Shortly after the opening of our temporary exhibition “Snip it!”, the Jewish Museum received as a bequest the estate of Fritz Wachsner (1886 – 1942). Included in this delivery was a bundle of letters so enormous that I didn’t have time, in creating an inventory, to delve into each individual piece. But one letter caught my attention. “[…] Your assessment of the circumcision issue […]”, wrote Wachsner on 24. July 1919 to his – then very pregnant – wife Paula’s uncle Anselm Schmidt (1875 – 1925). I read on and suddenly found myself in the middle of a nearly one-hundred-year-old internal Jewish debate on circumcision.
Fritz Wachsner with his wife Paula and their first-born child, Charlotte, studio portrait, ca. 1916 © Jewish Museum Berlin, photo: Jörg Waßmer, Gift of Marianne Meyerhoff
At the time, Fritz Wachsner was 33-year-old teacher in the town of Buckow in Brandenburg. In the five-page letter he clarifies the reasons for his hostile stance towards the Bris. He was an assimilated German Jew and belonged to a Reform Jewish congregation. As he explains to his uncle, he was “raised fairly orthodox” but, in the course of his university studies in Berlin and Jena as well as at the Academy for the Study of Judaism in Berlin, he learned “to know and appreciate the spirit of Judaism freed from every non-German embellishment”. He became persuaded that the religion should evolve continually and be “modernized and improved”. Wachsner’s maxim was: “Become German, outside as well as inside the religious community”, the overtones of which are especially → continue reading
A Letter from the Archive Tells of the Outbreak of War in 1914
Letter from Leo Roos to his family (first page), Frankfurt am Main, 31 July1914
Donated by Walter Roos
© Jewish Museum Berlin
“The situation is extremely serious; His Majesty the Emperor declared this afternoon that Germany is now at war.” Exactly one hundred years ago today, eighteen-year-old Leo Roos penned these lines to his parents and siblings back home in the West Palatine village of Brücken. But they were never to receive his letter, as the note on the envelope attests: Dispatch prohibited on account of the state of war. Return to sender.
Roos felt he was witnessing fateful times. He lived in Frankfurt, where he was apprenticed to a bank. He thought himself a city boy, much closer to momentous global events than his family was, off in its isolated village. He described the tense mood: → continue reading
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