Haggadah, Amsterdam: Solomon Proops, 1695

28 leaves (12 1/4 x 7 1/2 in.; 310 x 192 mm). collation: [1],1-6⁴, 7² [1]=28 leaves. First, engraved title with Moses and Aaron flanking the text, above which are six roundels with biblical scenes, second letterpress title; 14 half-page engraved illustrations, folding engraved map, title-page mounted; some soiling throughout as expected, stained appropriately; tape repair to folding map; lightly wormed affecting a few words; some edges and corners chipped . Owners’ stamps and inscriptions on front pastedown endpaper and title page. Contemporary calf, losses at spine and corners, with embossed Hebrew medallion, front and rear.

FIRST EDITION OF THE ENORMOUSLY INFLUENTIAL AMSTERDAM HAGGADAH

Of all early printed illustrated Passover haggadot, the Amsterdam Haggadah of 1695 had the greatest impact on subsequent editions. The artist Abraham ben Jacob—a convert to Judaism—borrowed most of the illustrations from Mathaeus Merian, a Christian artist. Between 1625 and 1630 Merian produced a large number of illustrations for both Bibles and history books which were well known all over Europe. It was from among these engravings that the illustrations for the Amsterdam Haggadah were chosen.  Their popularity with the Jews of Europe was such that they were copied and recopied in succeeding haggadot printed in Europe and later in the United States well into the 20th century. Abraham ben Jacob introduced a whole new iconographic approach to haggadah illustration. Among his innovations were the image of the Temple in Jerusalem as well as a map of Canaan depicting the route of the Exodus and the boundaries of the Land of Israel. These images, as well as his famous grouping of the Four Sons, appear in countless haggadot down to the present day.

LITERATURE:
Vinograd, Amsterdam 627; Yudlov 93; Yaari 59; Yerushalmi, plates 59-62