Arthur Szyk and the Art of the Haggadah
February 13–June 29, 2014
Complete Wall Text
Introduction
The Haggadah is the guiding text used during the ritual Passover meal, the seder (Hebrew
for “order”). It outlines the fifteen established ceremonies that provide structure to the
evening. This exhibition places The Szyk Haggadah in the context of important historic
Haggadot made in diverse international communities over the last three hundred years. The
seventeenth- and eighteenth-century European Haggadot with their engraved illustrations,
the hand-assembled kibbutz Haggadot, the contemporary Lesbian Haggadah, and a seder for
Ramadan all reflect the unique circumstances of their creation and the communities in which
they were used.
The Szyk Haggadah, created by artist and political satirist Arthur Szyk between 1934 and 1936,
draws striking parallels between the ancient Passover narrative of the exodus from Egypt
and the developments in Nazi Germany in Szyk’s own time. Szyk’s illustrations and images
often focused on issues of freedom and oppression, and he used The Szyk Haggadah to warn
his readers of the dangers of inactivity and apathy in moments of tyranny.
What unites these variations is the story they tell of the Exodus of the Jews from Egypt, and
of humanity’s ongoing struggle to end oppression. During the seder it is read that “in every
generation” (b’chol dor vador) participants must see themselves as if they personally came out
of Egypt, in order to understand how these feelings remain relevant to us today. While each
Haggadah interprets the notions of enslavement and freedom differently, together these
texts ask us to recognize how these experiences persist and how, through this understanding,
we can continue to pursue freedom and justice.
Please note:
In exhibition text the “ḥ” is pronounced with a soft “ch” in back of your throat as in
chutzpah.
The forty-eight original paintings for The Szyk Haggadah are presented here in the order they
appeared in the 1940 edition of The Szyk Haggadah.
Unless otherwise noted, all works are:
Watercolor and gouache on paper
Courtesy The Robbins Family Collection
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Arthur Szyk
Arthur Szyk (pronounced “Shick”) was born in 1894 in Łódź, Poland, to a business-owning
middle-class family. During his childhood, Szyk was well aware of the massacre and
persecution of his fellow Jews, known as the pogroms, throughout the Russian Empire. In
1909 Szyk left Poland to study at the Académie Julien in Paris. While in France, Szyk began
identifying as a “Jewish artist,” in reference to the Jewish School of Paris, which included
Marc Chagall, Amedeo Modigliani, and Chaim Soutine (although Szyk likely never personally
encountered these artists).
At this time, Szyk became interested in the growing Zionist movement and the development
of an authentic Jewish artistic style. Incorporating aspects of popular Orientalist and Eastern
European folkloric imagery into his work along with the realism of nineteenth-century
monumental history paintings that he would have seen growing up in Poland, Szyk most
closely associated his art with illuminated manuscripts and the clear messages they carried.
The result was a unique style distanced from the genres of surrealism and abstraction that
were emerging in the first decades of the twentieth century.
In 1913 Szyk moved back to Poland, after participating in a trip through Palestine and the
Middle East organized by the Jewish cultural association Hazamir. His homecoming was cut
short by his forced inscription to the Russian army in 1914. This experience encouraged his
belief in the necessity of a Jewish homeland and greater protection for the Jews of Europe.
In 1921, Szyk moved, along with his new family, back to Paris. At this time, Szyk began
sketching out ideas for the illustration of a Haggadah, although it would be another ten years
before he was able to concentrate fully on the undertaking.
Szyk re-commenced work on The Szyk Haggadah in 1934. With rising tensions in Europe,
Szyk was deeply concerned by Hitler’s ascendancy in Germany and its potential
repercussions for the Jews. With this in mind, Szyk completed the illustrations for The Szyk
Haggadah in 1936, filling them with allusions to present-day circumstances. While waiting for
the book’s publication, he focused his work on propagandistic cartoons and caricatures,
which were published in newspapers and magazines across Europe and the United States. In
the summer of 1940, just months before the first copies of The Szyk Haggadah were available,
Szyk and his family immigrated to the United States, where his cartoons were enthusiastically
received.
The Szyk Haggadah was finally published in England in October 1940 and distributed in a
limited edition in England and the United States. Believing it his duty to fight injustice in the
world, Szyk was an incredibly prolific artist and continued to produce political cartoons even
after the war. Still, the Haggadah remains one of his most significant and lasting works. In a
1938 letter to his friend Cecil Roth, an eminent Jewish historian and author of the
commentary in the 1940 edition of The Szyk Haggadah, Szyk wrote: “The Haggadah is the work
of my life.”
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Dedication to King George VI, 1936
French Dedication Page, 1935
Frontispiece, 1935
The Family at the Seder, 1936
Preparations for Passover, 1935
The Seder Plate, 1935
The Order of the Seder, 1935
Kiddush—Sanctification, 1935
She-heḥiyanu, 1935
The She-hehiyanu is a traditional Jewish blessing used to express thanks on special occasions
and to celebrate new experiences; it is recited at the beginning of the seder. Evident in this
illustration, Szyk designed each page in The Szyk Haggadah to balance word and image.
Throughout the text, passages are color-coded to reflect variations in the type of language
being presented, such as prayers, instructions, and descriptions of ritual; the She-hehiyanu
begins with the elaborate Hebrew lettering a quarter of the way down the page.
The illustrations at the bottom of the page depict the four rituals in the Passover seder—
washing the hands, dipping a green vegetable into salt water, dividing the central matzah into
two, and displaying the matzot at the beginning of the seder. Just above this Szyk shows a
group of individuals being blessed by an elder. The dress and farm implements of these
figures help to identify them as chalutzim (Hebrew for “pioneers”)—early Zionist settlers in
Palestine. The reference is reinforced by the star of David with the Hebrew word for Zion
inscribed in the center. Chalutzim also appear in the illustrations for “Halleil,” “The Bread of
Affliction,” and “The Seder Plate,” reinforcing Szyk’s personal belief in the establishment of
a Jewish state.
The Bread of Affliction, 1935
This page illustrates the beginning of the telling of the story of Passover with an invitation:
“All who are hungry, enter and eat. . . . Now, we are enslaved. Next year, we shall be free.”
Szyk shows Jewish slaves in the bottom left corner of the page wearing shackles and carrying
a spade. On the right side, the men are free to do their own work as chalutzim, or Zionist
pioneers (see also the She-hehiyanu). One of the chalutzim has a tattoo of the Star of David
with the Hebrew letter Tzadi, to indicate Zion, on his forearm. Tattoos are traditionally
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forbidden in Judaism; by showing one on the arm of a modern Jewish man in this illustration
(which pre-dates any association with the tattoos given to Jews in Nazi concentration
camps), Szyk identifies him as both secular and progressive.
Baby Moses, 1936
The Four Questions, 1935
Moses Strikes the Egyptian, 1936
We Were Slaves to Pharoah, 1935
The Rabbis at Bnai B’rak, 1935
The Haggadah tells the story of five sage rabbis whose discussion of the Exodus from Egypt
overtakes them for the course of an entire night. Three students in the window have come
to tell the rabbis that day has come and their discussion must come to a close in time for the
morning prayer. The illustration of the rabbis in discussion at the top of this page very
closely resembles the composition of Leonardo da Vinci’s The Last Supper (painted in the late
fifteenth century). Rabbi Akiva, shown at center, is associated with Bar Kokhba, the leader
of the second revolt against the Romans (132–35 CE); during the rebellion, Akiva was
martyred at the hands of the Romans. Szyk shows him in the same position as Christ in
Leonardo’s famed fresco, drawing a daring comparison for his readers. It is often suggested
that the Last Supper was a Passover seder.
The Four Sons, 1934
Szyk’s depiction of the Four Sons is notable for its treatment of archetypal Jewish characters,
who appear in contemporary dress. The traditional concept of the Four Sons suggests a way
to explain Passover to four different children—wise, wicked, simple, and unable to ask. Most
striking is the representation of the Wicked Son. According to the tradition of the Middle
Ages, the Wicked Son is portrayed as an historic persecutor of the Jews. Here, Szyk depicts
this son with a whip under his arm and a mustache reminiscent of that worn by Adolf Hitler.
The Four Sons (with text), 1934
God’s Promise, 1935
The passage on this page discusses the enemies who wished to destroy the Jews in every
generation. To illustrate this passage Szyk chose sinister imagery, mixing skulls and modern
weaponry with symbols of historic powers that have oppressed the Jews—a Roman helmet,
a shield with the emblem of the Spanish kings of Castile and Leon representing the
Inquisition, and the double-headed eagle of Czarist Russia, among others. Central to this
image is the red snake. In Szyk’s political cartoons, snakes—which historically, in anti4
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Semitic art, symbolized the “wicked” Jews—were often depicted with swastikas running
along their backs, reversing the traditional understanding of the serpent icon as an act of
refusal and empowerment.
With Meager Numbers, 1935
With a Mighty Hand, 1935
The Ten Plagues, 1934
Three Rabbis of Old/Dayeinu, 1935
The Exodus from Egypt, 1935
Aaron, the High Priest, 1935
Matzah and Maror, 1935
The Sea of Reeds, 1934
Le-fikḥakh—Therefore, 1935
Halleluyah!, 1935
Blessings before the Meal, 1935
Rituals with the Meal, 1935
Grace after Meals, 1935
Meeting the Messiah, 1935
Build Jerusalem, 1935
The Cup of Elijah, 1935
Other than the matzah, or unleavened bread, Elijah’s cup is one of the symbols most
associated with the Passover holiday. Elijah is the prophet known for being the forerunner
to the Messiah. A cup is placed on the seder table and filled for Elijah, in the hope that he
may appear. Szyk’s cup depicts Elijah scorning the evil, idol-worshipping King Ahab, a king
of Israel whom Elijah is said to have encountered and denounced.
Pour Out Your Wrath, 1935
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Halleil, 1935
The First Battle with Amalek, 1935
The Great Halleil, 1935
Nishmat Kol Ḥai, 1935
Addendum Prayers, 1935
Naomi and Her Two Daughters-in-Law, 1935
This page concludes the formal part of the Haggadah with the saying, “Next year in
Jerusalem.” Naomi, a Jewish woman native to Bethlehem, is shown with her two daughtersin-law, Ruth and Orpah, who are both from Moab. The husbands of all three women have
died. Orpah decides to return to Moab, yet Ruth remains with Naomi and returns with her
to Bethlehem. Szyk likely depicted this biblical passage because of the words that Ruth
shared with Naomi at this moment: “Where you go, I will go, and where you stay, I will stay.
Your people will be my people and your God my God.” Ruth ultimately became the greatgrandmother of King David. These women are never mentioned in the text of the
Haggadah, and are rarely if ever found in other Haggadah illustrations. Szyk’s decision to
include them in his book demonstrates his dedication to including Jewish heroes and
activists, both men and women, in his Haggadah.
King Belshazzar, 1935
Hymns and Songs, 1935
Eḥad Mi Yodeia—One, Who Knows?, 1935
Eḥad Mi Yodeia with Psalms 35:3, 1935
Ḥad Gadya, 1934
“Had Gadya” (Aramaic for “one little goat [kid]”) is a children’s song used to culminate the
seder. In this allegory for the historical struggles of the Jews, the goat is often believed to
represent the Jewish people, with the other featured animals, which overtake one another in
turn, symbolizing persecuting nations. Here, Szyk has dedicated an entire page to the song
depicting each of the ten verses. Szyk included an illustration of the David and Goliath tale
in the foreground where David is represented as the ultimate hero beheading Goliath.
Victorious Lions and Kids, 1935
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King David, 1935
Szyk Cases
Vorsatz [pastedown], 1937
Pen and ink on paper
King David, late 1930s
Pen and ink on paper
Dedication Page to the Jews of Germany and Austria, 1938
Watercolor and gouache on paper
This dedication page, along with that for the Jews of Germany, and the Jews of Lwów, was
not published in the 1940 edition of The Szyk Haggadah but serves as an additional reminder
of Szyk’s strong connection to his people and his intent to honor them with the masterpiece
that he had completed. In order to identify himself as an advocate for these parties, he
included a self-portrait in the illustration for this page, and the Dedication Page to the Jews of
Lwów.
Dedication Page to the Jews of Germany, 1939
Watercolor and gouache on paper
Dedication Page to the Jews of Lwów, 1936
Inkjet print facsimile
Moses Strikes the Egyptian, 1923-4
Watercolor, ink, and colored pencil on paper
The detailed border on this work includes symbols that represent the twelve tribes of Israel,
descendants of Jacob who is given the name of Israel in the Bible after wrestling all night
with an angel. Szyk slightly altered two of the symbols to reflect his telling of the Passover
story, emphasizing the forced labor of the Israelites. The symbol for Gad, usually a tent, is
instead represented by the pyramids, which were possibly built by the Israelites in Egypt;
Issachar, usually represented by a donkey carrying a burden, is instead a Hebrew slave
carrying a great load on his back.
Moses Tuant L’Egyptien [Moses Strikes the Egyptian], 1933
Watercolor and gouache on paper
These two illustrations of Moses striking the Egyptian suggest that Szyk was considering
illuminating a Haggadah as early as the 1920s. They also illustrate changes in the artist’s
thinking about how he would tell his story. In the earliest painting from 1923–24, Szyk
depicted Moses’ encounter with the Egyptian just before striking him; in this later version,
the Egyptian is bleeding which suggests that a powerful blow has already been delivered. As
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in the final version published in the Haggadah, Szyk included in the background the two
Israelites who were victim to abuses by the Egyptian. Moses is shown as a hero and a savior
of the mistreated Israelites in Egypt.
Exodus, 1924
Watercolor, gouache, and colored pencil
L’Exode [Exodus], 1933
Watercolor and gouache on paper
Like Moses Tuant L’Egyptien of the same year, Szyk captioned this painting of the Israelites’
Exodus from Egypt in French. The Haggadah was ultimately published in Hebrew and
English, but the use of French at this time could be due to Szyk’s desire to reach a broad
audience; French was the most widely spoken language up until the end of World War II. It
is notable that in this painting, Szyk emphasized Moses, who can be identified by the rays of
light surrounding his head, amongst the crowd of fleeing Israelites. Historically, Moses is
intentionally absent from the Haggadah texts, but Szyk used Moses throughout his
Haggadah as an icon of heroism.
The Four Questions proof page, 1936
Print
Private Collection
This early printing proof of The Four Questions shows that Szyk originally painted this serpent
attacking the Israelites on their march to freedom with Nazi swastikas running down its
back, emphasizing the correlation the artist saw between the Israelites’ plight in Egypt and
Jews’ current struggles across Europe. It is not known why the swastikas do not appear in
the final printed version of the painting, but a recent X-ray of the Pharoah’s breastplate in
We Were Slaves to Pharoah exposed a painted-over swastika.
Frontispiece for Beaconsfield Press, ca. 1937
Pen, ink, and pencil on paper
Beaconsfield Press was established by a group of Polish patrons, some of who had relocated
to England specifically to facilitate the printing of the Szyk Haggadah for initial distribution in
England and Israel. This version of the identity was never adopted by the press but
demonstrates the importance of the press in the production of The Szyk Haggadah with the
words Haggadah Shel Pesach. The inclusion of the crowned Star of David here and the image
of Kind David in the drawing that also appears in this case reiterate Szyk’s interest in the
image of the hero—referring to the story of David and Goliath in which the small David
overcame the giant Goliath against all odds. As the second King of Israel, David conquered
the fortress in Jerusalem to establish his capital at the site. David’s image appears in the final
version of the Haggadah three times, although he is never mentioned in the text.
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Hitler as Pharoah, early 1930s
Pencil on Paper
The Szyk Haggadah, 1940
First edition
The Szyk Haggadah, 1940
First edition
Courtesy Irvin Ungar, Burlingame, California
The Szyk Haggadah, 2008
Historicana Deluxe Edition
Courtesy Irvin Ungar, Burlingame, California
The Szyk Haggadah, 1956
Courtesy Irvin Ungar, Burlingame, California
The Szyk Haggadah, 1965
Courtesy Irvin Ungar, Burlingame, California
The Szyk Haggadah, 2011
Abrams Trade edition
Museum Purchase
Letter from Arthur Szyk to Cecil Roth, 1938
Translated from the original French
My Dear Cecil,
You have been asked to attend the meeting of “Beaconsfield Press” which I was not invited
to. This meeting will take place tomorrow. Since my attempts to see the President for many
months have been in vain, I am asking you, and I authorize you, to declare to these
gentlemen the following:
The “Haggada” is the work of my life. I sacrificed many years of my work as well as all my
fortune (which has been very small since the war) in order to do it. I even contracted debts
to complete it. My work is not finished yet, since I will have to follow step by step the
excellent reproduction of the “Sun Engraving Company” until the book is published.
The amount of £500, which “Beaconsfield Press” gave me, was used to pay the most urgent
debts. Many months have passed since then. Today, I am completely financially ruined. As I
am not well known in this country, and as there has not been any publicity of my work, I am
completely unable to earn my living. My situation has become completely impossible and I
am writing to the President of Beaconsfield Press in order to ask him urgently to help me,
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and to immediately give me £150 in advance, as well as, the sum of £50 on the 12 th of each
month until the book is published. Without this immediate help I cannot survive. It is very
difficult for me to be obliged to ask these gentlemen, but as this is an urgent matter, I do not
have any other choice. Obviously, the amount which I am asking for, and which I need,
must be given to me in advance to be deducted from my part of the book profits, and must
be given back to the Beasconfield Press profits.
The original of the “Haggada,” being my property, will be the warranty of the complete
amount given to me. I do not doubt that Mister Greenhill’s compassion as well as our
President’s artistic qualities will push him to help me in my horrible situation and I thank
them in advance with all my heart.
Sincerely
Arthur Szyk
P.S.: If new amounts of money were [sic]
Letter from Arthur Szyk to Cecil Roth, 1941
Translated from the original French
My Dear Cecil,
Thanks for your letter. If we haven’t written you until now, it’s not because we’re not
thinking of you. By habit, I write little, and especially since my arrival in Canada and the US,
I am still absorbed in my propaganda work for our war that I am not really able to write
much.
The pleasure that her Majesty expressed on the subject of my Haggadah gives immense
pleasure. I am infinitely proud and touched. Explain to me the details, my dear Cecil.
Indirectly, I had your news by the sad letter that you wrote to Doctor Rosenbach of the
“Jewish Historical Society.” Our son, George, is an officer in De Gaulle’s army, in Africa at
the moment, we rarely have news of him.
With regards to the sale of the Hagaddah here, sadly we are unable to do anything because
The Beaconsfield Press gave Dr. Rosenbach ridiculous conditions, such that it is out of the
question that he is entrusted with it. He needs to have at least 50% commission at his
disposal for the costs relating to the organization, which would be too great.
We are very happy to know that all goes well with you. Here, all is well and the American
sympathies for our cause are great. We are sure of a victory here, and in England as well.
We give hugs to you and Irene.
With all our hearts,
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Julia, Alice and Arthur Szyk
P.S. My gratitude and much respect for the Binkele illustration
This is the St. George Stamp by Arthur Szyk (see the envelope)
Haggadot Intro
The Haggadah is an ancient book of prayers, songs, biblical, Talmudic, and midrashic
passages that structure the Passover seder, offering fifteen ritual steps through which the
symbolic foods and traditions, as well as the story of the Israelites’ exodus from Egypt are
shared. Many Haggadot (plural of Haggadah) are celebrated for their beautiful and intricate
illustrations, and also for their expression of the artistic, theological, political, and linguistic
texture of the communities in which Jews live. The selection on view here represents a wide
spectrum of historical and contemporary Haggadot, roughly grouped into three sections:
illuminated, non-traditional, and popular trade editions.
The selection of illuminated Haggadot includes books from the fourteenth through
twentieth centuries. The Sarajevo Haggadah and Barcelona Haggadah show the emphasis on
illumination in the Sephardi tradition while the Metz Haggadah and Amsterdam Haggadah reflect
the dominant styles following the invention of the printing press. Trade versions of
illuminated Haggadot from the twentieth century demonstrate the continued interest in the
potential of illustration to deepen the meaning of the seder and to celebrate the importance
of the Haggadah in Jewish ritual.
Non-traditional Haggadot from kibbutzim (plural of kibbutz) and the Bay Area show distinct
trends in the book’s long history of reinvention. Early kibbutzniks (Hebrew for “members
of a kibbutz”) secularized the celebration of Passover, and developed new interpretations of
the Haggadah appropriate for this context where the seder’s refrain of “next year in
Jerusalem” was a reality. The open and inclusive nature of the Bay Area can be seen in the
examples here, which reflect the growing social consciousness that emerged in the 1960s and
1970s causing a greater focus on the political aspects of Passover.
The range of Haggadot commercially available today can be seen in the central vitrine in this
gallery. Notable is the Maxwell House Haggadah, of which there are over a million copies in
print and which is also one of the longest running sales promotions in history. Recently
significant is the New American Haggadah, which was edited by contemporary writer Jonathan
Safran Foer and translated by Nathan Englander. The provocative commentary depicts four
voices and acknowledges the complexity of the holiday in modern life.
Viewed together these Haggadot represent the diversity and continuity of Jewish expression
and the continued resonance of the Passover holiday.
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Please continue to the reading area near the windows to read examples of the Haggadot on
view here.
Illuminated Haggadot
Cecil Roth, trans.; Ben Shahn, ill.
Haggadah for Passover, 1966
Boston: Little, Brown and Company, 1965
Cecil Roth; Albert Rutherson, ill.
The Haggadah: A New Critical Edition
London: The Soncino Press, 1930
Barcelona Haggadah
14th century (facsimile edition, 1992)
Zeev Raban
The Pessach Haggadah
Tel Aviv: Sinai, 1961, originally published 1955
David Geffen, ed.; Moshe Kohn, trans.
American Heritage Haggadah: The Passover Experience
New York: Gefen, 1992
Rothschild Haggadah
1479 (facsimile edition, n.d.)
Ma’aleh bet ḥorin: ve-hu Seder Hagadah shel Pesaḥ
Amsterdam, 1781
Courtesy of Stanford University Libraries, Department of Special Collections
Hagadah
Metz, France: Joseph Antoine, 1767
Courtesy of Stanford University Libraries, Department of Special Collections
Hagadah shel Pesaḥ
Livorno, n.d.
Courtesy of Stanford University Libraries, Department of Special Collections
Trade Edition Haggadot
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Sue Levi Elwell, ed.; Ruth Weisberg, ill.
The Open Door: A Passover Haggadah
New York: Central Conference of American Rabbis, 2002
Courtesy of Elizheva Hurvich
Rabbi Joy Levitt, Rabbi Michael Strassfeld, eds.; Jeffrey Schrier, ill.
A Night of Questions: A Passover Haggadah
Elkins Park, PA: The Reconstructionist Press, 2000, originally published 1999
Courtesy of Elizheva Hurvich
Maxwell House
Passover Haggadah
New York: Joseph Jacobs Publishing, 1991, originally published 1932
Courtesy of Elizheva Hurvich
A. Regelson, trans.; S. Forst, ill.
The Haggadah of Passover
New York: Shuslinger Bros., 1944
Courtesy of Elizheva Hurvich
Rabbi Nathan Goldberg
Passover Haggadah
New York: Ktav Publishing House, Inc., 1966
Courtesy of Elizheva Hurvich
Shoshana Silberman; Katherine Janus Kahn, ill.
A Family Haggadah
Minneapolis: Kar-Ben Publishing, Inc., 2003, originally published 1997
Courtesy of Elizheva Hurvich
Rachel Anne Rabinowicz, ed.; Dan Reisinger, ill.
Passover Haggadah: The Feast of Freedom
New York: Rabbinical Assembly, 1982
Courtesy of Elizheva Hurvich
Karen G. R. Roekard; Nina Paley, ill.
The Santa Cruz Haggadah
Berkeley, CA: The Hineni Consciousness Press, 1991
Courtesy of Elizheva Hurvich
Sylvia A. Rouss; Katherine Janus Kahn, ill.
Sammy Spider’s First Haggadah
Minneapolis: Kar-Ben Publishing, 2007
Courtesy of Elizheva Hurvich
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Yaakov Agam; Moshe Kohn, trans.
The Agam Passover Haggadah
New York: Gefen Publishing House, 1993
Courtesy of Elizheva Hurvich
Arthur I. Waskow
The Freedom Seder: A New Haggadah for Passover
New York: Holt, Rinehart and Winston, 1970
Museum purchase
Herbert Bronstein, ed.; Leonard Baskin, ill.
A Passover Haggadah
New York: Central Conference of American Rabbis, 1974
Courtesy of Elizheva Hurvich
Rabbis for Human Rights
In Every Generation: Let Each of Us Look upon Ourselves As If We Came Forth out
of Egypt, 2003
Philadelphia: Rabbis for Human Rights, 2003
Courtesy of Elizheva Hurvich
Chagall’s Passover Haggadah
New York: Leon Amiel Publisher, 1987
Courtesy of Elizheva Hurvich
Mordecai M. Kaplan, Eugene Kohn, and Ira Eisenstein, eds.; Leonard Weisgard, ill.
Jewish Reconstructionist Foundation
The New Haggadah for the Passover Seder
New York: Behrman House, Inc., 1953, originally published 1941
Courtesy of Elizheva Hurvich
Passover Haggadah
Tel Aviv: Matan Arts Publishers Ltd., 2001
Courtesy of Elizheva Hurvich
Gérard Garouste and Marc-Alain Ouaknin
Haggadah: The Passover Story
New York: Assouline Publishing Inc., 2001
Courtesy of Elizheva Hurvich
Haggadah for the Israeli Army
1960
Courtesy Irvin Ungar, Burlingame, California
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Non-Traditional Haggadot
Susie Kisber, Pat Cohn, Judith Sachs, Ray Schnitzler
Haggadah shel Pesach
Berkeley, 1955
Courtesy of Stanford University Libraries, Department of Special Collections
Passover Ramadan Liberation Haggadah
1991
Courtesy of Stanford University Libraries, Department of Special Collections
Judith Stein
A New Haggadah: A Jewish Lesbian Seder
Cambridge, MA: Bobbeh Meisens Press, 1984
Courtesy of Stanford University Libraries, Department of Special Collections
Rabbi Yoel Kahn
Let Us Begin: Sha’ar Zahav’s Haggadah
San Francisco: Sha’ar Zahav, 1988
Courtesy of Stanford University Libraries, Department of Special Collections
Dov ben Khayyim, ed.
The Telling: A Loving Haggadah for Passover, Non-sexist, Yet Traditional
Oakland: Rakhamim Publications, 1983
Courtesy of Stanford University Libraries, Department of Special Collections
Rabbi Pamela Freedman Baugh
Freedom from Diety Language, A Renewal Haggadah Which Omits Words of
Deification
San Francisco: Or Shalom Jewish Community, n.d.
Courtesy of Stanford University Libraries, Department of Special Collections
M. Amittai; Shraga Weill, Ill.
Hashomer Hatzair Kibbutz Haggadah
1956
Courtesy of Stanford University Libraries, Department of Special Collections
Source unknown
Haggadah from an Israeli Kibbutz
1947
Courtesy of Stanford University Libraries, Department of Special Collections
15
Arthur Szyk and the Art of the Haggadah
February 13–June 29, 2014
Complete Wall Text
P. Bencheim
Haggadah from an Israeli Kibbutz
n.d.
Courtesy of Stanford University Libraries, Department of Special Collections
Source unknown
Haggadah from an Israeli Kibbutz
1946
Courtesy of Stanford University Libraries, Department of Special Collections
K. Amir
Haggadah from an Israeli Kibbutz
1976
Courtesy of Stanford University Libraries, Department of Special Collections
Kibbutz Nahal-Oz Haggadah
After 1951
Courtesy of Stanford University Libraries, Department of Special Collections
M. Brand
Kibbutz Givat-Brenner Haggadah
1955
Courtesy of Stanford University Libraries, Department of Special Collections
M. Amitai; Moshe Profes, Ill.
Hashomer Hatzair Kibbutz Haggadah
ca. 1958
Courtesy of Stanford University Libraries, Department of Special Collections
16