible for, see: Claudia J. Nahson, "An Early Decorated Book of Genesis by Meshullam Zimmel Comes to Light", in Meḥevah le-Menaḥem: Studies in Honor of Menahem Hayyim Schmelzer, Jerusalem, 2019, pp. 145-170.

[20] leaves (title page missing). 8X6 cm. Overall good condition. Some stains. Ink slightly faded in some places. Original leather binding, with impressed decorations. Old ownership signature on verso of final leaf: "Meyer Salomon".

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Lot 7 Passover Haggadah – Parchment Manuscript, Illuminated in Color by the Scribe Abraham of Ihringen – Breisach am Rhein, Near Alsace, 1740

Passover Haggadah. Illuminated parchment manuscript by the scribe Abraham of Ihringen. Ihringen, Baden-Württemberg / Bre

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Passover Haggadah – Parchment Manuscript, Illuminated in Color by the Scribe Abraham of Ihringen – Breisach am Rhein, Near Alsace, 1740

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Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection Jan 21, 2025

Opening: $50,000

Estimate: $80,000 - $100,000

Sold for: $75,000

Including buyer's premium

Passover Haggadah. Illuminated parchment manuscript by the scribe Abraham of Ihringen. Ihringen, Baden-Württemberg / Breisach am Rhein, close to the Alsace border, [1740].

The Haggadah text is written in vocalized square script; the instructions and the rhyming Yiddish texts accompanying the illustrations are written in Ashkenazic semi-cursive ("Rashi") script.

At the center of the title page, the scribe signs his name:
"Order of the Passover Haggadah in the Holy Tongue, with several illustrations depicting all the signs and wonders done to our forefathers in Egypt… inscribed on clean parchment, and finely inscribed lettering, and other beautiful things. Completed by Abraham Sofer Stam of Ihringen in the Margraviate near the fortress of Old Breisach close to the River Rhine".

The designation "Margraviate" apparently refers to the Margraviate of Baden-Durlach, then under the rule of Karl Friedrich, later the Grand Duke of Baden; "the fortress of Old Breisach" is meant to distinguish this location – Breisach am Rhein, in the Margraviate of Baden-Durlach – from Neuf-Brisach (New Breisach), situated on the opposite bank of the Rhine, in Alsace.

The medallion at the top of the title page seems to give the Hebrew year 5530 (1770).

On p. 1b is a poem in Yiddish rhyme. At the top of this page, enclosed within a round medallion, is a brief text, also in Yiddish rhyme, a self-advertisement on the part of the scribe, appealing to all those interested in acquiring a similar Haggadah to "run" to Abraham the Scribe and commission it at a bargain price.

The name of the person who commissioned the present Haggadah appears on p. 2a: "This Haggadah belongs to… the well-known community leader R. Zalman Wiesel of Karlsruhe, [1740]" – according to this inscription the manuscript was created in 1740, and not in 1770 as appears on the title page. Possibly, the date on the title page was also intended to be 1740, and the added Hebrew letter "lamed" (= 30) was meant to be a shortened form of the common abbreviation "lamed-pey-kuf".

Illustrations and artwork:

The text of the Haggadah appears at the center of each page, enclosed in a frame surrounded on all sides by colorful decorations – mostly alternating vegetal patterns. In addition, the illustrated figures of the biblical heroes Moses, Aaron, King David, and King Solomon are recurrent motifs on many of the Haggadah's pages. On some of the pages, figures in period costume also appear. Some of the frames are adorned with an architectonic arch or gable, typically surmounted by a pair of rampant lions flanking a round medallion bearing the words "Passover Haggadah".

Also included among the images framing the text are more than 50 illustrations depicting preparations for the Passover holiday and scenes representing the Haggadah's narrative. In addition to these, the text is accompanied by a dozen title-illustrations marking the stages or segments of the Passover seder, ten illustrations portraying the Ten Plagues, six additional title-illustrations representing the stages of the seder (before the Grace After Meals), and 25 illuminated initials.

The illustrations in this Haggadah are modeled after woodcuts used in the "Venice Haggadah", printed by Giovanni (Zuan) di Gara in 1609. The texts in rhyme that appear in the margins of some of the pages were also apparently borrowed from the Venice Haggadah. Abraham of Ihringen's Haggadah thus differs from most similar manuscripts dating from the 18th century, insofar as the latter were typically based on the "Amsterdam Haggadah", originally printed in Amsterdam in 1695 (see, for instance, the following item).

Three other Haggadot scribed and illustrated by Abraham of Ihringen are known to be extant: One, dated 1732, is part of the collection of the Israel Museum, Jerusalem (Ms. 181/48); a second, dated 1756, belongs to the Jewish Museum, London (no. 639A); and an undated third Haggadah is found in the collection of Harvard University, Cambridge Mass. (Ms. Heb. 69). One additional Haggadah, dated 1731 and created in a style reminiscent of the work of Abraham of Ihringen, was donated in 2020 to Le Musée d'Art et d'Histoire du Judaïsme (mahJ, Paris, item D.2020.02.001). For additional information, see: Haviva Peled-Carmeli, Illustrated Haggadot of the Eighteenth Century, Jerusalem: The Israel Museum, 1983, Haggadah no. 1, pl. 1, 104.

[26] leaves. 32X22 cm. Overall fair-good condition. Creases, stains (including dark stains) and wear. Water damage to several leaves, affecting text and illustrations. Tear to one leaf. Binding from 19th or early 20th century, marble paper with parchment spine and corners.

Reference: Ernest Naményi, "La miniature juive au XVIIe et au XVIIIe siècle", Revue des études juives, 1957, no. 116, pp. 27-72, mentioned on pp. 68-69, illustrated in pl. 14.

Exhibitions:

1. "Synagoga, Kultgeräte und Kunstwerke von der Zeit der Patriarchen bis zur Gegenwart", Recklinghausen Städtische Kunsthalle, 1960-61, item B40.

2. "Gleiche Rechte für alle?, zweihundert Jahre jüdische Religionsgemeinschaft in Baden, 1809-2009", Ostfildern, 2009, no. 6.

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Illustrated Manuscripts on Parchment

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Lot 8 Passover Haggadah – Parchment Manuscript with Unique Illuminations – Niedernai (Niederehnheim), Alsace, 1759

Passover Haggadah. Illuminated parchment manuscript by an unidentified scribe and illustrator. Niedernai (German: Niederehnhe

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

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Auction 100 – Important Hebrew Manuscripts and Books from the Victor (Avigdor) Klagsbald Collection Jan 21, 2025

Opening: $50,000

Estimate: $80,000 - $150,000

Sold for: $68,750

Including buyer's premium

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.

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