Median from 3,565 sold in the last 36 months·hammer prices, excl. buyer's premium — fair-market auction value (retail/insurance replacement runs higher)
9,549 comparables for “First Dayy Issue Stamp Collection” · page 392 of 398
<p><b>Very Rare: Zichron Moshe, Three Parts – Abridged Halachic Rulings of the Chida – First Edition, 1830</b></p>
<p><b> </b></p>
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*
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</div>
<div>
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<div>
The Chida, a man of encyclopedic brilliance, authored many sefarim and constantly sought to improve them, adding in his later sefarim to what he had written in his earlier ones.
</div>
<div>
<br />
</div>
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</div>
<div>
Yet, as is known, some of his sefarim are rare, and in general, it is rare to find a collection of the Chida’s sefarim in one place. One who wishes to encompass the full breadth of the Chida’s teachings must turn to many of his sefarim.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>For this reason, his grandson, Rabbi Moshe son of Rabbi Rafael Yeshayah Azulai, rose to the challenge and compiled the halachic rulings of the Chida in Birkei Yosef, Machzik Brachah, and others into one abridged sefer, so that they would be readily available in brief form for those who issue halachic rulings.</b>
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>The sefer was printed in three parts, and all three are together in the present copy.</b>
</div>
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<b><br /></b>
</div>
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</div>
<div>
<b>Part I: Orach Chaim. Livorno, 1830.</b>
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<br />
</div>
<div>
</div>
<div>
Includes detailed indexes, headed by a special title page named Zichron L’Moshe (after leaf 67).
<u>On leaf 84, a Kabbalistic passage from the handwritten manuscript of the Chida was printed</u>. From leaf 85 until the end, the teshuvos Tiferes Moshe by the editor’s father, Rabbi Rafael Yeshayah Azulai, Av Beis Din of Ancona, the firstborn son of the Chida, were printed.
</div>
<div>
<b><br /></b>
</div>
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</div>
<div>
<b>Part II: Yoreh Deah. Livorno, 1834.</b> At the beginning of this part are approbations from the sages of Italy. Includes detailed indexes, headed by a special title page named Zichron L’Moshe, Part II (leaf 86). Afterward, he printed Zichron Basefer, which omits Zichron Moshe, Part I, on Orach Chaim.
</div>
<div>
<br />
</div>
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</div>
<div>
<b>Part III: Even HaEzer and Choshen Mishpat. Livorno, 1840</b>. At the beginning of this part are additional approbations from the sages of Italy. Includes detailed indexes, headed by a special title page named Zichron L’Moshe, Part III (leaf 38).
<b> </b>
<u>The index Makom Dovid was printed afterward, which the Chida himself prepared in an earlier period (leaves 61–74).</u> On the final leaf, the grandson printed the list of the Chida’s sefarim.
</div>
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</div>
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</div>
<div>
In the sefer, Rabbi Moshe sometimes included practices followed by the Chida, as well as his own rulings.
</div>
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<b><br /></b>
</div>
<div>
</div>
<div>
<b>These sefarim are hard to find, and in complete condition are exceptionally rare.</b>
</div>
<div>
<b><br /></b>
</div>
<div>
</div>
<div>
<b>Rabbi Moshe Azulai</b> (1787-1853 or earlier) was the beloved grandson of the Chida, who called him “Moshe Charif” and “Moshe Sapir.” Before he was born, the Chida instructed his son Rabbi Rafael Yeshayah to name his son “Moshe, ” for just as Moshe Rabbeinu was the seventh generation from Avraham Avinu, Rabbi Moshe was the seventh generation, son after son, from Rabbi Avraham Azulai, author of Chesed L’Avraham.
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</div>
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Besides the present halachic abridgment that he edited, he also authored Lechem Min Hashamayim, containing selections on the Torah, of which he printed only two parts.
</div>
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<br />
</div>
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</div>
<div>
<b>A total of three volumes — a complete set.</b>
</div>
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<b><br /></b>
</div>
<div>
<b> </b>
</div>
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<b>Livorno, 1830–1840. First and rare edition.</b>
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<b><br /></b>
</div>
<div>
<b> </b>
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<div>
<b>Page Count:</b> Part I: [1], 84, [1], 85–118 leaves. Part II: 112 leaves. Part III: 82 leaves.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
(In the Institute for Hebrew Bibliography, an additional [1] leaf is recorded at the end of Part III. This leaf is not in the present copy, but it is also not in the scanned copy in Otzar HaChochmah, nor in copies of important private collections that were checked by Zaidy Auction House, and was not recorded by Meir Benayahu in Sefer HaChida.)
</div>
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<b>Condition</b>: Overall good, repair on the back of the title page of Part I, a few holes and stains. Fine old bindings.
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</div>
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<div>
<b>Bibliography</b>: Benayahu, Sefer HaChida, Chapter III, Kitzurim V’Asufot, pp. 250–252, no. 4a–c.
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<div>
<b>The Abridgments of the Chida’s Sefarim</b>
</div>
<div>
<b><br /></b>
</div>
<div>
<b> </b>
</div>
<div>
There is little need to elaborate on the Chida’s immense influence. His greatness in Torah, together with his vast breadth of knowledge, stemming in part from his direct acquaintance with antique manuscripts he encountered during his travels, granted him halachic stature as one of the greatest poskim of all times.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
One expression of this far-reaching influence was the work of abridging the Chida’s sefarim, which was done in order to assist learners in quickly reaching the practical written halachic ruling.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
The first abridgment was prepared for the sefer Birkei Yosef by Rabbi Avraham Pinso, and was called Mishpat Kasuv. The sefer was printed during the Chida’s lifetime in Salonika in 1798, and the Chida saw it and mentions it in one of his sefarim.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
The present abridgment, compiled by the Chida’s grandson, focuses mainly on rulings that were not brought in Mishpat Kasuv, and it has an additional advantage in that it was written with familiarity with the later sefarim of the Chida, which were printed after 1798.
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The detailed indexes were prepared by Rabbi Moshe, the Chida's grandson, from no fewer than seventeen sefarim by the Chida!
</div>
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<br />
</div>
<div>
</div>
<div>
These are: Sha’ar Yosef; Birkei Yosef; Machzik Brachah; Pesach Einayim; Chaim She’al, two parts; Ein Zocher and Midbar Kedemos; Rosh Dovid; Pnei Dovid; Kisei Dovid; Lev Dovid and B”A; Yosef Ometz and Ahavas Dovid; Devarim Achadim; Kikar L’Eiden; Simchas HaRegel, two parts; Kisei Rachamim; Shem HaGedolim, two parts, Va’ad LaChachamim and Tov Ayin; Maris HaAyin.
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<p></p>
US$8,000
Other
US$12,000
kestenbaum· Jan 2023
<p><span style="font-weight: bold;"><span style="color: rgb(156, 0, 0);">MARCUS-SZALIT, RAHEL.</span> </span></p>
<p><span style="font-weight: bold;">Suite of 18 graphite and ink drawings, illustrations to 'Der König der Schnorrer' by Israel Zangwill. </span></p>
<p><span style="font-weight: bold;"><br /></span>Each signed by the artist "R. Szalit-Marcus" and dated “1921” in the lower right corners (two of the drawings are not dated). Of the 18 drawings, 17 are matted and of these, 16 are titled in pencil in German, on the mat. The handwriting is unidentified, perhaps but not necessarily Szalit-Marcus’.</p>
<p><br /></p>
<p>Of the 18 drawings, 17 are mounted with a cardboard mat (passepartout) and backed with paper. All the mats exhibit foxing spots and age stains around the edges. Seven of the drawings have some foxing in the image and another five have light foxing in the image; the rest are clean. The one unmounted drawing has a 6cm horizontal closed tear in its top right corner. </p>
<p><br /></p>
<p>The 16 titled drawings are, in alphabetical order: </p>
<p><br /></p>
<p>* 1. Am Fischmarkt. </p>
<p><br /></p>
<p>* 2. Beim Stulger [sic] </p>
<p><br /></p>
<p>* 3. Beim Telerderhändler [sic] </p>
<p><br /></p>
<p>* 4. Beim Vorstand der Synagoge. </p>
<p><br /></p>
<p>* 5. da Costa und Jankele im Thater [sic] </p>
<p><br /></p>
<p>* 6. Da Costa und sein Diener. </p>
<p><br /></p>
<p>* 7. Frau da Costa wird [indecipherable] </p>
<p><br /></p>
<p>* 8. Frau Rabbi Pöckelhering. </p>
<p><br /></p>
<p>* 9. Grobstroh und da Costa. </p>
<p><br /></p>
<p>* 10. Grobstroh und die Bettler. </p>
<p><br /></p>
<p>* 11. Im Càfé [sic] </p>
<p><br /></p>
<p>* 12. In der Loge. </p>
<p><br /></p>
<p>* 13. Jankele. </p>
<p><br /></p>
<p>* 14. Mittagmahl beim Rabbi Pöckelhering. </p>
<p><br /></p>
<p>* 15. Rabbi Pöckelhering. </p>
<p><br /></p>
<p>* 16. Rat der Fünf.</p>
<p><br /></p>
<p><span style="font-style: italic;">Dimensions: 7.5 x 9.5 inches (19 x 25 cm).</span></p>
<p>1921</p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">LOST FOR 100 YEARS: SUITE OF 18 ORGINAL DRAWINGS DATED 1921, BY THE ARTIST RAHEL SZALIT-MARCUS TO ILLUSTARTE ISRAEL ZANGWILL'S “THE KING OF SCHNORRERS.”</span></p>
<p><br /></p>
<p>The drawings’ titles and the research detailed below conclusively prove that these are illustrations by Szalit-Marcus for the story The King of Schnorrers by the Anglo-Jewish author Israel Zangwill (1864-1926). The King of Schnorrers is Zangwill's picaresque novel, a collection of amusing tragicomic episodes concerning one "Manasseh Bueno Barzillai Azevedo da Costa.” </p>
<p><br /></p>
<p>The first English edition of The King of Schnorrers was published in London in 1894 by Heinemann. The first German edition was published three years later, in 1897, under the title Der König der Schnorrer (Berlin: Cronbach). </p>
<p><br /></p>
<p>An interesting coincidence is that the third German edition was published by Cronbach in Berlin in 1921, the same year these Szalit-Marcus drawings are dated. This may indicate that Szalit-Marcus created these drawings for this third edition. Whether or not this is correct, they were not used in this edition, nor any later one. </p>
<p><br /></p>
<p>Despite the mention of the Szalit-Marcus illustrations in numerous respected biographical sources, no edition of The King of Schnorrers with illustrations by Szalit-Marcus exists, in any language. Moreover, no mention can be found anywhere of the existence or survival of the original The King of Schnorrers illustrations, which thus could be considered as having been lost for the past 100 years. </p>
<p><br /></p>
<p>More recent information on the matter was provided by Sabine Koller, Professor of Slavic-Jewish Studies at the University of Regensburg, Germany. In 2012, Professor Koller published an article titled “Mentshelekh un Stsenes: Rahel Szalit-Marcus illustriert Sholem Aleichem” [People and Scenes: Rahel Szalit-Marcus illustrates Sholem Aleichem] in Leket: Yiddish Studies Today, ed. Marion Aptroot, et al (Düsseldorf) pp. 207-231). In her article, Professor Koller states, "Fenster and Sennewald mention [illustrations by Szalit-Marcus for] Martin Buber's ‘Stories for Children, ’ as well as [for] Israel Zangwill's ‘The King of Schnorrers.’ <span style="font-weight: bold; color: rgb(156, 0, 0);">I have not been able to locate these</span>." (see pp. 210, footnote 17). </p>
<p><br /></p>
<p>In private correspondence (January 2017) Professor Koller writes: "I would have liked to have found proof for the fact that the illustrations were published, but I could not find out anything. Nor have I seen these illustrations." </p>
<p><br /></p>
<p>In April 1968 the Tel Aviv Museum of Art hosted an exhibition entitled “Memorial Exhibition: Jewish Artists Who Perished in the Holocaust” curated by Dr. Haim Gamzu. Three works by Rahel Szalit-Marcus were included and are listed in the exhibition catalogue. Item number 207 (not illustrated in the catalogue) is described as an “Illustration to 'King of the Schnorrers' by Zangwill, 1921 / Charcoal on paper, 25x20 / Signed and dated lower right.”The list of institutions and private collectors who lent items to the exhibition states that item 207 was lent by Asher and Nehama Rosenblum of Ramat Gan, Israel. The Rosenblum Collection was a widely renowned Israeli collection of Jewish art. Interestingly, of the 18 drawings in the suite, one is marked on the verso in Hebrew “Asher Rosenblum.” None of the other 17 drawings are marked similarly. This may indicate that this is the drawing that was lent by the Rosenblums to the exhibition. </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">CONCLUSION:</span> Based on the above empirical data, it can be concluded that: </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> These 18 drawings are the original illustrations Szalit-Marcus prepared for Zangwill's The King of Schnorrers. </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> These are the same illustrations referred to by Fenster, Borvine, Sennewald, Nieszawer and Koller in their respective writings (see references below). </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> The illustrations were likely prepared for the 1921 German edition of Der König der Schnorrer but for unknown reasons were not utilized. </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> The illustrations have to date, and for the past 100 years, been considered lost. </p>
<p><br /></p>
<p><span style="font-weight: 700; color: rgb(156, 0, 0);">Provenance:</span></p>
<p> 1. Collection of Asher (1918-2002) and Nehama (1923-2011) Rosenblum, Ramat Gan, Israel, from the mid-20th century and then in 2011 by descent to: </p>
<p>2. Descendent of the Rosenblums, Tel Aviv, acquired in 2016 by: </p>
<p>3. Private collector, Tel Aviv. The previous owner remembers the drawings being in the Rosenblums’ possession since circa the 1960’s but does not know how and when they entered the collection. </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">References:</span></p>
<p> The existence of Szalit-Marcus’ illustrations for The King of Schnorrers is documented in the following sources: </p>
<p><span style="font-weight: bold;">*</span> Fenster, Hersh. Nos Artistes Martyrs - Undzere Farpaynikte Kinstler. Paris: Eigenverlag, 1951 (pp. 231-235). </p>
<p><span style="font-weight: bold;">*</span> Borvine Frenkel, Boris; et al. Nos Artistes Morts Victimes du Nazisme. Issue No. 4. Paris: L’Association des Artistes Peintres et Sculpteurs Juifs de France, February 1960. </p>
<p><span style="font-weight: bold;">*</span> Sennewald, Adolf. Deutsche Buchillustratoren im ersten Drittel des 20. Jahrhunderts: Materialien für Bibliophile. Wiesbaden: Harrassowitz, 1999 (p. 225). </p>
<p><span style="font-weight: bold;">*</span> Nieszawer, Nadine; et al. Peintres juifs à Paris, 1905-1939 École de Paris. Paris: Denoël, 2000 (p. 324). </p>
<p><span style="font-weight: bold;">*</span> Koller, Sabine. Mentshelekh un Stsenes: Rahel Szalit-Marcus illustriert Sholem Aleichem. Düsseldorf: Düsseldorf University Press, 2012 (pp. 207-231). </p>
<p><span style="font-weight: bold;">*</span> Gamzu, Haim. Memorial Exhibition: Jewish Artists Who Perished in the Holocaust. Tel Aviv: Tel Aviv Museum of Art, 1968 (no. 207). </p>
<p><br /></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">PDF’s of all the above references are available upon request.</span></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);"><br /></span></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">RAHEL MARCUS</span>(1894-1942) was born in Lodz, Poland. After studying at the Art Academy of Munich she married the Jewish actor Julius Szalit. Gravitating to Berlin, Marcus-Szalit became a member of the November Group - young avant-garde artists who coalesced after the November Revolution of 1918. When the Nazis rose to power, she fled to France, however was subsequently deported to Auschwitz where she perished. See EJ, Vol. XV, col. 656.</p>
![[TOFT, Mary (c.1703-1763)]](/img/aHR0cHM6Ly9iYnlzLmltZ2l4Lm5ldC8zOS9lNjI2YTliY2U0NWM1MTc1Nzk5YjUwOTQwZTgwM2JkZTM1MjEwZDYyNmM3NjI4MmQ1YzRkMTg5YTJiMjM4MmNiLmpwZw.pNNwKqJt6JJ5f4RlxDyrNA)
![<p><b>Very Rare: Zichron Moshe, Three Parts – Abridged Halachic Rulings of the Chida – First Edition, 1830</b></p>
<p><b> </b></p>
<div>
</div>
<div>
*
</div>
<div>
<br />
</div>
<div>
<br />
</div>
<div>
The Chida, a man of encyclopedic brilliance, authored many sefarim and constantly sought to improve them, adding in his later sefarim to what he had written in his earlier ones.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
Yet, as is known, some of his sefarim are rare, and in general, it is rare to find a collection of the Chida’s sefarim in one place. One who wishes to encompass the full breadth of the Chida’s teachings must turn to many of his sefarim.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>For this reason, his grandson, Rabbi Moshe son of Rabbi Rafael Yeshayah Azulai, rose to the challenge and compiled the halachic rulings of the Chida in Birkei Yosef, Machzik Brachah, and others into one abridged sefer, so that they would be readily available in brief form for those who issue halachic rulings.</b>
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>The sefer was printed in three parts, and all three are together in the present copy.</b>
</div>
<div>
<b><br /></b>
</div>
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</div>
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<b>Part I: Orach Chaim. Livorno, 1830.</b>
</div>
<div>
<br />
</div>
<div>
</div>
<div>
Includes detailed indexes, headed by a special title page named Zichron L’Moshe (after leaf 67).
<u>On leaf 84, a Kabbalistic passage from the handwritten manuscript of the Chida was printed</u>. From leaf 85 until the end, the teshuvos Tiferes Moshe by the editor’s father, Rabbi Rafael Yeshayah Azulai, Av Beis Din of Ancona, the firstborn son of the Chida, were printed.
</div>
<div>
<b><br /></b>
</div>
<div>
</div>
<div>
<b>Part II: Yoreh Deah. Livorno, 1834.</b> At the beginning of this part are approbations from the sages of Italy. Includes detailed indexes, headed by a special title page named Zichron L’Moshe, Part II (leaf 86). Afterward, he printed Zichron Basefer, which omits Zichron Moshe, Part I, on Orach Chaim.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>Part III: Even HaEzer and Choshen Mishpat. Livorno, 1840</b>. At the beginning of this part are additional approbations from the sages of Italy. Includes detailed indexes, headed by a special title page named Zichron L’Moshe, Part III (leaf 38).
<b> </b>
<u>The index Makom Dovid was printed afterward, which the Chida himself prepared in an earlier period (leaves 61–74).</u> On the final leaf, the grandson printed the list of the Chida’s sefarim.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
In the sefer, Rabbi Moshe sometimes included practices followed by the Chida, as well as his own rulings.
</div>
<div>
<b><br /></b>
</div>
<div>
</div>
<div>
<b>These sefarim are hard to find, and in complete condition are exceptionally rare.</b>
</div>
<div>
<b><br /></b>
</div>
<div>
</div>
<div>
<b>Rabbi Moshe Azulai</b> (1787-1853 or earlier) was the beloved grandson of the Chida, who called him “Moshe Charif” and “Moshe Sapir.” Before he was born, the Chida instructed his son Rabbi Rafael Yeshayah to name his son “Moshe, ” for just as Moshe Rabbeinu was the seventh generation from Avraham Avinu, Rabbi Moshe was the seventh generation, son after son, from Rabbi Avraham Azulai, author of Chesed L’Avraham.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
Besides the present halachic abridgment that he edited, he also authored Lechem Min Hashamayim, containing selections on the Torah, of which he printed only two parts.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>A total of three volumes — a complete set.</b>
</div>
<div>
<b><br /></b>
</div>
<div>
<b> </b>
</div>
<div>
<b>Livorno, 1830–1840. First and rare edition.</b>
</div>
<div>
<b><br /></b>
</div>
<div>
<b> </b>
</div>
<div>
<b>Page Count:</b> Part I: [1], 84, [1], 85–118 leaves. Part II: 112 leaves. Part III: 82 leaves.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
(In the Institute for Hebrew Bibliography, an additional [1] leaf is recorded at the end of Part III. This leaf is not in the present copy, but it is also not in the scanned copy in Otzar HaChochmah, nor in copies of important private collections that were checked by Zaidy Auction House, and was not recorded by Meir Benayahu in Sefer HaChida.)
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>Condition</b>: Overall good, repair on the back of the title page of Part I, a few holes and stains. Fine old bindings.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>Bibliography</b>: Benayahu, Sefer HaChida, Chapter III, Kitzurim V’Asufot, pp. 250–252, no. 4a–c.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
- - - - - - - - - -
</div>
<div>
<br />
</div>
<div>
</div>
<div>
<b>The Abridgments of the Chida’s Sefarim</b>
</div>
<div>
<b><br /></b>
</div>
<div>
<b> </b>
</div>
<div>
There is little need to elaborate on the Chida’s immense influence. His greatness in Torah, together with his vast breadth of knowledge, stemming in part from his direct acquaintance with antique manuscripts he encountered during his travels, granted him halachic stature as one of the greatest poskim of all times.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
One expression of this far-reaching influence was the work of abridging the Chida’s sefarim, which was done in order to assist learners in quickly reaching the practical written halachic ruling.
</div>
<div>
<br />
</div>
<div>
</div>
<div>
The first abridgment was prepared for the sefer Birkei Yosef by Rabbi Avraham Pinso, and was called Mishpat Kasuv. The sefer was printed during the Chida’s lifetime in Salonika in 1798, and the Chida saw it and mentions it in one of his sefarim.
</div>
<div>
<br />
</div>
<div>
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The present abridgment, compiled by the Chida’s grandson, focuses mainly on rulings that were not brought in Mishpat Kasuv, and it has an additional advantage in that it was written with familiarity with the later sefarim of the Chida, which were printed after 1798.
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The detailed indexes were prepared by Rabbi Moshe, the Chida's grandson, from no fewer than seventeen sefarim by the Chida!
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These are: Sha’ar Yosef; Birkei Yosef; Machzik Brachah; Pesach Einayim; Chaim She’al, two parts; Ein Zocher and Midbar Kedemos; Rosh Dovid; Pnei Dovid; Kisei Dovid; Lev Dovid and B”A; Yosef Ometz and Ahavas Dovid; Devarim Achadim; Kikar L’Eiden; Simchas HaRegel, two parts; Kisei Rachamim; Shem HaGedolim, two parts, Va’ad LaChachamim and Tov Ayin; Maris HaAyin.
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<p></p>](/img/aHR0cHM6Ly9iaWRzcGlyaXQtaW1hZ2VzLmdsb2JhbC5zc2wuZmFzdGx5Lm5ldC96YWlkeS9jbG9uZWQtaW1hZ2VzLzE4MzQwLzAyMC8wMjAuanBn.pHks3nAQnPe1kB1FcZu4Hw)
![<p><span style="font-weight: bold;"><span style="color: rgb(156, 0, 0);">MARCUS-SZALIT, RAHEL.</span> </span></p>
<p><span style="font-weight: bold;">Suite of 18 graphite and ink drawings, illustrations to 'Der König der Schnorrer' by Israel Zangwill. </span></p>
<p><span style="font-weight: bold;"><br /></span>Each signed by the artist "R. Szalit-Marcus" and dated “1921” in the lower right corners (two of the drawings are not dated). Of the 18 drawings, 17 are matted and of these, 16 are titled in pencil in German, on the mat. The handwriting is unidentified, perhaps but not necessarily Szalit-Marcus’.</p>
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<p>Of the 18 drawings, 17 are mounted with a cardboard mat (passepartout) and backed with paper. All the mats exhibit foxing spots and age stains around the edges. Seven of the drawings have some foxing in the image and another five have light foxing in the image; the rest are clean. The one unmounted drawing has a 6cm horizontal closed tear in its top right corner. </p>
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<p>The 16 titled drawings are, in alphabetical order: </p>
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<p>* 1. Am Fischmarkt. </p>
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<p>* 2. Beim Stulger [sic] </p>
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<p>* 3. Beim Telerderhändler [sic] </p>
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<p>* 4. Beim Vorstand der Synagoge. </p>
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<p>* 5. da Costa und Jankele im Thater [sic] </p>
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<p>* 6. Da Costa und sein Diener. </p>
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<p>* 7. Frau da Costa wird [indecipherable] </p>
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<p>* 8. Frau Rabbi Pöckelhering. </p>
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<p>* 9. Grobstroh und da Costa. </p>
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<p>* 10. Grobstroh und die Bettler. </p>
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<p>* 11. Im Càfé [sic] </p>
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<p>* 12. In der Loge. </p>
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<p>* 13. Jankele. </p>
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<p>* 14. Mittagmahl beim Rabbi Pöckelhering. </p>
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<p>* 15. Rabbi Pöckelhering. </p>
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<p>* 16. Rat der Fünf.</p>
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<p><span style="font-style: italic;">Dimensions: 7.5 x 9.5 inches (19 x 25 cm).</span></p>
<p>1921</p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">LOST FOR 100 YEARS: SUITE OF 18 ORGINAL DRAWINGS DATED 1921, BY THE ARTIST RAHEL SZALIT-MARCUS TO ILLUSTARTE ISRAEL ZANGWILL'S “THE KING OF SCHNORRERS.”</span></p>
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<p>The drawings’ titles and the research detailed below conclusively prove that these are illustrations by Szalit-Marcus for the story The King of Schnorrers by the Anglo-Jewish author Israel Zangwill (1864-1926). The King of Schnorrers is Zangwill's picaresque novel, a collection of amusing tragicomic episodes concerning one "Manasseh Bueno Barzillai Azevedo da Costa.” </p>
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<p>The first English edition of The King of Schnorrers was published in London in 1894 by Heinemann. The first German edition was published three years later, in 1897, under the title Der König der Schnorrer (Berlin: Cronbach). </p>
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<p>An interesting coincidence is that the third German edition was published by Cronbach in Berlin in 1921, the same year these Szalit-Marcus drawings are dated. This may indicate that Szalit-Marcus created these drawings for this third edition. Whether or not this is correct, they were not used in this edition, nor any later one. </p>
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<p>Despite the mention of the Szalit-Marcus illustrations in numerous respected biographical sources, no edition of The King of Schnorrers with illustrations by Szalit-Marcus exists, in any language. Moreover, no mention can be found anywhere of the existence or survival of the original The King of Schnorrers illustrations, which thus could be considered as having been lost for the past 100 years. </p>
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<p>More recent information on the matter was provided by Sabine Koller, Professor of Slavic-Jewish Studies at the University of Regensburg, Germany. In 2012, Professor Koller published an article titled “Mentshelekh un Stsenes: Rahel Szalit-Marcus illustriert Sholem Aleichem” [People and Scenes: Rahel Szalit-Marcus illustrates Sholem Aleichem] in Leket: Yiddish Studies Today, ed. Marion Aptroot, et al (Düsseldorf) pp. 207-231). In her article, Professor Koller states, "Fenster and Sennewald mention [illustrations by Szalit-Marcus for] Martin Buber's ‘Stories for Children, ’ as well as [for] Israel Zangwill's ‘The King of Schnorrers.’ <span style="font-weight: bold; color: rgb(156, 0, 0);">I have not been able to locate these</span>." (see pp. 210, footnote 17). </p>
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<p>In private correspondence (January 2017) Professor Koller writes: "I would have liked to have found proof for the fact that the illustrations were published, but I could not find out anything. Nor have I seen these illustrations." </p>
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<p>In April 1968 the Tel Aviv Museum of Art hosted an exhibition entitled “Memorial Exhibition: Jewish Artists Who Perished in the Holocaust” curated by Dr. Haim Gamzu. Three works by Rahel Szalit-Marcus were included and are listed in the exhibition catalogue. Item number 207 (not illustrated in the catalogue) is described as an “Illustration to 'King of the Schnorrers' by Zangwill, 1921 / Charcoal on paper, 25x20 / Signed and dated lower right.”The list of institutions and private collectors who lent items to the exhibition states that item 207 was lent by Asher and Nehama Rosenblum of Ramat Gan, Israel. The Rosenblum Collection was a widely renowned Israeli collection of Jewish art. Interestingly, of the 18 drawings in the suite, one is marked on the verso in Hebrew “Asher Rosenblum.” None of the other 17 drawings are marked similarly. This may indicate that this is the drawing that was lent by the Rosenblums to the exhibition. </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">CONCLUSION:</span> Based on the above empirical data, it can be concluded that: </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> These 18 drawings are the original illustrations Szalit-Marcus prepared for Zangwill's The King of Schnorrers. </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> These are the same illustrations referred to by Fenster, Borvine, Sennewald, Nieszawer and Koller in their respective writings (see references below). </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> The illustrations were likely prepared for the 1921 German edition of Der König der Schnorrer but for unknown reasons were not utilized. </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">*</span> The illustrations have to date, and for the past 100 years, been considered lost. </p>
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<p><span style="font-weight: 700; color: rgb(156, 0, 0);">Provenance:</span></p>
<p> 1. Collection of Asher (1918-2002) and Nehama (1923-2011) Rosenblum, Ramat Gan, Israel, from the mid-20th century and then in 2011 by descent to: </p>
<p>2. Descendent of the Rosenblums, Tel Aviv, acquired in 2016 by: </p>
<p>3. Private collector, Tel Aviv. The previous owner remembers the drawings being in the Rosenblums’ possession since circa the 1960’s but does not know how and when they entered the collection. </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">References:</span></p>
<p> The existence of Szalit-Marcus’ illustrations for The King of Schnorrers is documented in the following sources: </p>
<p><span style="font-weight: bold;">*</span> Fenster, Hersh. Nos Artistes Martyrs - Undzere Farpaynikte Kinstler. Paris: Eigenverlag, 1951 (pp. 231-235). </p>
<p><span style="font-weight: bold;">*</span> Borvine Frenkel, Boris; et al. Nos Artistes Morts Victimes du Nazisme. Issue No. 4. Paris: L’Association des Artistes Peintres et Sculpteurs Juifs de France, February 1960. </p>
<p><span style="font-weight: bold;">*</span> Sennewald, Adolf. Deutsche Buchillustratoren im ersten Drittel des 20. Jahrhunderts: Materialien für Bibliophile. Wiesbaden: Harrassowitz, 1999 (p. 225). </p>
<p><span style="font-weight: bold;">*</span> Nieszawer, Nadine; et al. Peintres juifs à Paris, 1905-1939 École de Paris. Paris: Denoël, 2000 (p. 324). </p>
<p><span style="font-weight: bold;">*</span> Koller, Sabine. Mentshelekh un Stsenes: Rahel Szalit-Marcus illustriert Sholem Aleichem. Düsseldorf: Düsseldorf University Press, 2012 (pp. 207-231). </p>
<p><span style="font-weight: bold;">*</span> Gamzu, Haim. Memorial Exhibition: Jewish Artists Who Perished in the Holocaust. Tel Aviv: Tel Aviv Museum of Art, 1968 (no. 207). </p>
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<p><span style="font-weight: bold; color: rgb(156, 0, 0);">PDF’s of all the above references are available upon request.</span></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);"><br /></span></p>
<p><span style="font-weight: bold; color: rgb(156, 0, 0);">RAHEL MARCUS</span>(1894-1942) was born in Lodz, Poland. After studying at the Art Academy of Munich she married the Jewish actor Julius Szalit. Gravitating to Berlin, Marcus-Szalit became a member of the November Group - young avant-garde artists who coalesced after the November Revolution of 1918. When the Nazis rose to power, she fled to France, however was subsequently deported to Auschwitz where she perished. See EJ, Vol. XV, col. 656.</p>](/img/aHR0cHM6Ly9iaWRzcGlyaXQtaW1hZ2VzLmdsb2JhbC5zc2wuZmFzdGx5Lm5ldC9rZXN0ZW5iYXVtL2Nsb25lZC1pbWFnZXMvMTE5ODAzLzAwMS8wMDEuanBn.4MINe3Rfk574QGvz6Rc0Xg)
