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Alfred Moses bought the Codex Sassoon for more than $30 million. He just saw it for the first time.
(JTA) — On Wednesday morning, Alfred Moses, 94, sat in a small white armchair at a round wooden table in a Manhattan office building as a historian gingerly turned the pages of a more than 1,000-year-old book in front of him.
Two weeks earlier, Moses had paid a record-setting sum for the book — more than $38 million in total. But this was the first time he had ever seen it.
The book was the Codex Sassoon, the world’s oldest nearly-complete copy of the Hebrew Bible. That morning, in Sotheby’s Upper East Side office, Sharon Mintz, the auction house’s senior Judaica specialist, was giving Moses and some of his relatives a history lesson on his new acquisition.
Mintz turned the pages with clean, bare hands, noting the scored ruling between the lines of text and the thickness of the parchment pages — made somewhat thinner in places where scribes scratched over each others’ notes. Before Moses bought the book at a much-anticipated Sotheby’s auction on May 17, the codex passed between multiple owners — most recently through the hands of Jacqui Safra, a member of the prominent banking family, and before him, in the 1920s, Jewish book collector David Solomon Sassoon.
It will now be housed at the ANU Museum of the Jewish People in Tel Aviv, which exhibited the codex earlier this year.
“It’s an inspiring book, to see a 1,200 year old manuscript in perfect [condition] — even that we can read today — it’s quite amazing,” Moses said. “It has the vowels and the trope … it’s remarkable. It’s something that’s been preserved for 1,200 years. And we’re the beneficiaries of it.”
Moses is an attorney who served as U.S. ambassador to Romania during the Clinton administration and is a past president of the American Jewish Committee. He had anxiously watched the auction online from his home in Washington, D.C., worried that another possible bidder, like the Bible Museum, also in Washington, might put in a competitive bid. Representatives from the American Friends of ANU, which supports the museum, were concerned it might wind up in a private collection, and could be lost to public view for another generation.
“I thought my chances were about 50/50,” Moses said. “But I was prepared to buy it if I could afford to.”
He expected to pay as much as $32.5 million, which he put in as an “irrevocable bid” with Sotheby’s ahead of the auction, according to Bloomberg. He ended up inching his bid up to $33.5 million after someone else bid $33 million. Fees brought his final tab to $38.1 million.
Part of the reason he decided to give the book to ANU — an institution he has supported for years, including as chair of its honorary board — is that he sees it as serving Jews worldwide. He feels other prestigious homes for historical artifacts in the country, such as the Israel Museum in Jerusalem, are meant to cater to Israelis specifically.
“It’s the museum of the Jewish people and I wanted the codex to go to the Jewish people,” he said. “The Israel Museum is wonderful. But that’s the museum for Israel. I wanted the codex to be for the Jewish people.”
Alfred Moses (center, seated) examines the Codex Sassoon surrounded by family and friends. (Perry Bindelglass for The American Friends of ANU The Museum of the Jewish People)
Moses is making the hefty donation to Israel at a fraught time, as street protests across the country are raging at the government’s attempt to weaken the judiciary, and as friction persists between the Biden administration and Israel’s right-wing government. But Moses sees the tension as a passing phase.
“I think there’s a bit of concern among American Jews as to what is happening politically in Israel, but that’s temporal. 20 years from now, it’ll seem like history,” Moses said. “One has to have a sense of history in the longer viewpoint. Israel is the home of the Jewish people. Whom the Israelis elect to be their government and the prime minister is an Israeli decision.”
But Moses mused that the book could leave Israel after all. During the lesson, Mintz explained that part of the mystery of the book’s provenance is its disappearance from the medieval town of Makisin, in present-day Markada, Syria, sometime around the year 1400. According to an inscription on the book’s last page, it was removed from the synagogue during an attack on the town and entrusted to the care of Salama ibn Abi al-Fakhr, who was instructed to return it as soon as Makisin was rebuilt.
It was during this part of the lesson that Moses cracked a joke: if the Jewish community returns to what is now Markada, would he have to return the book?
Given the condition of Syria after more than a decade of fighting, and the almost total loss of its once thriving Jewish community, that prospect seems remote. Mintz also noted that while the existence of the codex in what is present-day Markada has been established, little else is known about the Jewish community that existed there. For now, Moses hopes that the cultural treasure he bought will be seen as the property of Jews everywhere.
“I think the Sassoon Codex will give satisfaction, joy, and pride to tens of thousands, maybe hundreds of thousands, maybe millions of viewers,” Moses added. “I see benefit to the Jewish people.”
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”