# 35187

BIALIK, Hayyim Nahman (1873-1934); BERGNER, Yosl (1920-1917) (illustrator)

Mizmorim u-pizmonot : meʻen shire ʻam. (Signed twice by the artist, Yosl Bergner)

$275.00 AUD

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Tel-ʼAviv : Dvir, 1973. Limited to 400 copies. This copy is numbered 399 on the limitation page, which is signed in pencil in Hebrew cursive by the book’s illustrator, Yosl Bergner. Small octavo (162 x 100 mm), publisher’s red cloth over boards with gilt device to upper board; pp 89, [1]; illustrated with 23 full-page reproductions of ink drawings by Australian-Israeli artist Yosl Bergner; housed in the publisher’s papered cloth slipcase with a Bergner illustration to the front, signed in red ink by the artist, again in Hebrew cursive; a fine copy.

No copies traced in Australian collections. 

‘Hayyim Nahman Bialik (Hebrew: חיים נחמן ביאליק; January 9, 1873 – July 4, 1934), also Chaim or Haim, was a Jewish poet who wrote primarily in Hebrew but also in Yiddish. Bialik was one of the pioneers of modern Hebrew poetry.’ (Wiki.)

Bialik College, Melbourne, is named in the poet’s honour.

‘Yosl Bergner (Hebrew: יוסל ברגנר‎; 13 October 1920 – 18 January 2017), also known as Josl, was an Israeli painter. He was born in Vienna, Austria, grew up in Warsaw, Poland, and lived in Melbourne, Australia from 1937 until 1948.

Yosl emigrated to Australia in 1937 and studied in the National Gallery School in Melbourne until the outbreak of World War II. He served for four and a half years in the Australian Army, and later continued his studies at the Art School.

In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd. Adrian Lawlor moved with his wife to a cottage at Warrandyte, an outer suburb of Melbourne, where they lived for 30 years. Bergner was a frequent visitor at their Warrandyte home. All the men socialized together. Bergner encouraged them to go beyond their traditional landscape style and introduced a more radical concern for working families, thus having an important impact on Australian art.

Bergner may not have been prepared for the plight of many struggling Australians. Yet he felt a strong connection between the suffering of people everywhere, whether they were the Jews that he remembered from Europe, landless blacks in the heart of Australia or hungry children in inner urban Melbourne.

He left Australia in 1948 and after two years of traveling and exhibiting in Paris, Montreal and New York City, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957 with his wife, the artist Audrey Bergner.’ (Wiki.)