Poster Artists: Alvan “Hap” Hadley

By Allan Maurer

Born in Illinois in 1895, Alvan Cordell Hadley, known to history as “Hap,” created posters for some of the best-loved silent movies, as well as some early talkies. The few original examples that have survived bring astronomical prices at auction, while the reproductions of these classics are some of the best-sellers in the marketplace.

The best known of Hap’s work are his posters of Buster Keaton’s 1927 classics, “The General” and “College,” and Charlie Chaplin’s 1928 Oscar-winning film, “The Circus.” Christie’s East sold the only known surviving original of the three sheet for “The General” at auction in 1994 for $46,000. A restored one sheet of the “blue style” poster for “The Circus” recently sold at auction for better than $13,000.

Hadley’s soulful depiction of the Little Tramp reflected his background as a caricaturist and cartoonist. He began his career during World War I working as an official artist for the Marine Corps, producing propaganda-laden cartoon strips. After the war, he settled in New York City where he dabbled in acting, appearing in the review “Greenwich Village Follies of 1920,” as well as a silent feature directed by George Irving, “Floodgates” (Lowell Films, 1924). His advertising agency developed a reputation for designing the covers of sheet music, including “Show Me the Way to Go Home,” a popular hit in 1925.

Hap’s first known movie poster is a depiction of Clara Bow as the female boxer in “Rough House Rosie” (Paramount Famous Laskey Productions, 1927), surrounded by cartoon faces, all with black eyes. His career continued for some 30 years, during which time he produced movie posters and film titles for all the major studios in Hollywood, especially MGM.

During the 1930s, Hadley produced posters for a number of Howard Hughes films, including “Hell’s Angels” (1930), starring Jean Harlow, and the controversial “Cock of the Air” (1932). Paper from these productions occasionally still shows up at auction. The only known original poster from “Cock of the Air” recently sold for $5,600 at Christie’s London, while a window card from “Hell’s Angels” brought about the same price this year.

Other Hadley posters from less high-profile productions fetch more modest prices. A window card from “Laff It Off,” a 1928 Broadway stage production, recently auctioned for $96. A one sheet of Hadley’s poster for “Reform Girl” (Tower, 1933), featuring rather grim-faced images of Noel Francis and “Skeets” Gallagher brought just $215, while the slightly more attractive poster for “Cheating Blondes” (Equitable, 1933) sold for over $800.

In the 1940s, Hadley created the huge likeness of Roy Rogers seen on billboards during the Republic Productions Roy Rogers publicity campaign and widely reproduced in rodeo magazines.

Hap Hadley died in Los Angeles in 1976.

WorthPoint—Get the Most from Your Antiques & Collectibles

Hand drawn movie posters

By Allan Maurer

The magazine Architectural Digest has an interesting piece about the hand-drawn chalk and paint movie posters by staff artists Charles Reese Collier and Sid Smith for Loew’s Grand Theatre on Peachtree Street in Atlanta.

Lowe’s, which showed primarily MGM films, hosted one of grandest premieres in movie history, that of “Gone With the Wind,” on Dec. 15, 1939. With the theatre exterior transformed into a replica of Ashley Wilkes’ Twelve Oaks Plantation, 30,000 Atlanta citizens greeted star including Vivien Leigh, Clark Gable, Leslie Howard and others.

Herb Bridges, who collects memorabilia associated with both the book and the film, one day received a call from the owner of about 70 of the original handmade Lowe’s movie posters, which had been in storage for more than 60 years.

The collection include posters from “Lady of Burlesque,” the 1943 film based on stripper Gypsy Rose Lee’s novel, “G-String Murders,” from “The Outlaw,” the notorious Howard Hughes-produced western introducing Jane Russell and her equally notorious bosom, and from “The Yearling,” among others.

For art from the collection see, click here.

Experts Say James Bond Memorabilia Value is Rising

By Allan Maurer

Reuters reports that the value of James Bond memorabilia has “shot up.”

“There is a high level of collector interest in original Bond movie posters,” Astrid Zweynert writes.

While posters from the first James Bond film sold for around $100 British pounds ($164.47) a decade ago, now they sell for as much as 7,500 pounds (a whopping $12,336.76).

You can read the report here here.

100 Horror Film Posters

By Allan Maurer

Now here’s a treat. Andrew Lindstrom’s blog “Well Medicated” displays 100 horror film posters.

My favorites include “Tarantula,” “Planet of the Vampires,” “Day of the Dead,” “Nosferatu,” the rare “Dracula” poster, “Robinson Crusoe on Mars,” and the unusual “Invaders From Mars” poster. The 1950s original version of “Invaders From Mars” was consciously designed to reflect a child’s nightmare vision of the world. Sure did work on me. I had nightmares for months after seeing it, despite the clearly visible zippers on the costumes the Martians wore.

Lindstrom includes lots of other posters, classic and modern.

This is an unusual collection, not the run-of-the-mill posters usually seen from any of the films he includes. You’ll surely have your own favorites.

Go take a look, but don’t droll on your keyboard…

Universal Horror: The Bride of Frankenstein

By Allan Maurer

Beginning in the silent era with “Phantom of the Opera” and “Hunchback of Notre Dame” with Lon Chaney, Sr., Universal Pictures made a series of classic horror films starring the Frankenstein monster, Dracula, the Werewolf, the Mummy, and the Invisible Man that ran through the 1940s.

Posters, lobby cards, glossy stills, banners—just about any memorabilia from these films—pull top-of-the-line prices that range from hundreds to tens of thousands of dollars. While the original 1931 “Dracula” and “Frankenstein” are creaky, as well as creepy now, collectibles from either bring very high prices in good condition.

All of the Universal horror films featured excellent special effects for their time, relying solely on makeup, camera trickery and the occasional animation. All also had a certain spooky poetry that makes them standout even on repeated viewing today.

“Bride of Frankenstein,” (BOF) directed by James Whale and the first sequel to his “Frankenstein,” is considered by most critics and most fans, by far the best of these horror masterpieces. It’s the one in which the monster talks and meets the old blind man in the woods; a scene parodied to laugh-out-loud perfection in Mel Brooks “Young Frankenstein” in 1974.

BOF included a stirring score by Franz Waxman, memorable performances from Karloff as the monster and Elsa Lancaster as his scream queen bride.

Ernest Thesinger played a campy mad scientist who has created a tiny King, Queen, ballet dancer and other miniature people he keeps in jars. He shares a cigar with the monster saying, “It’s my only vice…”

The creation of the bride during a thunderstorm exceeds even the original monster-comes-alive scene in the original, Waxman’s music lending it all a grandeur seldom matched since.

Even stills in “lesser” condition from BOF sold for more than $70 each recently, and an insert sold for $33,000, while many other items ranged from a few hundred dollars to $3,000 or more for almost any poster or card in decent shape. A single lobby card sold for more than $12,000.

Abbott & Costello Meet the Monsters

By Allan Maurer

There are those who felt the series of Abbott & Costello meet the monsters films that began with “Abbott & Costello Meet Frankenstein” in 1948 and continuing through “Abbott & Costello Meet the Mummy” in 1955 were an inglorious end to the Universal Studios monster series.

The first, in which they encounter the Frankenstein monster (played again by Glenn Strange, who never quite gets the pathos Karloff brought to the part), Dracula (Bela Lugosi), the Wolf Man, (Lon Chaney, Jr.) and at the end, the Invisible Man, is the best. “Pulp Fiction” director Quentin Tarantino, has more than once expressed his admiration for it, and I agree that it’s both funny and scary.

There is nothing funny about the prices posters from their meet the monster films bring, though. Movie paper (posters, stills, etc.) from the series, which includes “Abbott & Costello Meet Dr. Jekyll and Mr. Hyde (Boris Karloff); and “Abbott & Costello Meet the Invisible Man,” regularly draw auction prices in the hundreds of dollars or much more for single items.

A linen-backed 1-sheet from “Abbott & Costello Meet Frankenstein” sold for $5,400 at auction this year. An unbacked original sold for $3,700 and a Spanish version of the poster for $675.00. An 8×10 still form the film went for $275.

By way of contrast, 1-sheets from “Abbott & Costello Meet the Mummy” sold for from $1,300 to $546 from 2000 to 2005.

Curse of the B Horror Movie

By Allan Maurer

Back in the 1942, RKO studios gave producer Val Lewton a piddling $150,000 and a title, “The Cat People.” Lewton made up for the lack of a decent special effects budget by keeping all the suspense scenes wrapped in shadows.

“The Cat People” is famous for its creepy swimming pool scene, which stills sends shivers up my spine with its creative use of sound and suggestion. The film also introduced what would later be called “The Bus,” in which a woman who believes she is being followed by… something, is startled by the air brakes of a bus stopping at a corner. Even when you know it’s coming, if you watch it in the dark, you’ll jump.

Many horror film directors still use a version of “The Bus” today, making us jump at loud sounds that are red herrings.

Lewton would make nine more films for RKO, including “Curse of the Cat People,” which was really a sweet story about a little girl with an imaginary friend and not a horror story at all, and three films that gave Boris Karloff two of the best roles of his career in “Bedlam,” and “Body Snatcher,” which also starred Bela Lugosi.

The poster from “Curse of the Cat People” is often used as an example of how misleading film art can be regarding the actual content of a film.

Lewton’s other films included “The Ghost Ship,” “Isle of the Dead,” “The Seventh Victim,” “The Leopard Man,” and “I Walked With a Zombie,” all notable for their ability to conjure fear from shadows and sound and nearly nonexistent budgets.

Lewton hired directors who would later achieve fame and acclaim, including Jacques Tourneur, Mark Robson, and Robert Wise.

Always appreciated by critics such as James Agee, novelist, film critic and author of the script for John Huston’s “The African Queen,” Lewton was the topic of a recent new documentary narrated by Martin Scorsese, shown repeatedly on Turner Movie Channel and available as an extra in the Val Lewton DVD set.

Posters from the Lewton films took another leap in value the last few years, partly as a result of increased attention, but also just due to growing appreciation for how well these spooky films hold up today.

Many 1-sheets, half-sheets, and lobby cards from Lewton’s films sell for several hundred dollars each, and I noticed prices on the rise this year.

An insert from “The Cat People” sold for $1,250 in 2004 and a 1-sheet sold for $675 as far back as 1997. It’s still possible to pick up some less desirable (image-wise) lobby cards for under $50.

One-sheets from “Body Snatcher,” starring Karloff and Lugosi, sold for $1,200 to $1,500 this year. Almost anything with either Karloff or Lugosi generally brings higher prices for any type of movie paper, including original stills.

Universal Horror: The Wolf Man

By Allan Maurer

The “Wolf Man,” stars Lon Chaney, Jr. as doomed Larry Talbot, who, bitten by a werewolf, turns into a beast every full moon and kills. Chaney portrayed the tortured Talbot not only in the 1941 film that introduced the character, but also in the Frankenstein series, including “Frankenstein Meets the Wolf Man,” “House of Frankenstein,” “House of Dracula,” and finally, “Abbot and Costello Meet Frankenstein.”

My favorite of all these sequels is “House of Frankenstein,” which starred Karloff as a mad scientist rather than the monster (who is played by Glenn Strange), the Wolf Man, played by Lon Chaney, Jr., a hunchback (J. Carrol Nash), and Dracula (John Carradine).

Touches of poetry run through the script, including this bit of verse about the Wolf Man: “Even a man who is pure at heart and says his prayers at night, can become a wolf, when the wolf bane blooms and the moon is full and bright.”

A set of lobby cards from “The Wolf Man,” sold for from $80 to $2,300 each (the later for a title card) in 2004. A set of eight went for $3,450 back in 1997. An insert sold for $3,000 in 2004. Prices have not gone down since then.

A single still from “House of Frankenstein” sold for $168 this year (2008), while a title card (lobby card) went for $4,000 four years ago, and an insert for more than $6,000 the same year.

A number of artists best known for their work in other fields also did at least some movie posters.

Today, Charles Addams is best known for creating the “Addams Family,” as familiar to us now through the two movies and the television show as through the dark humor of his weird New Yorker cartoons.

Addams’ bizarre sense of humor is perhaps best caught in his cartoon of the entire Addams’ Family on the roof of their Gothic home, getting ready to pour boiling oil on a group of Christmas carolers below. The characters never had names until the TV sitcom, when Addams fleshed them out a bit, so to speak and now we know them as Gomez, Morticia, Lurch, Pugsley, Wednesday and Uncle Fester.

Addams did movie poster art for “Murder by Death,” (1976) and “How to Murder a Rich Uncle,” (1957), among other films.

“Murder By Death,” written by Neil Simon, author of the “Odd Couple,” starred writer Truman Capote in a farce about five famous literary detectives and their sidekicks invited to a mansion bizarre enough to have appeared in one of Addams cartoons to solve a mystery.

The IMBD listing for “Murder by Death” is here: http://www.imdb.com/title/tt0074937. Wikipedia’s entry on Addams is here: http://en.wikipedia.org/wiki/Charles_Addams

In a recent issue of a monthly newspaper dedicated to movie poster collecting, five of seven dealers used the one-sheet from 1957′s “Forbidden Planet” showing Robbie the Robot cradling sexy Anne Francis in his metallic arms as a prominent part of their ad.

The 1957 MGM film is often cited as a precursor to “Star Trek,” and featured, among other wonders, a Disney animated monster from the “ID.” It had all the MGM trimmings, stars, a big special effects budget, and a plot derived from Shakespeare’s “Tempest” set on the planet Altair IV.

About 25 years ago, I bought a “Forbidden Planet” 1-sheet at a science fiction convention for $30. It was perfect and I had it framed in my home for years.

Then during a time of financial need, I sold it at another science fiction convention. We were on the steps leading to the convention dealer’s room, which had not yet opened.

I should have known something was fishy when the dealer who bought it made sure it was original, then almost broke his hand reaching for his wallet.

He peeled off four bills and said, “I’ll give you $350 for it right now.”

At the time, I thought, great profit, took the money and handed over the poster.

Recently, I saw one offered at a fixed price from a dealer for $30,000.

That seems excessive to me, but it has regularly sold for $3,500 or more in recent years. All the movie paper from “Forbidden Planet” sells at high prices. Even single lobby cards can sell for hundreds of dollars.

But that one-sheet of Robbie the Robot holding Anne Francis (which he never does in the movie), has been described as the single most desired science fiction film movie poster.

It was a better investment than stocks and bonds, even with the profit I made then, let alone what it would bring now.

I say to myself, who knew?

But that’s part of the value of a site such as Worthpoint, I think.

You’ll know.

Some Tolkien fans never forgave Ralph Bakshi for his animated version of “The Lord of the Rings,” at least until Peter Jackson did the trilogy right in live action (and plenty of computer generated imagery).

Bakshi also directed the melancholy animated story based loosely on the doomed lives of all too many pop musicians in his “American Pop,” in 1981, which I can still watch with a mixture of pleasure and pain.

He did the posters for his version of “Lord of the Rings,” and “American Pop,” and while I’m not crazy about his version of LTR, I do really like his poster for “Cool World,” a film similar to “Who Killed Roger Rabbit” in its combination of live action and animation worlds.

Bakshi’s work still sells at reasonable prices. You could buy a one-sheet from “American Pop” last year for $14.00. A British Quad of “Fritz The Cat,” sold for $104.00 this year. Oddly enough, that is also exactly the high price for a 1-sheet from his 1978 version of “The Lord of the Rings.” Nothing from any of his films sold for much more than that.

Pam Grier told an audience at Winston Salem’s 2008 Riverrun International Film Festival that when she went to meet director Quentin Tarantino, he told her he had written a movie with her in mind.

She also discovered that he “has the posters from all my movies,” she said. “I don’t even have them. They’re worth thousands of dollars.”

We don’t know how many Tarantino actually owns, but he would need a few for them to add up to thousands of dollars worth, not that the director of “Pulp Fiction,” would have a hard time coming up with the money. Tarantino is known to collect movies in just about every format and movie memorabilia such as posters as well (more about that in a coming post).

Grier starred in 1970s action films such as “Coffy,” (1973), in which she played nurse battling
drug dealers. She also played tough roles in black action films such as Foxy Brown (1974), Sheba, Baby (1975), Friday Foster (1975) and Greased Lightning (1975), among others. She appeared in many other genre films, from westerns to the Blackula sequel.

Since 2004, she has been a regular on Showtime’s “The L Word.”

Tarantino starred her in “Jackie Brown,” (1997), which he wrote because of his fondness for Grier’s work in those action films. Those, she said she did primarily for the money.

Her movie memorabilia does attract buyers.

One-sheets from “Coffy” in very good to fine condition sold at from $192 to $229 in 2006, according to one auction house listing of poster sales results, and from $227 to $36 in a variety of conditions more recently. Oddly enough, one lesser condition “Coffy” sold for $224, while one described as “good” sold for $36–which just goes to prove, you can find bargains or pay way too much in auctions.

A pressbook—the advertising book movie PR folks used to send to theaters with every film—went for $36 and an 8 by 10 gloss still for a bit over $30.

By comparison, a one-sheet from “Jackie Brown” (advance, showing Grier), sold for about $20 recently.

It’s not unusual to discover movie poster collectibles in unlikely locations. This time, the Phantom was hanging out in a sub shop.

Movie paper from Chaney’s films is rare and highly prized, regardless of type. The linen-backed six-sheet shown above from the original silent “Phantom of the Opera,” (1925) starring the legendary Lon Chaney, Sr. hung on the wall of an Italian restaurant, “The Classic Sub Shop,” in Philadelphia, PA, from 1963 to 1974. A Christie’s auction catalog from 1995 offered it for sale at $60,000 to $80,000. It sold at $57, 500.

Why the poster was valuable

Why was it so valuable? For one thing, it is the only known copy of the poster. A six-sheet is 81 inches by 81 inches. Linen-backing generally increases the value of movie posters, helping to preserve them and making them easier to frame properly. It is itself an expensive process and an exception to the general rule that collector’s want unrestored items.

Meanwhile, a one-sheet from Chaney’s “Phantom” in fine condition sold for $24,000 plus in 1993. A single still from the film sold for $290 in 2007.

Although Chaney is best remembered for his handful of horror films, he turned in numerous performances as a character actor in a variety of genres, including a role as a tough Marine drill sergeant and several turns as a gangster.

Chaney collectibles becoming more valuable

The Turner Classic Movie Channel has gone a long way to restoring recognition to this master of make-up known as “The Man of A Thousand Faces,” with its retrospective showing of his films and a documentary about him. Chaney’s work as a makeup artist led to him writing the article about it for the 11th Edition of the Encyclopedia Brittanica.

James Cagney starred in a biopic (a movie biography) about Chaney (“A Man of A Thousand Faces”) that took great liberties with his story. The poster, which of course sells for much less than originals from Lon’s films, includes sketches of Cagney re-enacting Lon’s most famous parts, such as the “Phantom” and “The Hunchback of Notre Dame.”

Years ago, in 1954, when I was 7 or 8, I saw a little film called “The Rocket Man,” at the Columbia Theatre in the small town where I grew up. I was about the same age as the young boy, played by George “Foghorn” Winslow, known for his gravelly voice.

Winslow’s most famous film is probably “Gentlemen Prefer Blondes” in 1953. He made “The Rocket Man” a year later.

In “The Rocket Man,” Winslow, wearing a space suit and helmet I very much coveted, discovers a weapon accidentally left behind by a real spaceman. When pointed at someone, it makes them tell the truth.

Now if that existed, it really would be a weapon. Think about how much politicians would pay to keep it out of our hands. In the movie, Winslow uses it to defeat the wiles of local politicians and bad guys.

Although TCM has shown “The Rocket Man” on very rare occasions, I have yet to see a commercially released version in any format. Posters or other movie paper from the film shows up in auctions now and then. I paid a mere $20 for the Insert shown above.

The Lenny Bruce connection

“The Rocket Man” is the only movie scripted by the so-called “sick comic” of the 1960s, Lenny Bruce, who mentions it briefly in his autobiography. Bruce was a tragic figure, brilliant, but addicted to heroin and hounded by local law enforcement coast to coast for his act, which many thought obscene. Compared to what can be heard in many nightclubs or on cable TV today, his act would be considered relatively mild.

Later, Dustin Hoffman would play Bruce in “Lenny,” directed by Bob Fosse. I collect lobby cards and posters from Fosse’s movies, which include “Cabaret” and “All That Jazz.”

Cliff Gorman, who did Bruce in a play about Lenny on Broadway in the 1970s, portrays Hoffman playing Lenny in Fosse’s autobiographical “All That Jazz,” which is enough to make you dizzy if you think about it.

Prices are still reasonable on many Fosse items. I recently bought a set of 8 lobby cards from “All That Jazz” for under $50.

One of the most amazing American collections of movie memorabilia known has sold to an as-yet unnamed foreign buyer.

Leonard Schrader, screenwriter and older brother of director Paul Schrader, died in November 2006. Nine months later, his friend and collaborator David Weisman discovered that Schrader had kept a secret from his friends, his brother and even his wife. He had amassed a collection of 8,642 vintage lobby cards and 5,000 additional movie stills, fan magazines, and heralds.

He kept the collection preserved in large photographer’s binders in his home in the Hollywood hills, although many were well hidden, says Weisman.

Quite possibly the largest and most important collection of lobby cards in existence, rivaling or surpassing those in museum hands, it includes such treasures as 189 Buster Keaton cards in pristine condition.

It also includes seven binders dedicated to John Ford films, six with Fritz Lang items, and many others dedicated to directors, stars and more.

No one knows exactly why Schrader kept the extent of his hobby hidden.

Two national magazines, “Moving Pictures,” and the literary magazine “The Believer” dedicated pages to the Schrader collection in recent months.

In an email to us, Weisman says:

“The collection has been sold, as a whole, and will be soon shipped abroad. The transaction is in final stages of conclusion and the buyer intends to make his own announcement soon, so that is all I can say right now.

“Suffice to say no one in this country had the vision or resources to compete. But the Schrader collection appears to have found the home it deserves – one that’s very much in keeping with the current zeitgeist.”

We’ll let you know when the buyer is revealed.

Let’s start with the absolute basics: all serious collectors desire items that are as near perfect as possible, and the closer to perfect an item is, the higher the price it can command.

On the other hand, movie paper in all conditions sells. Internet auctions of movie paper routinely sell (clearly labeled) lesser condition items with fading, tears, foxing, water stains, pin holes and a variety of other defects. Many of the worst defects on movie posters, lobby cards, inserts, and stills are along the edges where they can be hidden by mats or frames if desired primarily as a display item.Some dealers even note in their ads that they buy movie paper in “any condition.”

Factors affecting movie paper prices

It is important to note that factors other than condition affect movie paper prices. Many films were reissued with new art over the years. A serious collector checks to make sure whether the art is from the first run or a reissue.

Reissue movie paper may still bring considerable prices for very popular films. The easiest way to tell a reissue from an original is by comparing the copyright date of the paper to the initial release date. We’ll cover that in more detail in another paper.

Reproductions are usually worthless as collector’s items, although they may dress up a wall display of movie art.

The older movie paper is, the more you should expect some defects, particularly with photographs.

Common movie paper defects

Here’s a list of common movie paper defects:

Bleed-throughs – Writing, stamps, tape, stains or other marks on the back of the paper visible on the front. Such marks on borders do not affect value so much as those on prominent parts of the item.

Creases – Lines from folding, crumpling, or crimping the item. Their affect on value depends on how many creases exist and where they are. Creases, which may be deep enough to damage the item enough to crack through the color, leaving a white space, should not be confused with wrinkles, which are surface defects.

Fading – Loss of color and detail caused by exposure to sunlight or age leades to considerable loss of value in movie paper. It is less of a problem on the edges than on principal artwork.

Pin holes, drill holes, staple holes – All holes in movie paper affect its value, but those on edges and not torn generally won’t lower value nearly as much as those more visible. Drill holes were used to “mark” posters once used on building walls by placing them on a stack and drilling a hole top center.

Writing marks – Many exhibitors marked up movie paper for a variety of reasons, but not a few bored movie staffers handling the art occasionally doodled mustaches on stars, among other defacements. Obviously, the extent and type of marking will seriously affect a poster’s value. Actual marks off the art by exhibitors (With Bugs Bunny Cartoon Saturday!) bother some collectors less.

The Los Angeles Times is reporting that a movie memorbilia collection some say is second only to that of the Academy of Motion Picture Arts and Sciences will be auctioned off in mid-December of this year.

At that time, The Collector’s Book Store on Hollywood Blvd. will sell its stock, which includes a million film studio publicity stills, 50,000 original movie posters and 20,000 vintage fan magazines, 150,000 original negatives, 50,000 color slides, scripts and contracts signed by stars such as Boris Karloff, Vincent Price, Frank Sinatra, Elizabeth Taylor (and her parents).

Retired collectibles dealer Malcolm Willits assembled the massive collection during a 43-year-period. When he opened the store in 1965, the studio system disintegrated and many were just throwing away publicity materials such as stills, posters, and press kits. The store acquired much of that material.

Also, stars would sell the store their entire personal collections of material. Some, such as Mae West, would come into the store, yank unflattering pix from the bins and offer to replace them with better shots, which she did.

Certain rare, high value items in the collection such as stills shot by well-known glamor photographers will sell apart from the bulk of the collection.

The rest will go in large lots, folders of publicity stills sold by the filing cabinet letter, each drawer containing 5,000 photos, for instance. Out of my league, but we may all end up buying material from the collection second hand from other auctions and dealers, I’m guesing.

Profiles in History will hold the auction in Calabasas, CA.

Quite a few movies about invading aliens scared us during the collision of the Atomic Era with the Space Age in the 1950s.

Only one, however, transforms like some space creature to fit the zeitgeist of each new generation. Several of those original 50s films about aliens have been remade once.

The original 1956 “Invasion of the Body Snatchers,” directed by Don Seigel, who would later do the first Dirty Harry film with Clint Eastwood, demonstrated a certain plastic ability to fit the viewers perceptions right away. Some saw the unfeeling pod people as commentary on the regimented thinking expected of communists, while others saw it as commentary on the regimented thinking of McCarthyism.

Many film buffs still think this is the best of the films. Its collectibles certainly bring the highest prices, with lobby cards in good condition selling for $150 and more each and one-sheets going for more than $1,000. I bought one 20 years ago for $30 and a couple of lobby cards I still have in absolutely perfect condition for about $5 each then.

Phil Kauffman’s “Body Snatchers”

In 1978, Phil Kauffman, who also directed “The Right Stuff,” another film I like quite a lot, helmed the second version of “Invasion of the Body Snatchers.” It parodied the psycho-babble of the era, San Francisco acceptance of wonkiness, and political paranoia left over from the Nixon years .

Personally, I think this version is the best (so far). Its collectibles sell for decent if not excessive prices. I recently bought a French set of lobby cards from this version for under $30. I buy almost anything from this version and have American color stills, a German lobby card set, a pressbook and the one-sheet. Altogether they did not cost more than about $100.

”Body Snatchers” for the 90s and beyond

The 1993 version takes on the Army and paranoia about environmental pollution. It’s well directed by Abel Ferrara and delivers more than a few chills. I picked up the one-sheet from this version for $20 plus postage.

The latest version, starring the Queen of the Remakes, Nicole Kidman (who is often the best thing about them), is, Roger Ebert correctly opines, least of the lot. It focuses on paranoia about an out-of-control epidemic. The one-sheet, a nice shot of Kidman, remains inexpensive.

Tbe going rate for most recent posters such as this one still hover in the $20 to $25 range for really desirable items.You won’t get a poster from the most recent version of “Blade Runner” at that price, though.

Movie paper refers to cinema promotional material printed on paper. Movie display art also appeared on more durable card stock (LobX cards, half sheets, and insert cards, for instance).

Common popular sizes (in inches) include the following:

One sheet:

27” X 41” before the 1980s, thereafter, 27” X 40”

This is one of the most popular sizes of movie paper collected. They were stored folded before the 1980s, sometimes rolled thereafter.

Half sheets:

22” X 27” or 22” X 28”

Half sheets, no longer made, were a staple of movie advertising through the 1950s. They are popular with collectors because they’re easy to frame and display. Their card stock means they’re frequently in better condition than their one-sheet counterparts and they were generally stored flat, so they’re in better condition than many items from the same film printed on paper. They often appeared in one display window above several lobby cards.

LobX cards:

11” X 14” for the standard size, they also come in mini (8” X 10” or 8” X 11”) or Jumbo sized, 14” X 17”

Lobby cards are among the most collectible of movie posters. Their card stock means they’re better preserved than most paper items. Title cards, often with the same art that is also on a half sheet or one-sheet, are the most popular.

Lobby cards are easy to frame and display. The Standard size came in sets of eight. Sometimes a title card will sell for more than all the other cards in a set. Sets frequently show up in auctions. Many single cards are offered on eBay.

Insert Cards:

14” X 36” insert cards, easy to frame and sharing the better-preserved quality of card stock, remain popular, even though they have not been made for many years.

Insert cards fit those long, thin display windows common to movie theatres in the pre-measles era.

Glossy still photographs:

8” X 10” glossy still photographs—originals—come in black and white and color, but most, until very recently, came in black and whites (as many as 25 per movie) and were aimed at daily newspapers, weekly entertainment paper, and other media primarily printed in black and white.

Color slides frequently accompanied movie press kits more recently, along with black and white stills and the press information packets.

Window Cards:

22” X 28” vertical

14” X 28” standard

10” X 18” mini

Window cards sat in store display windows everywhere from barbershops to five and dimes at one time.

Frequently, those actually used, show fading from such window display.

They are on card stock and condition plays a role in their value, but they usually sell for much less than other movie display items.

Heralds:

5” X 7”
6” X 9”

Heralds often appeared two to a page in newspapers. Today, newspaper-page sized ads appear in special sections of major papers such as the New York Times, but heralds as such have mostly disappeared.

Heralds were produced in huge numbers. Some people actually focus on them, but they are on paper, often newsprint. They are not as valuable as other movie display art, but popular movie titles sell regularly in auctions.

Other sizes:

Subway:

45” X 59” horizontal; 30” X 45” vertical

Tough to display and not offered that often, these are the large posters often displayed in subways, transit malls and other highly trafficked areas.

Three sheets:

41” X 81”

Three sheets, first used in vaudeville and by circuses, usually came in two or three pieces cut horizontally. Their size makes them tougher to display. They’re printed on paper. They were originally three times the size of one-sheets, hence the name. There are other three-sheet sizes. Disney issued some at 41” X 78” for instance. Three sheets were common until the 1980s. Some collectors like the fact that these posters were printed in fewer numbers than more standard sizes, and are thus more rare.

Six sheet:

81” X 81”

The six-sheet is quite a poster, dominating if you display them. Fewer of them were made, which increases their attractiveness to some. Stored folded, they sometimes came in four pieces.

Other common movie paper collectibles include press kits, which usually include photos in various forms and the press information. These come in many forms, from a folder to a CD.

Press books were exhibitor’s manuals that included background information and feature stories about a film with stills, usually black and white, that newspapers or magazines could cut out and paste directly into a page layout.

They also include posters available, other promotional items and ideas. These remain relatively inexpensive. I bought one from the 1978 Invasion of the Body Snatchers for $20.

Popular foreign sizes:

British Quad:

30” X 40”

The British Quad poster’s dramatic size appeals to many collectors and they generally draw good prices for desirable titles. Quads are the most popular British poster size.

Australian Daybill

13”X30” Australian Daybills were produced in low numbers and are fairly rare. They frequently have better art work than other movie paper. They’re a good buy if you can find them.

Italian one-sheet, or Foglio

28”X39” Always issued folded.

Italian Photobusta

14” X 20” through the 1950s, then 20” X 28”

These are similar to lobby card sets, often using the same artwork as lobby card and stills.

We’ll cover less popular, odd sizes, other foreign sizes, and unusual items such as standees and billboard sizes in another article.

Dane Cook is not happy with the new poster for his upcoming film, “My Best Friend’s Girl,” and posted a rant about its design and bad Photoshopping on his MySpace page.

He says “the left side of my face seems to be melting off my skull.”

He adds, “It looks like I’m wearing Maybelline Water Shine Diamonds Liquid Lipstick.”

He cites a number of other complaints, some more than a bit on the vulgar side.

What do you think? It doesn’t look all that terrible to me, not that I plan on collecting it.

He’s not the only star known to be sensitive to the marketing of his films. Woody Allen preferred tasteful all print posters and used to ask that others not be displayed in his beloved Manhattan.

You can read his comments via a Huffington Post item here: http://tiny.pl/28kk