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Torah shield
Elimelekh Tzoref (Ukrainian (Stanislav), active 1782)
Galician (now Ukraine)
1781–82 (Hebrew year 5542)
Medium/Technique
Silver, parcel gilt, with enamel, niello, and stones
Dimensions
Height x width: 20.4 × 15.5 × 2 cm (8 1/16 × 6 1/8 × 13/16 in.)
chain length is additional 7.5 inches in height
chain length is additional 7.5 inches in height
Credit Line
Museum purchase with funds donated by the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust, Jacques Aaron Preis, Trustee
Accession Number2021.58
ClassificationsRitual objects
Torah shields—also known as breastplates—are ornamental metal plates hung with chains in front of the Torah scroll. This is one of the finest examples in existence. At a mere 8 inches high, and boasting a rich array of decorative materials and techniques, this piece would have presumably been made to be enjoyed by a sophisticated private patron, rather than to be seen by a large congregation, and at a distance, in synagogue.
Unusually for a Torah shield, this object is lavishly decorated both on the front and on the back. On one side, the traditional iconography of the Tablets of the Law, surmounted by the crown (representing the Torah) and flanked by the figures of Moses and Aaron, is enriched by an intricate, silver-gilt pierced “screen” laid on a solid silver sheet. In the thick, exuberant scrollwork of the pierced layer, hide fantastical animals with leafy tails—such as dragons, reptiles, and, in the center, sea creatures seemingly munching on the Decalogue.
In addition to demonstrating his skill in the handling of pierced silver, the artist shows his ability in creating volume, seen in the high relief of both the two figures and, above them, the large baskets spilling with flowers and fruits. Moreover, the maker’s confidence in a range of materials and techniques is shown in the use of enamel on Aaron’s breastplate, stones for the Torah crown, and the niello inscriptions on the Tablets of the Law.
The decorated back sets this shield apart. Breastplates were almost never decorated on the back, and certainly never with narrative scenes. Here the superbly executed engravings feature a central scene depicting Isaac blessing Jacob, encased within a spectacular high Rococo arched frame, topped by the scene of the binding of Isaac. The quality of the engraving is simply outstanding, far closer to copper plate printed engravings than to metalwork. On the bottom of the back panel, the maker engraved the following Hebrew words: “This is the work of my hands, Elimelekh Tzoref of Stanislav, in the year 1782.”
Unusually for a Torah shield, this object is lavishly decorated both on the front and on the back. On one side, the traditional iconography of the Tablets of the Law, surmounted by the crown (representing the Torah) and flanked by the figures of Moses and Aaron, is enriched by an intricate, silver-gilt pierced “screen” laid on a solid silver sheet. In the thick, exuberant scrollwork of the pierced layer, hide fantastical animals with leafy tails—such as dragons, reptiles, and, in the center, sea creatures seemingly munching on the Decalogue.
In addition to demonstrating his skill in the handling of pierced silver, the artist shows his ability in creating volume, seen in the high relief of both the two figures and, above them, the large baskets spilling with flowers and fruits. Moreover, the maker’s confidence in a range of materials and techniques is shown in the use of enamel on Aaron’s breastplate, stones for the Torah crown, and the niello inscriptions on the Tablets of the Law.
The decorated back sets this shield apart. Breastplates were almost never decorated on the back, and certainly never with narrative scenes. Here the superbly executed engravings feature a central scene depicting Isaac blessing Jacob, encased within a spectacular high Rococo arched frame, topped by the scene of the binding of Isaac. The quality of the engraving is simply outstanding, far closer to copper plate printed engravings than to metalwork. On the bottom of the back panel, the maker engraved the following Hebrew words: “This is the work of my hands, Elimelekh Tzoref of Stanislav, in the year 1782.”
DescriptionThe front pierced silver-gilt overlay formed of chased strapwork enclosing fantastic animals with leafy tails, at the base a pair of birds flanking a spray of fruit; the columns topped by baskets of flowers and fruit and terminating in crouching lions, modeled in relief and applied with figures of Moses and Aaron, the latter with enameled breastplate, surrounded by six plaquettes of a bear, sheep, ox, deer, leopard, and an elephant with howdah; all centered by the Tablets of the Law with niello inscriptions, below an openwork crown set with faceted howdah pastes, all within chased silver border of overlapping leaves.
The back superbly engraved with Blessing of Isaac within a high rococo architectural framework, topped with the Binding of Isaac, two applied lion masks holding the chain, the base engraved with a Levite washing the hands of Cohen.
The back superbly engraved with Blessing of Isaac within a high rococo architectural framework, topped with the Binding of Isaac, two applied lion masks holding the chain, the base engraved with a Levite washing the hands of Cohen.
Signed
On the back in Hebrew: “This is the work of my hands, Elimelekh Tzoref of Stanislav, in the year 5542" (Gregorian calendar 1781/1782)
Marks
Twice on the back (at base) with Austrian control mark for Lemberg (Lvov), 1806-07
ProvenanceBy 1887, Reuben David Sassoon (b. 1834 – d. 1905), London [see note 1]; by descent to his great-niece and sister-in-law, Flora Gubbay (Mrs. Solomon David) Sassoon (b. 1856 – d. 1936), London [see note 2]; to her son, David Solomon Sassoon (b. 1880 – d. 1942), London; to his son, Rabbi Solomon David Sassoon (b. 1915 – d. 1985), Letchworth; until 2020, by descent within the family; December 17, 2020, Sassoon sale, Sotheby’s, New York, lot 26, to the MFA. (Accession Date: February 24, 2021)
NOTES: [1] Lent to the Anglo-Jewish Historical Exhibition (Royal Albert Hall, London, 1887), cat. no. 2040. [2] Lent to the Exhibition of Jewish Art and Antiquities (Whitechapel Art Gallery, London, November 7 – December 16, 1906), cat. no. 133.
NOTES: [1] Lent to the Anglo-Jewish Historical Exhibition (Royal Albert Hall, London, 1887), cat. no. 2040. [2] Lent to the Exhibition of Jewish Art and Antiquities (Whitechapel Art Gallery, London, November 7 – December 16, 1906), cat. no. 133.