Hommage à Tempel. (Affiche / Poster for the Exhibition of'(65) Maximiliana ou l'Exercise Illégal de l'Astronomie')
Iliazd & Max Ernst
Paris. Imprimerie Union / Le Degré 41 / Le Point Cardinal. 1964
The original poster / announcement for the exhibition of Iliazd and Max Ernst's important collaboration '(65) Maximiliana ou l'Exercise Illégal de l'Astronomie'.
Held at 'Le Point Cardinal' in rue Jacob, Paris, from 29th April to May 30th, 1964, the exhibition of the 'bonnes feuilles' of Maximiliana was heralded with this poster. Although the poster omits the name of Iliazd and Max Ernst's collaboration, i.e. '(65) Maximiliana ou l'Exercise Illégal de l'Astronomie', the poster does make clear their enormous admiration for and indebtedness to Tempel.
The poster was printed by Imprimerie Union, Iliazd's preferred printer and the one he (as well as many of his fellows) used repeatedly. It is very likely given Iliazd's own history as a typographer, typesetter, designer and publisher that he designed the poster - the poster announcing Iliazd's 1949 'Poésie de mots Inconnus' made use of the same duotone lettering as featured here - and produced the mise en page himself.
'Cryptograms and a great many etchings dedicated to the life and work of Wilhelm Leberecht Tempel, an unqualified astronomer disparaged by the professional practitioners of his native Germany, a rebel poet and - finally- an exile: in Venice, Marseilles and Florence. His poems were discovered by the Russian poet Iliazd, together with his notes and lithographed charts of the nebulae he had discovered. Iliazd turned this book into a tour de force of typography, with illustrations that were veritable masterpieces of colour printing by the engraver Georges Visat.' (Edward Quinn: Max Ernst).
Held at 'Le Point Cardinal' in rue Jacob, Paris, from 29th April to May 30th, 1964, the exhibition of the 'bonnes feuilles' of Maximiliana was heralded with this poster. Although the poster omits the name of Iliazd and Max Ernst's collaboration, i.e. '(65) Maximiliana ou l'Exercise Illégal de l'Astronomie', the poster does make clear their enormous admiration for and indebtedness to Tempel.
The poster was printed by Imprimerie Union, Iliazd's preferred printer and the one he (as well as many of his fellows) used repeatedly. It is very likely given Iliazd's own history as a typographer, typesetter, designer and publisher that he designed the poster - the poster announcing Iliazd's 1949 'Poésie de mots Inconnus' made use of the same duotone lettering as featured here - and produced the mise en page himself.
'Cryptograms and a great many etchings dedicated to the life and work of Wilhelm Leberecht Tempel, an unqualified astronomer disparaged by the professional practitioners of his native Germany, a rebel poet and - finally- an exile: in Venice, Marseilles and Florence. His poems were discovered by the Russian poet Iliazd, together with his notes and lithographed charts of the nebulae he had discovered. Iliazd turned this book into a tour de force of typography, with illustrations that were veritable masterpieces of colour printing by the engraver Georges Visat.' (Edward Quinn: Max Ernst).
Folio. (616 x 412 mm). Printed duotone text in red and black to surround central lozenge with reproduction photographic portrait in sepia of Tempel on cream poster stock; the poster in remarkable condition with no creases or folds.
#48686
