in Conversation with Emile Schrijver, Curator of the Braginsky Collection
What made you decide to be curator of a manuscript collection?
When I studied Hebrew in Amsterdam, a lecturer took us to see the University of Leiden’s collection of medieval manuscripts. In the impressive vaults, I saw ancient manuscripts for the first time: the only manuscript of the Jerusalem Talmud (Yerushalmi), for instance, and one of the earliest Rashi manuscripts. Seeing these ancient sources, and gaining first-hand experience of living history, was overwhelming. Historical books had a strong effect on me. I subsequently studied at the Bibliotheca Rosenthaliana, the Jewish library at the University of Amsterdam, where I later began to work. A few years ago, Mr. Braginsky was looking for a curator for his first exhibition in Europe. Mutual acquaintances from the international circle of manuscript specialists put us in touch with one another. We got along well and were soon able to establish a good, trusting working relationship
What do you do as a curator of the Braginsky Collection?
Emile Schrijver and the Harrison Miscellany © and photo: Darko Todorovic, Dornbirn (A)
I take care of the collection. I am responsible for Mr. Braginsky’s new acquisitions and for his existing objects. Most new acquisitions are delivered with a short description. Others we describe and photograph, before adding them to our inventory. I carefully examine the books’ condition and, if necessary, commission their restoration. I’m also responsible for monitoring the climate in the storerooms. Inquiries concerning exhibitions and reproductions are a lot of work for us. The process of digitizing our stock is ongoing. Occasionally, scholars wish to view specific works at length. We also organize presentations on our own premises, on behalf of the European Association of Jewish Museums, for example. Public relations for events such as the Jewish Book Week in London in 2013 likewise require a great deal of preparation.
What makes the Braginsky Collection so special? → continue reading
An Interview with René Braginsky
When did you start collecting and how large is your collection?
René Braginsky: I started collecting books more than twenty years ago. It was my son’s Bar Mitzvah, and I was looking for an illustrated blessing for the celebration. Since I could not find one, we made do with a copy. For his wedding, however, we were able to reproduce a blessing from our own collection. As I slowly acquired a taste for collecting, I bought more objects, and of increasingly quality, whenever possible. A good friend of mine, an older collector, encouraged me. The Judaica collection now comprises more than 700 pieces: books mainly, but also illustrated wedding contracts and Esther scrolls.
What motivates you to collect Hebrew manuscripts? Do you collect with a specific objective or mission in view?
Interior view of the special exhibition “The Creation of the World. Illustrated Manuscripts from the Braginsky Collection” © Jewish Museum Berlin, photo: Martin Adam
I’m interested, first and foremost, in the direct connection with Jewish history, with my view of Jewish history. I find the sheer variety of illustrations fascinating, as well as the regional and national influences they display. Jewish books in Germany are primarily German books, just as Jewish books from Spain are primarily Spanish and those from Morocco Moroccan. Jews lived in diverse regions, in a diaspora, and the illustrations in the books reflect this. And these old books so full of erudition bring me peace and make me confident, too, that whatever is really important will always survive. The mission, if there is such a thing, is my wish to share them freely, instead of hiding these treasures from the world. That is why we published websites (braginskycollection.com und braginskycollection.ch) , put two iPad apps online (Braginsky Collection und Braginsky Collection Berlin) and chose to exhibit a part of our collection in Berlin, for the fifth time. Over the years, the exhibitions and online sources have enabled tens of thousands of people all over the world—Jews and non-Jews —to share our enjoyment of the collection.
Do you believe the market for collectors of Judaica and Hebrew manuscripts has changed over the last few decades? Have you come across any counterfeiters or crooked dealers? → continue reading
An Interview with Rabbi Reuven Yaacobov
Miriam Goldmann: How do you train a Torah scribe, a sofer?
Reuven Yaacobov: A sofer must first spend a few years studying at an Orthodox school, a yeshiva, where it is established whether or not he is devout enough for this role. Then he learns how to write a Torah. First, he studies the theory. There are rules ordaining who is allowed to write the five books of Moses, the Sefer Torah. For example, only men, not women, are permitted to write the Torah. Furthermore, the person in question must be an Orthodox Jew and lead an Orthodox life. Then there are rules determining which support a Sefer Torah should be written on, and precisely how it should be written.
You can watch a short video with Torah scribe Reuven Yaacobov here.
Once the sofer knows the theory, he begins to learn the letters that are used to write the Torah. A certain sequence of strokes must be followed to write each letter correctly. After learning this calligraphy the sofer starts on a Megillat Esther (Hebrew: Scroll of Esther) because this is the easiest of all the holy texts to write. After completing the Megillat he writes the texts of mezuzah and tefillin. If by then his calligraphy has become highly accomplished, he begins to write a Sefer Torah. According to Jewish tradition, a Sefer Torah must be written in the most beautiful calligraphy possible and in the best and most aesthetic way. → continue reading