German periodical

Wooden marionette dressed as a Jewish banker

Object

19th century German marionette dressed as an Orthodox Jewish banker in a somewhat shabby black suit. The carved, painted face has a large, curved nose and peyots (sidecurls), but these Jewish features are not overly exaggerated. Marionette shows were a popular form of entertainment in the 19th century for adults as well as children. Germany was now the banking center of Europe, after the chaos of the French revolution and Napoleonic wars, and the house of Rothschild had emerged in Frankfurt. Jews were still linked to the stereotypical evils of money lending, and while the banker was a more respectable figure, Jews were now also viewed with jealousy and suspicion as the creators of capitalism and its evils. This marionette is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Bronze figurine of a seated Jewish peddler

Object

Small bronze statuette of an Orthodox Jewish peddler with stereotypical features, including thick lips, hooded eyes, and hooked nose, made in 19th century Austria. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Bronze statue of a Jewish man with a rooster performing the kaparot ritual

Object

Detailed bronze figure of an Orthodox Jewish man holding a rooster upside down by its feet. He appears to be performing the kaparot [atonement] ceremony, a ritual done to prepare for Yom Kippur. During the ceremony, a chicken is passed around the head while the appropriate prayer is recited. The chicken is then ritually butchered and money, or sometimes, the chicken, is given to charity. The sculpture is attributed to Austrian sculptor Carl Kauba (1865-1922). This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic change holder in the shape of an Orthodox Jewish man

Object

Ceramic change holder in the shape of an Orthodox Jewish man standing atop a shallow dish labelled, The Old Pal. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden folk art figurine of a Jewish freeloader

Object

Small roughly carved wooden figure of a Jewish moocher or schnorrer. This folk art figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Caricature of Jewish man in a top hat with exaggerated facial features

Object

Small color print with a crudely exagerrated caricature of a Jewish stereotype, a schnorrer, or moocher, a short man in a top hat and ill fitting, shabby suit, and shoes. This print is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pewter pepper shaker as a bearded Jewish peddler in tricorn hat

Object

Pewter pepper pot in the shape of a Jewish man in the tricorn hat, knee length jacket, and breeches fashionable circa 1775, known as colonial style. He has stereotypical Jewish features, such as a very large nose, but the fine, detailed metalwork make it a naturalistic portrait. The character and subject resemble depictions found in popular prints produced at the same time, known as Cries of London. These were picturesque scenes of city life that featured street characters, such as Jewish peddlers, as workers who provided useful services and vibrancy to urban areas. This pepper pot is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Drinking glass with caricature a Jew on his hobby horse, Old Clothes

Object

Small drinking glass with a painted caricature captioned Jews Hobby Horse. It depicts a Jewish man in formal riding clothes riding a bag with wheels labelled, Old Clothes. This drinking glass is one of 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Faience style tile with an image of a Jewish peddler with a large box on his back

Object

Eighteenth century French tile with a colorful image of a stereotypical Jewish peddler striding along a path with a large wooden box strapped to the back. This tile is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White porcelain match holder depicting a stereotypical Jewish peddler

Object

White porcelain match holder in the shape of a peddler with stereotypical Jewish features: an oversize nose, large, red lips, and wrinkled, blue and white suit, with grasping hands. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White porcelain figurine of a Jewish money changer in a gold dotted vest

Object

White porcelain figurine of a money changer with stereotypical Jewish features: an oversize nose and long, full beard, in a red-brown jacket, with an outstretched hand. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire loving cup printed with Lord Gordon's circumcision

Object

Staffordshire creamware double handed cup with 2 transfer painted scenes: one of sailors and a drinking song, Can of Grog, by Charles Didbin. The other image, Lord George Riot made a Jew, depicts the circumcision of Lord George Gordon (1751-1793), a British politician who converted to Judaism and was circumcised in 1787, taking the name Israel Ben Abraham. The title refers to the Gordon Riots of 1780, which began with an anti-Catholic demonstration organized by Gordon to protest the Catholic Relief Act. A crowd of 60,000 gathered and anti-Catholic riots broke out in London for several days. In 1788, Gordon was jailed for libel. He continued observing Jewish rituals, and died in Newgate Prison in 1793. This loving cup is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figure of Shylock, richly dressed and carrying a dagger

Object

Colorful porcelain figurine of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass door knocker with the head of an evil looking Shylock

Object

Brass door knocker with the head of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth for not repaying a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing stereotypes, still popular in a country where Jews had been expelled for 300 years. At times, the portrayal is sympathetic, and we are shown how society and his Christian enemies cruelly mistreat him, but at the end, Shylock is punished for his greed and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical anti-Jewish elements, the play continues to spark debate over whether it is antisemitic. This door knocker is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand painted vase with a scene of Portia and Shylock in the courtroom

Object

Two handled vase in Austrian porcelain reproducing Victorian British illustrator Walter Paget's (1863-1935) painting of Portia and Shylock in the courtroom scene from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. Portia is the woman who poses as a lawyer and defeats Shylock in court. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This vase is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Adams scalloped soup bowl with Portia in court with Shylock

Object

William Adams and Sons soup bowl with a scalloped rim with a colorful illustration of Portia and Shylock in the courtroom scene from Shakespeare's The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This bowl is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Melba Ware toby jug of Shylock

Object

Melba Ware toby jug of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This pitcher is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire character pitcher of Shylock

Object

Staffordshire character jug depicting Shylock from Shakespeare's The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This pitcher is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton Shakespeare seriesware with Shylock presenting his contract

Object

Royal Doulton dinner plate depicting Shylock from the Shakespeare play The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics were based upon long standing stereotypes still popular in a country where Jews had been expelled since 1290, 300 years. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. The Royal Doulton Shakespeare seriesware was introduced in England in 1912, and produced into the early 1930s. The character is portrayed with recognizably Jewish features, a skull cap, sidecurls, and large nose, similar to 19th century stage performers. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figurine of a ribbon peddler in a red coat

Object

Brightly colored porcelain figurine of a Jewish peddler in red overcoat and green jacket selling ribbons and cloth from a tray hanging from his shoulder. Likely the work of 19th century Staffordshire potters, it resembles a work by Minton produced in several variations. Jewish peddlers were a familiar sight in 19th century London, especially following the large influx of East European Jews. Those who arrived with no money, could acquire goods on credit and immediately begin selling items on the street. Others were continuing the trade they had pursued previously. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta figurine of a Jewish ribbon peddler with a basket of colorful cloth

Object

Colorful terracotta figurine modelled by Anton Sohn in in early 19th century Germany. It is a satirical depiction of an unpleasant looking and unkempt Jewish peddler selling ribbons. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Adams dinner plate with an image of Shylock and Tubal in conversation

Object

William Adams and Sons dinner plate decorated with a colorful illustration of Shylock and Tubal from the Shakespeare play, The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth who failed to repay a loan, be paid in full. Tubal is his friend and also a Jewish moneylender. First published in 1600 in England, Shylock's characteristics were based upon long standing stereotypes still popular in a country where Jews had been expelled since 1290, 300 years. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pearlware pitcher with a Jewish peddler being chased by a housewife

Object

Purple pearl ware pitcher with a transfer print of an alarmed looking Jewish peddler being chased by a women with several brooms. This pitcher is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted metal figure of a Jew on skis with an umbrella

Object

Cut out, painted metal silhouette of a man with stereotypical Jewish features, most noticeably, a huge, hooked nose and red hair, on skies, holding an open black umbrella over his head. A Jew carrying an umbrella was a long standing stereotype, often used to refer to the on the move peddler, or, with more genteel figures, as a sign of the Jews pretentious claim to middle class respectability. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with Jewish caricatures. This folk art piece is an example of racial antisemitism becoming part of everyday life. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Comical figurine of a Jewish soldier, Austro-Hungarian Army

Object

Comical bronze figurine of a young, not especially promising, Jewish soldier. He appears to wear an Austro-Hungarian Army uniform, post-1908 Hechtgrau [pike grey] issue. The figurine was likely made a few years after this or in the early months of World War I (1914-1918). The figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ink caricature of three unlikely Polish Army recruits

Object

Cartoon, Eight Week Exercise, drawn by an unknown artist, of three very young, and comical looking, youth in ill fitting military uniforms, standing at parade rest. The uniform is likely that of the voluntary Polish Legion, although apart from the cap, in style and fit it resembles the uniform of the Polish Army Podhale Rifles regiment, circa 1930s. This drawing is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Musical chamber pot with an image of Hitler

Object

Crown Devon chamber pot music box with an image of Hitler inside the bowl. When lifted, it plays Rule Britannia. It is printed with the slogans, "No 1 Jerry", and "Have this on 'Old Nasty'." The company also manufactured one with an image of Hermann Goering and the text: "No 2 Jerry, Flip your ashes on old piggy." This chamber pot music box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic change plate depicting a greedy Jew admiring his gold coins

Object

Anti-semitic change plate modeled as Jewish man with a large, curved nose gazing at a pile of gold coins, signed Gluck Stilles. This change plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain cup shaped as the head of a sneering Jewish man

Object

Miniature, colorful ceramic mug in the shape of a Jewish man with an unpleasant facial expression. This mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small ceramic figure of a Jewish man in a long red coat

Object

Small ceramic figure of a Jewish man with painted sidelocks, a black hat, and long red coat. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bisque coin bank in the shape of a Jew with a garlic bulb under each arm

Object

Bisque coin bank shaped as a man with exaggerated Jewish features with garlic bulbs, the same size as his seated figure, under each arm: one bulb is labeled "So ä fain's" [Such a fine little stink] and "Gerüchle." This statue is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figure of a Jewish matchmaker with his umbrella

Object

Porcelain figure of a Schadchen, a Yiddish term for matchmaker, in his traditional black suit and blue umbrella. In the 19th century, a Jewish man with his everpresent umbrella became a common stereotype. It was meant to ridicule him for his cultural and social ambitions, with the umbrella as a pretentious and absurd symbol of his attempt to pass himself off as a respectable middle or upper class member of society. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cork bottle stopper with a porcelain head depicting a Jewish steretoype

Object

This bottle stopper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cork bottle stopper with a porcelain head depicting a Jewish steretoype

Object

This bottle stopper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cork bottle stopper with a porcelain head depicting a Jewish steretoype

Object

This bottle stopper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cork bottle stopper with a porcelain head depicting a Jewish steretoype

Object

This bottle stopper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cork bottle stopper with a porcelain head depicting a Jewish steretoype

Object

This bottle stopper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bust of an unpleasant looking Jewish man picking his nose

Object

Small painted ceramic figurine of an anti-somitic caricature of a Jewish man with stereotypical features: curly hair, hooded eyes, and large nose and llips picking his nose. This bust is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White porcelain figurine of a Jewish matchmaker with his umbrella

Object

White parian porcelain figurine, possibly a shadchan, Hebrew for matchmaker, made in late 19th century Russia. They were generally painted for sale. In the 19th century, a Jewish man with his ever present umbrella became a common stereotype. It was meant to ridicule him for his cultural and social ambitions, with the umbrella as a pretentious symbol of his attempt to pass himself off as a respectable middle or upper class member of society. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic jug shaped as a comical Jewish man with a collection box

Object

Small ceramic jug shaped as a comical Jewish man holding a collection box, labelled with the words Ikey and I Pay Out. Ikey may refer to a slang term for a stop brake on a rigged wheel of fortune. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Murano glass figure of a Jew holding a full money bag

Object

Murano color glass figurine of a slender Jewish man Jew holding a large, bulging sack of money, with a suspicious look on his face. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wood snuff box with a carving of three Jewish hareskin dealers

Object

Wood snuff box with an image of three Jewish hareskin dealers carved on the lid. Snuffboxes were used to store smokeless tobacco, called snuff, which was inhaled through the nose. The use of snuff became popular in Europe during the 18th century. Snuffboxes were made in a variety of shapes and sizes. Smaller snuffboxes were carried by individuals, and large boxes were set on tables or other furniture and remained stationary. The boxes were made from several different materials, including wood, metal, ivory, and animal horns. They were often ornately decorated with jewels, precious metals, paintings or carvings. The image on the snuffbox depicts the Jewish hareskin dealers with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This image was popular in northern Europe in the early 19th century and was reproduced in various mediums. The snuffbox is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Carved snuff box with an image of three Jewish hareskin dealers

Object

Coquilla nut snuffbox with an image of three Jewish hareskin dealers carved on the lid. Snuffboxes were used to store smokeless tobacco, called snuff, which was inhaled through the nose. The use of snuff became popular in Europe during the 18th century. Snuffboxes were made in a variety of shapes and sizes. Smaller snuffboxes were carried by individuals, and large boxes were set on tables or other furniture and remained stationary. The boxes were made from several different materials, including wood, metal, ivory, and animal horns. They were often ornately decorated with jewels, precious metals, paintings or carvings. The image on the snuffbox depicts the Jewish hareskin dealers with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This image was popular in northern Europe in the early 19th century and was reproduced in various mediums. The snuffbox is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figurine in the shape of a seated Jewish fortune teller

Object

Nineteenth-century bronze figure of a seated Jewish fortune teller depicted with oversized tarot cards. It is possible that this figure was used to hold calling cards, or even as an ashtray. Although the Bible forbid Jews from using divination and magic, Jews were still associated with the magic and mysticism in the eyes of many non-Jews (gentiles). The accusations stemmed from a combination of antisemitic beliefs, including pre-modern ignorance about the causes of natural phenomena like weather, fear of “others” (individuals or groups from outside the population majority or with nonlocal origins), and ignorance of Jewish language and religious practices. Throughout the Middle Ages in Western Europe, Jews were falsely accused of many malicious acts, including ritual murder, performing satanic black masses, and using amulets and talismans for occult sciences. It was believed that Jewish religious texts, written in Hebrew, with its different characters and right-to-left orientation, contained spells or secret knowledge that could only be used by initiated members. In Eastern Europe, many gentiles believed Jews possessed the ability to control the weather. Folk tales accused Jews of using the holiday, Sukkot, which celebrates the gathering of the harvest and commemorates the protection God provided for the children of Israel when they left Egypt, as a Jewish ritual event to control the weather. It was believed that the Jewish ritual dances and prayers called, Tefillat Hageshem, were used to invoke rain. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bisque change plate with figure of a Jew in a white plasterers coat in gray boots

Object

Porcelain bisque ashtray with figure of a Polish (?) Jew exclaiming about the cost with German text "God almighty: what an expensive plaster." This ashtray is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast brass figure of a Jew holding an ashtray

Object

This ashtray is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Metal ashtray in the form of a Jewish man holding a tray

Object

Nineteenth-century metal ashtray in the form of a Jewish peddler holding an empty tray. The man has several stereotypical physical features commonly attributed to Jewish men: a large nose, hooded eyes, sidelocks, and a beard. Peddlers were itinerant vendors who travelled the countryside and sold goods to the public. They usually travelled alone and carried their goods with them as they went. Peddling was a common occupation for young Jewish men during the 18th and 19th centuries. Most peddlers hoped their hard work would serve as a springboard to more lucrative and comfortable occupations. However, old prejudices formed an antisemitic stereotype of the Jewish peddler. The stereotype originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions limited Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and the Jews who held these occupations were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut-rate items at inflated prices. Often, they were shown carrying a sack on their back or a tray around their midsection. This ashtray is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta of a customs officer harassing a Jewish peddler and his son

Object

Colorful terracotta figure group based upon a watercolor, Customs House, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It shows a uniformed French customs agent tormenting a comically dressed Jewish peddler and his small crying son by grinding his foot in the merchant's open sack of belongings. The work has many painted and molded details. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group of a Jewish family dressed for Sabbath

Object

Colorful terracotta figure group based upon a watercolor, A Feast Day, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It is a tableaux of a Jewish family, one man, three women, and a young boy, conversing and dressed in what are probably their best clothes, although they are shabby and patched. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta figurine of a Jewish marriage negotiation

Object

Colorful terracotta figure group, Lydia is Married, modelled by Anton Sohn in early 19th century Germany. It depicts four figures, a Jewish man, presenting his daughter to a prospective groom, while bargaining with the matchmaker. Sohn (1769-1841), trained as a church painter, had a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta figurine of a Jewish haggler

Object

Colorful terracotta figurine, The Schacherjude [The Haggling Jew], modelled by Anton Sohn in early 19th century Germany. It is a satirical depiction of a negative Jewish stereotype, the bargainer, an upright figure in a black tricorn hat, coat, and an umbrella, gesturing and yelling to someone. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group of 4 Jewish men, a boy, and a goat

Object

Colorful terracotta figure group, Kinder Israel, modelled by Anton Sohn in early 19th century Germany. It is a caricatured depiction of Jewish stereotypes, including the livestock dealer, the scholar/student, and the peddler. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta figurine of a Jewish peddler with an underfed cow

Object

Colorful terracotta figurine of a Jewish dealer and a bony, worn out cow, modelled by Anton Sohn in early 19th century Germany. It is a satirical depiction of the stereotypical Jewish peddler who always tries to cheat. While the figure is clearly Jewish, the features are not exagerrated to get the point across, reflecting how deeply the concept of the deceitful Jewish salesman was embedded in the culture. Many of Sohn's works were based upon drawings by Hieronymus Hess. This work is on his style, but the original is not known. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Terracotta figure group of 2 Jewish traders selling an old sagging cow

Object

Colorful terracotta figure group, Horse Trading, modelled by Anton Sohn in early 19th century Germany. It is a satirical and vulgar depiction of two Jewish cattle dealers using deceptive word play to sell an old, worn out cow to a German gentleman. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cane with a grip shaped as a Jewish man’s elongated nose

Object

Oak walking stick with a changeable carved handle shaped as the head of a Jewish man with kippah and pointy beard. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cane with a carved Orthodox Jewish man's beard as the grip

Object

Black painted walking stick carved from a single piece of wood with the handle made in the shape of a grotesque looking Orthodox Jewish man with a kippah. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Silver plated cane knob shaped as a Jewish man in cap with sidelocks

Object

Cast silver plated walking stick handle in the shape of the head of a Jewish peddler with side locks and sharply pointed nose. It has a hollow, open tubular neck made to be inserted over a cylindrical shaft. The soft cap and unkempt appearance were commonly used in representations of both Jewish peddlers and beggars, stock figures often portrayed in popular culture. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking stick knobs are examples of racial antisemitism becoming part of everyday life. This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cane with a carved grip of a beardless Jew with distorted features

Object

Carved natural wood walking stick with a knob handle shaped as a Jewish man with an oversize nose and lips. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden walking stick knob carved as Fagin’s head

Object

Wooden knob handle for a figural walking stick carved in the shape of a Jewish man's head with stereotypically Jewish features and a sinister appearance. The name Fagin is carved on the back, although it does not resemble the descriptions of the devil-like Jewish character Fagin from the novel, Oliver Twist, written by Charles Dickens in 1837-8. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. The name Fagin may have been added to expand the market for the item. Items such as this walking stick knob are examples of racial antisemitism becoming part of everyday life. Fagin, referred to as The Jew, is a "villainous and repulsive" character with black nails and teeth like fangs, who kidnaps small children and trains them to be thieves. Dickens expressed a common 19th century prejudice, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Black wooden cane with a silver grip of a Jewish peddler's head

Object

Black wooden cane with a changeable cast silver plated knob handle in the shape of the head of a Jewish peddler with side locks and sharply pointed nose. It has a hollow, open tubular neck that inserts over the cylindrical shaft. The soft cap and unkempt appearance were commonly used in representations of both Jewish peddlers and beggars, stock figures often portrayed in popular culture. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Walking stick with the crudely carved head of a Jewish man

Object

Slender walking stick made from a single stick with a knob handle carved as a grotesque caricature of a Jewish man. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cane with a carved grip of a Jewish man with painted eyes

Object

Walking stick made from a single stick with a head carved in the shape of a young Jewish man in a cap. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cane with a grip carved as grotesque Jewish man

Object

Wooden walking staff with a grip handle carved as a Jewish man with a huge nose and a grimace that reveals his missing teeth. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Black wooden cane with a grip carved as a Jewish man’s elongated nose

Object

Black wooden cane with an attached, probably changeable, grip carved as a Jewish man’s elongated nose. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cane with a bone grip carved as a caricatured Jewish man's head with warts

Object

Walking stick with a black wooden shaft and a changeable bone handle carved as the exaggerated, caricatured head of an unattractive Jewish man with one gold tooth and an extremely elongated nose with big warts. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze cane knob in the shape of a squinting Jewish man’s head

Object

Bronze cane knob cast in the shape of a Jewish man's head, wearing a patched kippah. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Crook handled staff with a carved Jewish head with bulging eyes

Object

Crook handled walking stick with an intricately carved head of a Jewish man with bulging eyes, and a patterned, segmented shaft giving it a snakelike appearance. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain pitcher of a seated Fagin clutching his treasure box

Object

Porcelain pitcher in the form of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton Dickens ware dinner plate with Fagin

Object

Royal Doulton series ware plate with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton Dickens ware bowl with Fagin

Object

Royal Doulton series ware bowl with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton Dickens ware pitcher with Fagin

Object

Royal Doulton series ware pitcher with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful Fagin fireplace tool holder with poker and tongs

Object

Cast iron fireplace tool holder with poker and tongs in the shape of Fagin, a Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The tongs resemble a trident, referencing the toasting fork Fagin uses in the novel. He is described as devil-like and is often portrayed with a trident shaped toasting fork to emphasize this connection. His characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children to make them thieves. Dickens rationalized it by saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him more of a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This fireset is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast iron Fagin lamp holding a toasting fork / trident

Object

Cast iron lamp in the shape of Fagin, a Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. He holds a trident, referencing the toasting fork Fagin uses in the novel. He is called devil-like and often portrayed with a trident shaped toasting fork to emphasize this connection. His characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children to make them thieves. Dickens rationalized it by saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him more of a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This lamp base is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figure of Fagin counting his money secretly at night

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Thimble of Fagin's head by Harmer Sculptures

Object

This thimble is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Frosted drinking glass with a painted image of Fagin

Object

This drinking glass is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pair of Adams stoneware candlesticks with scenes from Dickens

Object

Set of Adams ceramic candlesticks with painted scenes from two novels by Charles Dickens. One has a scene from Oliver Twist, based on an illustration by George Cruikshank of Oliver being introduced to Fagin and the criminal gang. The other has an illustration by Phiz (H.K. Browne) from The Old Curiosity Shop, of the Marchioness and Mr. Swiveller playing cards. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. These candlesticks are two of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Manor pitcher in the shape of Fagin

Object

Manor pitcher in the shape of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass nutcracker with a Fagin shaped handle

Object

Brass lever nutcracker cast in the shape of Fagin holding a money bag. This style and similar nutcrackers were mass produced for a long period by the Pearson-Page brass company in England, under several names. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy and repulsive, with black nails and fangs for teeth, and kidnaps small children to make them thieves. Dickens shared a common prejudice of the day, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This nutcracker is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figurine of a rosy cheeked Fagin

Object

Porcelain figurine of a rosy cheeked Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton Fagin figurine

Object

Royal Doulton porcelain figurine of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic pitcher in the shape of Fagin

Object

Ceramic pitcher in the shape of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton teapot with a painted image of Fagin

Object

Royal Doulton teapot with a painted image of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This teapot is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Fagin ceramic pitcher by Roy Kirkham

Object

Fagin ceramic pitcher by Roy Kirkham, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Van Dyck Ware plate with an image of Fagin with the handkerchiefs

Object

Van Dyck Ware plate with an image of Fagin with the pocket handkerchiefs, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic box with Fagin's image on the lid

Object

Ceramic box with Fagin's image on the lid, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This ceramic box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

C&E plate with a scene of Oliver Twist, the Artful Dodger, and Fagin

Object

C&E plate with a scene of Oliver Twist, the Artful Dodger, and Fagin, characters from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Fagin ceramic mug by Avon Ware

Object

Fagin ceramic mug by Avon Ware. Fagin is a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. He is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painting on glass of Fagin with his toasting fork

Object

Painting on glass of Fagin, the devil-like Jewish character from the novel, Oliver Twist, written by Charles Dickens in 1837-8. The image is based on an 1888 illustration by Kyd (Joseph Clayton Clarke.) The characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive," with black nails and fanglike teeth. He is greedy and vicious, and kidnaps small children and trains them to be thieves. Dickens rationalized the issue, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Later adaptations of the novel tried to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his stereotypical Jewish traits are central to his depiction. This painting on glass is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted metal wall bust of a sneering Jewish man in a shtreimel

Object

Bas relief wall plaque of a Jewish man in a shtreimel, a cloth hat with fur trim often worn by Eastern European Orthodox Jews in the 19th-early 20th century. The figure is marked Fagin on the back, but this portrait does not resemble descriptions of that character from the novel Oliver Twist, 1838-1839, by Charles Dickens, although it may have been marketed that way. Caricatures of Jewish figures were commonly used to decorate everyday items, such as ceramics, toys, walking sticks, and cork stoppers, examples of racial antisemitism becoming part of everyday life. This bas-relief plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass horse medallion with Fagin touching his finger to his nose

Object

Cast horse brass with an image of Fagin touching his finger to his nose. These medallions were popular decorations for the harnesses of working horses, especially in the mid-19th century. As horses ceased to be used for many tasks in the 20th century, the brasses were used as wall decorations and were popular souvenirs. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The novel's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This ornament is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bossons painted chalkwork wall decoration of Fagin's head

Object

This bas-relief is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze plaque with a full length image of Fagin

Object

Cast bronze plaque of Fagin, a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. Plaques of the same shape, size, and design were mass produced in England in 1910 in an inexpensive material known as Ivorex, plaster of Paris dipped in wax. The metal version may have been produced earlier, but the source is not known. Fagin's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This ornament is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted ceramic wall plaque of a grostesque, grinning Fagin

Object

This plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster of Fagin in jail for a theatrical production of Oliver Twist

Object

Large color woodblock poster for a late 19th century US theatrical production of Dickens' Oliver Twist. It features a melodramatic scene of Fagin in a jail cell awaiting execution, derived from the original March 1839 illustration by George mm,m. It also has two inset vignettes of the Artful Dodger showing Oliver to his new friends: Fagin and then Fagin, two boys, and Bill Sykes and his dog Bull's Eye. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, written by Charles Dickens in 1837-39. The characterization is antisemitic and exploits many negative stereotypes. Often referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, manipulative, and kidnaps small children and trains them to be thieves. Dickens rationalized the issue, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Later adaptations of the novel have tried to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze statue of a Jewish man as the pagan god Mercury

Object

Bronze sculpture by Bruno Zach of the pagan deity Mercury as an offensively buffoonish Jewish man. The antisemitic intent of the work is not limited to the loathsome physical depiction. By making the Jewish man in the image of Mercury, the depiction merged Jewish identity with a practice it condemned, idol worship. Mercury was frequently used to symbolize idolatry in rabbinical literature. Mercury was the Roman god of merchants and travellers, as well as thieves, and his caduceus was originally a magical wand used for incantations and alchemy. These were all professions - commerce, peddling, theft, and alchemy, with which Jews were associated in longheld stereotypes. Zach (1891-1935) was a popular sculptor, best known for his erotica, in early 20th century Vienna, Austria, where antisemitism was widespread and openly expressed, and a popular cause for many political parties. This sculpture is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain mug with a scene of Oliver Twist meeting Fagin

Object

This mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic tile with an impression of a miserly Jew holding a money bag

Object

This tile is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Copper painted metal dish with bas relief of 3 Jewish men on a bench

Object

Nineteenth century, English bronze dish with a bas-relief of three Jewish men talking on a bench, and captioned, “When shall we three meet again.” The relief represents a stereotypical scene in European spa towns such as Carlsbad (now Karlovy Vary, Czech Republic), or Marienbad (now Mariánské Lázně, Czech Republic). These are towns located on thermal springs, and have accommodations that use those springs for their medicinal and rejuvenating properties. Many European spa towns can trace their histories back to ancient Roman settlements. During the 18th and 19th centuries, European spa towns became increasingly popular as centers for health and social destinations for the affluent, the nobility, and European royalty. During this time, seemingly large numbers of Jewish guests also frequented the spa towns. However, antisemitic sentiment was also present. Derogatory postcards, called Judenspottkarten [Jew-mocking cards], and other souvenirs were produced and sold. A commonly depicted scene on these items includes a portrayal of three, usually older Jewish men, sitting on a bench sometimes with their umbrellas. The scene is possibly a modernized version of an older theme of three Jewish peddlers. Some versions replace the men with pigs who display stereotypical Jewish physical features, which mocked both Jewish spa culture and Judaism. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze dish with bas relief of 3 Jewish men on a bench

Object

Nineteenth century, Bohemian bronze dish with a bas-relief of three Jewish men talking on a bench, captioned, “Karlsbader Idyll”. The relief represents a stereotypical scene in spa towns such as Carlsbad (now Karlovy Vary, Czech Republic), or Marienbad (now Mariánské Lázně, Czech Republic). These are towns located on thermal springs, and have accommodations that use those springs for their medicinal and rejuvenating properties. Many European spa towns can trace their histories back to ancient Roman settlements. During the 18th and 19th centuries, European spa towns became increasingly popular as centers for health and social destinations for the affluent, the nobility, and European royalty. During this time, a seemingly large numbers of Jewish guests also frequented the spa towns. Carlsbad previously had a prohibition against Jewish residency that was repealed in 1793. After the repeal, another fifty years of litigation attempted to keep Jews from moving into the town. However, in approximately 1848, Jews began to settle in Carlsbad even though antisemitic sentiment was still present. Derogatory postcards, called Judenspottkarten (Jew-mocking cards), and other souvenirs were produced and sold. A commonly depicted scene on these items includes a portrayal of three, usually older Jewish men, sitting on a bench sometimes with their umbrellas. The scene is possibly a modernized version of an older theme of three Jewish peddlers. Some versions replace the men with pigs who display stereotypical Jewish physical features, which mocked both Jewish spa culture and Judaism. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Silver colored iron dish with bas relief of 3 Jewish men on a bench

Object

Nineteenth century, European cast iron dish with a bas-relief of three Jewish men talking on a bench, captioned with three Jewish surnames, “Mandelblüh, Afterduft, Finkelstein”. The second name, Afterdruft, translates roughly to “fecal smell.” In the 18th and early 19th centuries, central and eastern European Jews were compelled to adopt surnames. Some Jews who did not comply, had low social status, or did not have the funds to pay an official for a pleasant-sounding name, were assigned uncomplimentary, malicious, or antisemitic names. The relief represents a stereotypical scene in European spa towns such as Carlsbad (now Karlovy Vary, Czech Republic), or Marienbad (now Mariánské Lázně, Czech Republic). These are towns located on thermal springs, and have accommodations that use those springs for their medicinal and rejuvenating properties. Many European spa towns can trace their histories back to ancient Roman settlements. During the 18th and 19th centuries, European spa towns became increasingly popular as centers for health and social destinations for the affluent, the nobility, and European royalty. During this time, seemingly large numbers of Jewish guests also frequented the spa towns. However, antisemitic sentiment was also present. Derogatory postcards, called Judenspottkarten [Jew-mocking cards], and other souvenirs were produced and sold. A commonly depicted scene on these items includes a portrayal of three, usually older Jewish men, sitting on a bench sometimes with their umbrellas. The scene is possibly a modernized version of an older theme of three Jewish peddlers. Some versions replace the men with pigs who display stereotypical Jewish physical features, which mocked both Jewish spa culture and Judaism. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand painted metal figure group of 3 Jews on a bench with their umbrellas

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White painted white ceramic group of 3 Jews on a bench with their umbrellas

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand painted ceramic relief of 3 Jews on a bench with their umbrellas

Object

This bas-relief is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain tobacco jar with lid shaped as the head of a Jew

Object

This tobacco jar with lid is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Carved wooden figure of a Jewish doctor in white coat and head mirror

Object

Contemporary, carved and painted wooden figure of a Jewish physician from Warsaw, Poland. It has a slogan burned into the pedestal. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Metal doorstop with a bas relief of 3 Jews on a red bench

Object

Nineteenth century, painted cast metal doorstop with an image of three Jewish men talking on a bench. Doorstops were an important household item in the nineteenth century. They kept doors open to ensure the circulation of air throughout the house and became fashionable decorative items. The doorstop represents a stereotypical scene in spa towns such as Carlsbad (now Karlovy Vary, Czech Republic), or Marienbad (now Mariánské Lázně, Czech Republic). These are towns located on thermal springs, and have accommodations that use those springs for their medicinal and rejuvenating properties. Many European spa towns can trace their histories back to ancient Roman settlements. During the 18th and 19th centuries, European spa towns became increasingly popular as centers for health and social destinations for the affluent, the nobility, and European royalty. During this time, seemingly large numbers of Jewish guests also frequented the spa towns. However, antisemitic sentiment was also present. Derogatory postcards, called Judenspottkarten (Jew-mocking cards), and other souvenirs were produced and sold. A commonly depicted scene on these items includes a portrayal of three, usually older Jewish men, sitting on a bench sometimes with their umbrellas. The scene is possibly a modernized version of an older theme of three Jewish peddlers. Some versions replace the men with pigs who display stereotypical Jewish physical features, which mocked both Jewish spa culture and Judaism. This doorstop is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic figurine of a Jewish man with a boutonniere

Object

Ceramic figure of a stereotypical Jewish man in dilapidated top hat and suit, wearing a boutonniere. On the pedestal is the phrase: Habn Sie Nicht den Kleinen Cohn gesehn [Have you seen the little Cohn]. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.r

Green ceramic figurine of a Jewish peddler counting his money

Object

This figure is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Tobacco pipe with decorative wooden stand of three Jews on a bench

Object

This tobacco pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Carved cigarette and match holder of a Jewish peddler carrying a large sack

Object

This cigarette holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze dish of a Jewish peddler at an open window

Object

Bronze-plated metal dish, possibly used as an ashtray, with a bas relief of a Jewish peddler calling at an open window. Peddlers were vendors who travelled the countryside and sold goods to the public. They usually travelled alone and carried their goods with them as they went. Peddling was a common occupation for young Jewish men during the 18th and 19th centuries. Most peddlers hoped their hard work would serve as a springboard to more lucrative and comfortable occupations. However, old prejudices formed an antisemitic stereotype of the Jewish peddler. The stereotype originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions limited Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and the Jews who held these occupations were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut rate items at inflated prices. This dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden cigarette holder shaped as a Jewish peddler with a removable head

Object

This cigarette holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain tobacco bowl with an image of three Jewish hareskin dealers painted on the front

Object

Tobacco pipe bowl with an image of three Jewish hareskin dealers painted on the front. Bowls of this type were used with German Gesteckpfeife (arranged pipe) style tobacco pipes, also known as a Jaeger Pipes, German hunter pipes, German Porcelain pipes, Tyrolean pipes, and Wine Pipes. The tobacco was packed in the porcelain bowl which was then placed in the reservoir (or abguss) of the pipe (2016.184.115b). The reservoir acted as a retainer for the juices and tar, and sometimes wine was placed in the reservoir to flavor the smoke. This style of pipe was popular in Central Europe from the 18th to the early 20th centuries and was most commonly associated with Germanic culture. The bowls that accompanied these types of pipes were often decorated with elaborate images or coats of arms. The commonly reproduced image of three Jewish hareskin dealers was very popular in northern Europe and was reproduced in various mediums. The image depicts the Jewish men with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This tobacco pipe bowl is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

German Gesteckpfeife style tobacco pipe and porcelain bowl with an antisemitic image

Object

German Gesteckpfeife (arranged pipe) style tobacco pipe with its accompanying bowl. This style of pipe is also known as a Jaeger Pipe, German hunter pipe, German Porcelain pipe, Tyrolean pipe, and Wine Pipe. The tobacco was packed in the porcelain bowl which was then placed in the reservoir (or abguss) of the pipe. The reservoir acted as a retainer for the juices and tar, and sometimes wine was placed in the reservoir to flavor the smoke. This style of pipe was popular in Central Europe from the 18th to the early 20th centuries and was most commonly associated with Germanic culture. The bowls that accompanied these types of pipes were often decorated with elaborate images or coats of arms. The italicized text (an idiomatic phrase loosely translated as “Moses stop! The horse is exhausted”) and image on the bowl reference the stereotype that there is a problematic relationship between Jews and horses. This stereotype sought to feminize Jewish men and minimize their social status by separating them from masculine and socially respectable nineteenth century activities, such as foxhunting on horseback and military service in the cavalry. This stereotype also perpetuated the myth that Jews refused to engage in rural occupations such as farming by disassociating them with horses, a common farm animal. This tobacco pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Meerschaum pipe with the bowl carved as a Jewish man's head, with case

Object

This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Meerschaum pipe bowl with a carved image of a Jewish man holding a pig

Object

Meerschaum pipe bowl with a carved image of a Jewish man holding a pig and a clay display mount.This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ivory cigarette holder carved as the head of a bearded Jew

Object

This cigarette holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White ceramic pipe with a Jewish caricature as the bowl

Object

This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted porcelain cigarette holder molded as the head of a Jew

Object

This cigarette holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden figure of a Jew with a removable head to use a pipe

Object

This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic coin bank shaped like a Jewish banker with comical features

Object

Small money bank, opened by a key, shaped like a man, dressed in colorful clothes with a huge nose. This bank is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Capodimonte figurine of a Jewish gentleman

Object

Porcelain figurine of a young, Jewish man, manufactured by the Royal Factory of Capodimonte in Naples, Italy, likely during the late 18th or early 19th century. The figurine’s pose and dress bear a resemblance to depictions of the commedia dell'arte character, Pantalone. Commedia dell’arte is a theatrical form that emerged in northern Italy in the 15th century. The actors wore masks on stage as a homage to ancient Roman comedies. Pantalone’s mask usually had a large, hooked nose; a stereotypically Jewish feature. The figurine further embellishes the stereotype by featuring Pantalone with red hair and wearing a kippah, a traditional Jewish cap. Pantalone was usually a greedy old merchant, who would often romantically pursue, and be rejected by younger women. Commedia dell’arte was popular throughout Europe, and figurines of the characters were popular molds for porcelain makers. The Royal Factory of Capodimonte began manufacturing porcelain during the mid-18th century. However, Capodimonte now refers to porcelain designs that have emotive, Italian styling typical of those earlier pieces. In 1743, Charles of Bourbon, King of Naples and Sicily, commissioned the construction of a porcelain factory in the Royal Wood of Capodimonte. In 1759, when Charles ascended to the Spanish throne, he brought the molds, models, and artists with him to Spain and demolished the factory in Italy. Afterwards, Charles’ son, Ferdinand, inherited his father’s title in Italy, as well as his interest in porcelain. He began construction of a new facility in 1771, and production continued throughout the tumultuous Napoleonic Wars. During the first decades of the 1800s, Ginori Porcelain Manufactory purchased the Royal Capodimonte factory molds and equipment, and began manufacturing Capodimonte styled porcelain. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ginori porcelain figurine of the Wandering Jew

Object

Capodimonte-style porcelain figurine of the Wandering Jew, manufactured by Ginori Manufactory in Doccia, Italy, likely during the early or mid-19th century. Originally, the Royal Factory of Capodimonte manufactured Capodimonte porcelain between 1743 and 1759. However, Capodimonte now refers to porcelain designs that have emotive Italian styling typical of those earlier pieces. Marchese Carlo Ginori established the Ginori Porcelain Manufactory in Doccia in 1735. During the first decades of the 1800s, Ginori purchased the Royal Capodimonte factory molds and equipment and began manufacturing Capodimonte-style porcelain. The Wandering Jew is an antisemitic legend of a Jewish man (in some versions named Ahasuerus) who taunted Jesus on his way to be crucified. In response, Jesus said, “I stand and rest, but you will go on,” dooming him to live until the end of the world or the second coming of Christ. The story’s origin is uncertain, although parts may have been inspired by biblical passages. Some versions name the wanderer Cartaphilus, and claim he was Pontius Pilate’s doorkeeper, who struck Jesus, urging him to go faster on the path to his crucifixion. The Ahasuerus version can be traced back to a German pamphlet published in 1602, which was translated into several languages and widely distributed. The story of the Wandering Jew has been portrayed and depicted in works of art, poetry, literature, plays, and films. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bisque cigarette holder of a Jewish man with outstretched hands

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain plate with a scene of a Jewish pawn shop owner and Gentile customer

Object

Porcelain dish painted with a scene named Solomon's Pawnshop, depicting a barefooted poor Christian woman selling something to a Jewish pawn shop owner. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Carved wooden figure of a standing Jew enclosing a scribe's set

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted figure group of a poor Jew whispering to a wealthy merchant

Object

Painted ceramic group, A Stock Market Tip, depicting a Jew whispering into the ear of a wealthy gentleman. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic figure group of a poor Jew with an unhappy merchant

Object

Painted ceramic group, A Stock Market Tip, depicting a shabily dressed Jew stadning with his hand on the shoulder of a plump Jewish merchant. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain dish with a scene of a Jewish beggar being chased by a dog

Object

Small ceramic plate with a Jewish moocher or beggar dressed in patched clothes being chased by a bulldog above the phrase "Life is just one damn thing after another." This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small dish with a painting of a Jew scratching himself

Object

Small, tin novelty plate with a painted image of a Jewish man scratching himself, framed by a garland of onions or garlic bulbs. The man is wearing a kippah and has several stereotypical physical features commonly attributed to Jewish men: a large nose, sidelocks, and a beard. He appears well dressed, with a collared jacket and a dapper shirt, but he is scratching his chest in an uncouth manner. Below the image is a garland of white vegetables, either onions or garlic bulbs. Both vegetables are traditionally associated with Jews. They are also mentioned in the Bible and in rabbinic literature. During the 19th century, it was believed that Jews had an odor that resembled the smell of onion and garlic, caused by bad hygiene or a poor diet. This was an evolution of an older, unfounded antisemitic belief known as “foetor judaicus,” which was a perceived stench that emanated from Jews. Foetor judaicus was used as an extension of several unsubstantiated myths. Its perceived existence was used to legitimize other antisemitic beliefs and it was an invented consequence of Jews’ supposed wicked actions. Some believed foetor judaicus was a curse on Jews from God, others believed that the odor was an effect of blood libel (the baseless belief that Jews ritually murdered Christians). A third belief was that foetor judaicus was an effect of Jews’ propensity for male menstruation and evidence of Jewish male femininity. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Schwarzer Peter playing card deck with German social roles

Object

Deck of playing cards with a card featuring a dirty and unpleasant looking Jewish peddler labeled Jude. This deck of playing cards is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic match holder of a Jew holding out a bag

Object

This match holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted metal figurine of a drunken Jewish man in a trough

Object

Comical souvenir 2 part figurine of a young, red haired Orthodox Jewish man who has fallen into a watering trough, yet managed to hold his overflowing beer mug aloft. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted bisque toothpick holder of a Jewish man

Object

Painted bisque toothpick holder of a caricatured Jewish man labelled How Much on Dis. This toothpick holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze bust of a bourgeois Jewish businessman

Object

Bronze bust with a caricatured depiction of a Jewish man in a suit, labelled Herr V. Mayer, with exaggerated Jewish facial features. This bust is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain salt shaker of a caricatured Orthodox Jewish man

Object

This salt shaker is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden plaque of a Jew and a sign with a folk saying

Object

This plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Paper mache puppet of a Jewish man in a prison uniform

Object

This puppet is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden spring balanced figure of a Hasidic Jew

Object

Wooden spring balanced figure of a Hasidic Jew that sways as if davening. This balancing figure is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Puppet of a Jewish man that squeaks when the stomach is pressed

Object

Papier-mache puppet used in a puppet show that squeaks when the belly is pushed. The puppet is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figure of a Jewish peddler by Anton Mashik

Object

This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast metal bottle opener with a Fagin shaped handle

Object

Bottle opener with a cast brass handle shaped like Fagin, a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. Fagin's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This bottle opener is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass figure of a Jewish peddler

Object

Nineteenth-century brass figure of a Jewish peddler carrying a sack of goods on his back. Peddlers were itinerant vendors who travelled the countryside and sold goods to the public. Peddling was a common occupation for young Jewish men during the 18th and 19th centuries. Most peddlers hoped their hard work would serve as a springboard to more lucrative and comfortable occupations. However, old prejudices formed an antisemitic stereotype of the Jewish peddler. The stereotype originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions limited Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and the Jews who held these occupations were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut rate items at inflated prices. This figure is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small circular dish with a relief of two Jewish men fighting

Object

Small plate with a relief image of two Jewish men fighting, called Kampfende Hirsche [Fighting Bucks.] This image is based upon a painting by an unknown artist; see 2016.184.634 for a reproduction. The image is a parody of an extremely popular genre of nature paintings, many also titled Fighting Stags, which presented romanticized visions of magnificent antlered stags fighting in a clearing. There was also a popular photograph published by Oscar Kramer (1835-1892), of Vienna, titled, Kampfende Hirsche, Zwei polnische Juden in e. Balgerei [Fighting Stags: Two Polish Jews in a Tussle], which may have been known by the artist. The Jewish men are viewed as subjects of ridicule for their repellant physical appearance, their ineptness as fighters, and their undignified public behavior. Antisemitism was an increasingly popular topic in Austria at the time. This dish is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Bronze figurine mocking a pompous Jewish man with an accent

Object

Bronze figurine of a caricatured Jewish businessman with the caption: “Now! Vot about it?” He has several stereotypical physical features commonly attributed to Jewish men: a large, hooked nose, large ears, thick eyebrows, hooded eyes, and bowed legs. Many of these traits were common elements developed by European artists and illustrators in previous centuries. The caption presents a phrase spoken in what is often referred to as a stereotypical Jewish accent where “what” is pronounced as “vot,” and the first letter of each word is capitalized to show the pitch and tonality is higher at the beginning than at the end of each word. This accent has a strong association with New York City (NYC) and the Northeastern region of the United States. NYC was a focal point for Eastern European Jewish immigrants fleeing antisemitic pogroms between approximately 1880 and 1920. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figurine of a Jewish schnorrer in his traditional long coat

Object

Nineteenth-century, Austrian bronze figurine of a Jewish schnorrer, a Judeo-German term for a Jewish beggar. The figurine was possibly made in the style of Vienna Bronze, bronze sculptures made in a Viennese handcraft tradition that incorporates artistic finishes that began in Austria around 1850. During the Chmielnicki pogroms in Poland (1648-57), hundreds of Jewish communities were destroyed and thousands of Jews fled west after the destruction of their homes and way of life. Afterward, the influx of destitute Jewish refugees in central Europe helped create the archetype of the Jewish beggar, or schnorrer. Unlike a beggar or panhandler, who could be distinguished by their ragged outward appearance, a stereotypical schnorrer dressed respectably. Schnorrers were characterized as impudent, with an air of entitlement to disguise their true needs from charitable individuals. They were evasive about why they needed assistance, and were not satisfied with small favors. Typical reasons given for a schnorrer’s collection included recovering from the destruction of their home or to fund the dowry for their daughter or another relative. Schnorrers were said to invert the act of charity; by asking for handouts, they give the affluent members of society a chance to do a good deed, which complies with the Jewish communal practice of providing aid to those less well off in the community, meaning the charitable patron should be thankful to the schnorrer for providing the opportunity. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figurine of a Jewish man reading a newspaper

Object

Small bronze figurine of a Jewish man reading a newspaper titled, “CATALOGUE.” The man has several stereotypical physical features commonly attributed to Jewish men: a large nose, sidelocks, and a beard. He is wearing a caftan (kaftan) and has a large, curved umbrella handle protruding from the sash at his waist. A caftan is a long-sleeved, ankle-length coat with an open-cut at the front. Many Eastern Polish and Western Russian Jews began wearing caftans fastened with wide oriental-style sashes in the late medieval period. The garb later spread to Central Europe, but in place of the sash, a cord was used to close the front of the garment instead. Umbrellas were a common accessory carried by Jewish peddlers who spent most of their time outdoors. Peddlers were itinerant vendors who travelled the countryside and sold goods to the public. However, old prejudices stemming from the economic and professional restrictions placed on early European Jews, along with Christians’ disdain for the professions Jews were allowed to practice, formed an antisemitic stereotype of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut rate items at inflated prices. Both umbrellas and caftans were featured prominently in antisemitic depictions of Eastern European Jews. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figurine of two Jewish men standing in conversation

Object

Small bronze figurine of two Jewish men with several stereotypical physical features commonly attributed to Jewish men: large noses, sidelocks, and beards. They are wearing caftans (kaftans) belted by wide sashes at the waist. A caftan is a long-sleeved, ankle-length coat with an open-cut at the front. Many Eastern Polish and Western Russian Jews began wearing caftans fastened with wide, oriental-style sashes in the late medieval period. The garb later spread to Central Europe, but in place of the sash, a cord was used to close the front of the garment instead. These garments were often worn by peddlers, itinerant vendors who travelled the countryside and sold goods to the public. However, old prejudices stemming from the economic and professional restrictions placed on early European Jews, along with Christians’ disdain for the professions Jews were allowed to practice, formed an antisemitic stereotype of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut-rate items at inflated prices. Both caftans and wide sashes were featured prominently in antisemitic depictions of Eastern European Jews. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted bronze figurine of a Sephardic Jewish money changer

Object

Nineteenth-century Vienna bronze figurine of a Jewish money changer dressed in a thawb (robe) and a turban. His garb gives him the Middle Eastern appearance of a Sephardic Jew. Vienna bronzes are bronze sculptures made in a Viennese handcraft tradition that incorporates artistic finishes. The style began in Austria in approximately 1850. Sephardic Jews are the descendants of the 200,000 Jews who were expelled from Spain in 1492, during the Spanish Inquisition. Many Sephardi escaped to Turkey, where they were free to practice their religion and participate in commerce. Consequently, many depictions of Sephardi have exaggerated exotic, Eastern motifs. Many antisemitic depictions of Jews show them hoarding, counting, or handling money. These stereotypes originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions forced many Jews into occupations such as money changing (exchanging foreign coins or currency for those used locally). Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and moneylenders were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish man expressing an exaggerated desire for, or counting money. The figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figurine of a male Jewish matchmaker with an umbrella at his side

Object

Small bronze figurine of a Jewish shadchan wearing a long overcoat with an umbrella hanging on his arm. The man has several stereotypical physical features commonly attributed to Jewish men: a large nose, hooded eyes, and a beard. In the 19th century, a Jewish man with an umbrella became a common stereotype and featured prominently in antisemitic depictions of Eastern European Jews. Umbrellas were a common accessory carried by Jewish peddlers who spent most of their time outdoors, and this stereotype may have originated with them. Shadchan (sometimes spelled, shadkhan) is the Hebrew term for a matchmaker, also known as a marriage broker. Male matchmakers are called shadchans, female ones are shadchanit. In return for financial compensation, a matchmaker would suggest prospective marriage mates based on the compatibility of the individuals and the suitability of their families. The matchmaker would then coach them through the courting process. Over time, the societal role of the matchmaker began to decline. However, the archetypal character of a Jewish matchmaker who glosses over physical and character defects of their clients has remained. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted wooden figurine of a Jewish banker

Object

The figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted wooden figurine of a Jewish peddler

Object

The statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted wooden figurine of a Jewish schnorrer

Object

The figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand carved and painted wooden figurine of a Rabbi

Object

The figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain plate with scene of a peddler’s conference

Object

The plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pair of painted candlesticks of a happy and a sad Jewish speculator

Object

Pair of painted bronze candleholders depicting Jewish speculators made around 1880 in Vienna, Austria. One speculator has a happy face with the term “hausse” inscribed on the base, the other has a sad face and the term “baisse” inscribed on the base. Both words are stock market terminology derived from the French words for “rise” and “drop.” The terms refer to the comparative price of assets at the times of buying and selling. The placement of the “baisse” on the sad-faced candleholder and the “hausse” on the happy one implies that Jews prefer to buy assets at lower prices and then sell them at a higher price, profiting from the price fluctuation. This references the antisemitic stereotypes of the greedy Jew who exploits gentiles for their own economic advantage, and Jewish control of finance. These stereotypes originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions limited Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and the Jews who held these occupations were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles, and created negative connotations for Jews who worked in finance. The candlesticks are two of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze statue of a Jewish money changer

Object

Nineteenth-century bronze figurine of a Jewish money changer looking at the coins in his hands. The figurine was possibly made in the style of Vienna Bronze, bronze sculptures made in a Viennese handcraft tradition that incorporates artistic finishes that began in Austria around 1850. Money changers exchanged foreign coins or currency for those used locally. Many antisemitic depictions of Jews show them hoarding, counting, or handling money. These stereotypes originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions forced many Jews into occupations such as money changing or money lending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and moneylenders were looked down upon. They were perceived as morally deficient, greedy, and willing to engage in unethical business practices. Jews’ inability to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish man expressing an exaggerated desire for, or counting money. The figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire creamware mug of final Mendoza v. Humphreys bout

Object

Staffordshire creamware mug depicting Jewish boxer Daniel Mendoza and his former mentor Richard Humphreys, also spelled Humphries, in their third and final bareknuckle boxing match, September 29, 1790, in Doncaster, England. Mendoza held back for several rounds, but still won quickly. Humphreys won the first bout in 1788, and Mendoza the second in 1789. Billed as Mendoza the Jew, he was Champion of England from 1792 to 1795. Mendoza was the first prominent Jewish prizefighter in England. He was smaller than his opponents, and won with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Gillray print of Jewish boxer Mendoza winning 1st match with Ward

Object

Colored etching by James Gillray of Jewish boxer Daniel Mendoza and Bill Ward near the end of a bareknuckle match on May 14, 1792, near Croydon, England. Mendoza won, overpowering Ward, born Warr, and leaving him too injured to walk away unassisted. The match was fought to settle Ward’s dispute with Mendoza’s claim to the title, Champion of England. Billed as Mendoza the Jew, he held the title from 1792 to 1795. He was the first prominent Jewish prizefighter in England and inspired a generation of boxers. Mendoza was smaller than his opponents, and won due to his superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, established many elements of modern boxing. Gillray (1756-1815) was one of the greatest caricaturists of the 18th century. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Gillray etching of Jewish boxer Mendoza in 1st Humphreys bout

Object

Etching by James Gillray of Jewish boxer Daniel Mendoza and his former mentor, Richard Humphreys, in the middle of a boxing match on January 9, 1788, in Odiham, England. Mendoza lost the fight unexpectedly after injuring his leg. This was the first of three matches to decide the Champion. Mendoza beat Humphreys in 1789 and 1790. Billed as Mendoza the Jew, he held the title from 1792 to 1795. He was the first prominent Jewish prizefighter in England and inspired a generation of boxers. Mendoza was smaller than his opponents, and won due to his superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, established many elements of modern boxing. Gillray (1756-1815) was one of the greatest caricaturists of the 18th century. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of Humphreys enthroned after defeat of Jewish boxer Mendoza

Object

Satirical color etching by Thomas Harmar of an allegorical triumphal parade by Richard Humphreys after his victory against Jewish boxer Daniel Mendoza, who was badly injured in their match on January 9, 1788, in Odiham, England. Mendoza’s loss gave his former mentor and his supporters the opportunity to boast about defeating the popular Jew. This was the first of three matches to decide who fought the champion. Mendoza beat Humphreys in 1789 and 1790. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won bouts by superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Etching of 3rd match, Jewish boxer Mendoza v Humphreys

Object

Colored etching by C.R. Ryley of Jewish boxer Daniel Mendoza and his former mentor, Richard Humphreys, in a match on September 29, 1790, in Doncaster, England. Mendoza held back for several rounds, but still won quickly. This was their third match to decide who was Champion. Humphreys won the first bout in 1788 and Mendoza the second in 1789. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won bouts with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Gillray print of Jewish boxer Mendoza in fighting stance

Object

Colored etching by James Gillray with a portrait of Jewish bareknuckle prizefighter Daniel Mendoza in a fighting stance. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won his bouts with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Rowlandson etching of a bailiff suspicious of a Jewish bail bondsman

Object

Colored etching by T. Rowlandson of a scene from Fleet prison whereby a lady is distressed because the prison official is reluctant to accept bail from a Jew. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satirical print of Rothschild's lack of charity to other Jews

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Aquatint of people seen on the street, including a Jewish peddler

Object

Print of public London characters by an unknown artist published in 1827. Such picturesque scenes of urban life were the most lastingly popular series of English prints. The series known as London Cries, often featured outcasts or poor people who made their living on the London streets, such as street vendors, often Jewish, selling fruit, rag, ribbons, and trinkets, laborers, street musicians, and beggars. The street people were usually depicted as diligent workers deserving respect, not as nuisances or figures of fun. They were recognized for the color and conveniences they brought to city life. Pictures depicting public characters and a broader ranges of social types and classes became especially popular in the early 19th century. Scenes he aquatint is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Gillray print of the founder of the British Israel movement

Object

Satirical print by James Gillray of a crazed looking Richard Brothers leading the Jews to the Promised Land. This print was published the day after his March 4, 1795, arrest for interference with state politics, for which he was charged with treasonable practices. Brothers (1757-1824) was the founder of the British Israel movement, self styled Nephew of the Almighty, descendent of David, who claimed he was chosen to return the Jews to the Promised Land. He is shown wearing a red Phrygian cap and no pants, a reference to his opposition to the British war against France, and his support of the sans culottes of the French Revolution, who he viewed as chosen people. The men in his sack are members of Parliament who opposed the war. Brothers claimed to have prophetic visions, such as the destruction of the city of London and the collapse of the monarchy. During his arrest in 1792, Isabella Wake brought him bread weekly, and he foresaw a great role for her in his new Kingdom. After this 1795 arrest, he was found to be a criminal lunatic and sent to an insane asylum. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cartoon of a jockey eyeing his watch bought from a Jewish peddler

Object

British antisemitic cartoon published in 1828, showing a man inspecting a watch he just bought from a Jewish peddler. The cartoon was drawn by Joseph Lisle, a British caricaturist, satirical artist and printmaker. Peddlers were itinerant vendors who sold goods to the public. They usually travelled alone and carried their goods with them as they went. Peddling was a common occupation for young Jewish men during the 18th and 19th centuries. Most peddlers hoped their hard work would serve as a springboard to more lucrative and comfortable occupations. However, old prejudices formed an antisemitic stereotype of the Jewish peddler. The stereotype originated from the economic and professional restrictions placed on early European Jews. They were barred from owning land, farming, joining trade guilds, and military service. These restrictions limited Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval Christian theology held that charging interest (known as usury) was sinful, and the Jews who held these occupations were looked down upon. They were perceived as morally deficient and willing to engage in unethical business practices. The inability of Jews to legally hold other occupations, combined with Christians’ disdain for the professions Jews were allowed to practice, helped form the canard of the greedy Jew who exploited gentiles. This canard was often visually depicted as a Jewish peddler, an untrustworthy figure that sold cut rate items at inflated prices. This aquatint is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cruikshank print of politicians bartering in a pawnshop

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of gentile children stealing from a Jewish peddler

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satirical print of a Jew trying to enter Parliament

Object

The lithograph is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of a very thin Jew wooing a very fat lady

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Caricature of Nathan Mayer Rothschild with newspaper and sack

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of 3 dukes with trade good heads bowing to 5 Jewish elders

Object

Satire of an 1809 royal visit to the Great Synagogue (Bevis Marks) of London by three sons of King George III, represented as "Cumberland Lead" (Duke of Cumberland), 'Cambridge Butter' (Duke of Cambridge) and 'Suffolk Cheese' (Duke of Suffolk). The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Rowlandson print of a monkey merchant with an old Jewish man and his gentile mistress

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satiric print about the emancipation of the Jews of Westphalia by King Jerome

Object

In early July 1807, following Napoleon Bonaparte’s victories over the Prussians at Jena and Auerstädt, and the Russians at Friedland, France signed the Treaties of Tilsit with both nations in Tilsit, Prussia (now Sovetsk, Russia). France and Russia became allies, while Austria and Prussia were divided up between them. From part of the region, Napoleon created The Kingdom of Westphalia, where he installed his brother Jerome as King. The region was struggling financially, prompting Jerome to seek out financial support. He tried to win favor and support with the wealthy Jewish community in his Kingdom by removing many of the restrictions forced on the Jews of Westphalia. He officially removed these restrictions on January 27, 1808. The depicted image is from September 1807, during the time when he was trying to win favor with the community. The Jews are depicted with stereotypical features, like large, pointed noses, fleshy lips, and pointed beards, while the King is similarly depicted, though in reality he was considered to have more classical features. The image plays on the commonly mocked theme of Jewish people enjoying ham, which was forbidden to them. Furthermore, by having the King decree that the ham was now called venison, the artist is poking fun at the Jews and at the actions taken by the King to win their financial backing. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of two Jewish moneylenders with a gentile client

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Color print of an old Jew inviting a young woman to dine

Object

The lithograph is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print with 6 vignettes of a monk, a soldier, and a Jew

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Color print of Jewish men playing soccer in a snow covered market

Object

The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated sheet from a London weekly with an article on Jews by an American artist

Object

Leaf from The Illustrated London News, circa 1880s, with an article by Joseph Pennell, "The Jew at Home", with two illustrations by Pennell. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Woodcut of a Jewish peddler in front of a shack

Object

The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of a busty Jewish woman admiring the moon

Object

The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of a Jewish family found by the Grand Inquisitor

Object

The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Woodcut of a Jewish peddler showing clothes to 2 women

Object

The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Damaged scroll describing an anti-Jewish pogrom and memorializing those killed

Object

Vellum scroll with an eyewitness account and remembrance of those lost in a 1918 massacre in Novhorod-Siversʹkyi, Russia, (now Ukraine.) Written soon after the pogrom, it curses the perpetrators, recounts the events, and records a prayer for the dead and the names of the men, women, and children who were murdered. It is the only known eyewitness account of this event. On April 6, 1918, as Red Army troops retreated from the German Army, they attacked the Jews of Novhorod-Siversʹkyi, and 88 were killed. Hostility toward Jews was widespread in the Russian Empire, and the military was notoriously antisemitic. Anti-Jewish pogroms, outbreaks of mass violence, erupted frequently in the early 20th century, causing immense suffering. These scrolls were a traditional way to express community remembrance and to honor victims of pogroms. The practice of recording the names of the dead was done following the Holocaust in memorial books known as Yizkor books, created through the collective efforts of survivors to remember and preserve what was lost. The document is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Sheet music

Publication

Sheet music for Abie's Irish Nose, a novelty song by Gene Austin (1900-1972) from 1925 based upon the hit Broadway play, Abie's Irish Rose, by Anne Nichols, which opened in 1922. It is about a young couple, an Irish American woman and a Jewish man, who marry despite the objections of their family. The sheet music is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cylinder recording

Publication

Edison wax cylinder recording of the vaudeville song, "When Moshe with his nose leads the band ...." When the sheet music was published, the title was changed to, "When Mose with his nose leads the band ...", presumably to give it wider appeal and make it less offensive. The wax cylinder is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cylinder recording

Publication

Comedy sketch with music, Der Pedler, performed by Sam Silberbusch and Sadie Wachtel. It was recorded on a wax cylinder by Thomas A. Edison's company. The wax cylinder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Color print of a bearded saki monkey once called the Jew monkey

Object

The engraving is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored caricature of a Jewish lawyer by A. Park

Object

The engraving is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Sticker with Swastika "We will not fight for the house of Rothschild"

Object

The sticker is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Anti D'Israeli print with a Jewish rag dealer looking to buy a turncoat

Object

The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of a soldier bargaining with a headless Jewish peddler

Object

Color etching of a soldier encountering a Jewish peddler whose head sits on a nearby post. The caption, Like a Jew in Krahwinkel without a head, refers to the stereotype of the excitable, overreacting Jewish peddler who, when pushed into a corner, looses his head. The fact that he reacts this way when confronted by an authority figure, such as a soldier, supports the antisemitic notion that he has something to hide and has probably done something wrong. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of a Jewish peddler admiring the sun

Object

Colored etching, A Rapturous view of the Sun, with a caricature of a Jewish peddler sitting on a rock along the road outside a village, regarding the bright yellow sun above the mountain. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

German-Austrian League of Anti-Semites, 10 heller donation receipt

Object

Coupon receipt for a 10 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

German-Austrian League of Anti-Semites, 20 heller donation receipt

Object

Coupon receipt for a 20 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

German-Austrian League of Anti-Semites, 50 heller donation receipt

Object

Coupon receipt for a 50 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Nazi handbill of Roosevelt, Churchill, and Stalin controlled by Jewish piper

Object

Antisemitic, anti-Allies Nazi propaganda handbill issued in German occupied Netherlands showing the leaders of America, England, and the Soviet Union following the tune of a Jewish man playing a pipe. In May 1940, Germany invaded and occupied the Netherlands, setting up a civil administration supervised by the SS. In June 1941, Germany broke its pact with the Soviet Union and launched an invasion into Russia. On December 7, 1941, Japan attacked Pearl Harbor. Since Germany had a mutual assistance pact with Japan, they declared war against the US four days later. Germany produced war propaganda in the language of the countries they occupied to convince the local populations of the threat posed by the Allies and the need to support the war effort. In this piece, they claim that the Allies are tools of the long standing Jewish conspiracy to dominate the world through their control of international finance. The handbill is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

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