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Codex Sassoon acquired for ANU Museum of the Jewish People for $38.1 million
(JTA) – A 1,100-year-old Hebrew Bible became the most expensive book ever sold Wednesday when it drew a price of $38.1 million at auction at Sotheby’s in New York City.
The buyer of the item, known as the Codex Sassoon, was revealed to be the Museum of the Jewish People in Tel Aviv. The museum said Alfred Moses, a former U.S. ambassador to Romania, and his family provided the funds for the purchase.
The manuscript is the world’s oldest nearly complete copy of the Hebrew Bible. It was handwritten roughly 1,100 years ago on 792 pages of sheepskin, includes all 24 books of the Bible and is missing only about eight pages. Its writing and layout recall those of Torah scrolls read in synagogue.
The seller, Swiss financier and collector Jacqui Safra, had owned the volume since 1989. Speculation about where the book would end up led to anxiety that it might be sold to a private collector rather than a public institution that could put it on display.
Those doubts were put to rest when the museum, formerly the Museum of the Jewish Diaspora and also known as Anu, said the book would be part of its core exhibition.
“The Hebrew Bible is the most influential book in history and constitutes the bedrock of Western civilization. I rejoice in knowing it belongs to the Jewish people,” Moses said in a statement. “It was my mission, realizing the historic significance of Codex Sassoon, to see that it resides in a place with global access to all people.”
Just a handful of buyers competed for the book — in person at Sotheby’s and by phone — and the auction took less than six minutes. Ahead of the auction, Sotheby’s estimated that the item would sell for anywhere from $30 million to $50 million. The “gavel price” was $33.5 million, but with fees and premiums, the final price tag reached $38.1 million.
Since no book or historical document quite like it has been sold at auction for decades, the Codex Sassoon has earned comparisons to other foundational texts of civilization that have also commanded tens of millions of dollars. A copy of the first printing of the U.S. Constitution’s final text sold for $43.2 million in 2021. The Codex Leicester, a journal with writings by Leonardo Da Vinci, fetched $30.8 million in 1994. And a copy of the Magna Carta sold for $21.1 million in 2007.
“This is one of the rarest, unique, uniting documents that ever existed,” Irina Nevzlin, chair of Anu’s board of directors, told JTA. “For us to have it in the museum where it will be available for all those millions of people — this is something that can strengthen our roots and our identity, because it’s something eternal.”
She added, “We are the right home for it for so many reasons. Also for the fact that we’re based in Israel.”
The in-person auction attracted a standing-room-only crowd of onlookers, many of whom said they felt compelled to witness a transaction of immense significance in Jewish tradition.
“This is a historic moment,” said Elinatan Kupferberg, a scholar and writer from Lakewood, New Jersey. “This is the oldest Torah in existence. Whoever is going to own it next is going to change history.”
Kupferberg, who said his most precious books were those containing the handwritten notes of great rabbis, said he sometimes regrets when Jewish texts are bought by collectors because they will not be used in everyday study. Not so, he said, with this item.
“It doesn’t make me feel sad to see it behind glass because it was meant to be a reference work,” he said.
Sandra Gogel, who was in town from Paris, said she had hoped the Codex Sassoon would draw a higher price, and was surprised that bidding had closed so quickly. “33.5 is nothing to scoff at, but 50 would have been nice,” she said.
Gogel said she had traveled to London to see the Codex when it was on display there and was relieved that the book will end up on public display.
“I went to London to see it because I thought I might not see it again,” she said. She added, “I’m happy it will be Israel where everyone can see it… Everyone goes to Tel Aviv.”
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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