An example of a Rowland & Marsellus Co. Alaska-Yukon-Pacific Exposition commemorative blue transferware plate, ca. 1909. The exposition was held in Seattle in 1909 and the face decoration depicts various Seattle and area landmarks.

From lovely plates and delicate pitchers to decorative trinket boxes and figural animals, souvenir pottery was proudly displayed in American homes for decades.

Today, many of the more interesting pieces—such as a plate honoring the Alaska-Yukon-Pacific Exposition or a ceramic dog labeled Wheatland, Wyoming—are the subject of renewed interest among the current generation of collectors.

America’s “golden age” of souvenir pottery began in the 1890s and extended through the 1930s. While numerous items were also produced in the years that followed, production costs and public demand generally reversed positions.

Ironically, the country’s first true romance with souvenir pottery was not linked to tourism but rather the simple appeal of interesting scenes. Early in the 19th century, England’s Josiah Wedgwood was successfully producing wares for the American market which depicted scenes of the Revolutionary war and historical sites.

By the 1820s, the entire Staffordshire pottery district of England was busy applying European and American scenes, or “views,” to their distinctive pottery. Blue-and-white transfers produced striking images for buyers who would not likely visit the actual sites themselves.

You don’t have to guess where this commemorative place hails from.

Landscapes and modes of transportation were sometimes featured, but a major focus was on specific buildings and other structures of note. Typically, such views appeared on plates or serving dishes, but they could also be found on mugs, spittoons, pitchers, creamers, trinket boxes and even chamber pots.

Most images were of a deep blue at first (in the earlier 1820s), but gradually, new and improved light blues were used over the next two decades. Still later, in the second half of the 19th century, potters were able to add multiple colors to a basic transfer for an even more striking image.

By the 1850s, such unique souvenir pottery was being proudly displayed in the homes of America’s more affluent people. The range of selected topics varied widely from the harbor of New York City to the hamlet of Vevay, Indiana. The scene of the “town” of Pittsburgh could be found along side another which highlighted the Deaf and Dumb Asylum of Hartford, Conn.

For some educated Americans, it might be relatively easy to recognize buildings of New York’s Crystal Palace if not, perhaps, the Mormon Temple at Nauvoo, Ill. However, for the makers of such pottery in England, it could be much more of a problem.

A souvenir teacup & saucer depicting the Mt. Washington Cog Railway of New Hampshire. Multicolored transfer on both pieces, gold trim. Marked "Jonroth English Bone China.”

“If most (souvenir pottery) were copied from paintings or from portfolios of prints, all were equally strange to the Staffordshire potter,” noted Los Angeles County Museum curator Gregory Wilcox in “The Concise Encyclopedia of American Antiques.” The potter, therefore, could be forgiven, “if sometimes he mixed the tiles printed on his views.”

One of the first major connections between souvenir pottery and a specific event came with the
U.S. Centennial celebration of 1876 in Philadelphia. A number of that city’s own buildings appeared on items distributed to those who attended the event, including Independence Hall.

Those pottery souvenirs with historical views were particularly popular that special event. “Mementos of colonial and revolutionary days were discovered as if seen for the first time at the Centennial Exhibition . . . by people in great numbers,” Wilcox wrote.

By the time the Columbian Exposition arrived in 1893, Americans were totally fascinated with all manner of illustrated souvenir pottery. That same year the Jones, McDuffee, and Stratton Importing Company of Boston contracted the ever familiar Wedgwood company to produce a series of plates with scenes from the Boston area. In the years that followed, the Boston company would commission more than 300 different “views” on souvenir plates.

Of course, Wedgwood produced a vast number of other scenic plates with American locations in the late 19th century. Souvenir plates and similar pottery also came from the Williams Adams Company, Frank Beardmore and Company, British Anchor Pottery Company, W.T. Copeland and Sons, Royal Doulton, Edwin Knowles China, D.E. McNicol Pottery, Royal Staffordshire Pottery, F. Winkle Company, and many others.

Major events of the new 20th century, including the 1904 World’s Fair in St. Louis, naturally lent themselves to great assortments of souvenir pottery. One of the most popular items at that St. Louis event was a simple souvenir cup and saucer.

An art pottery Scotty dog figure, with a souvenir promotion for Greensboro N.C. around the center area, circa 1940s.

A few years later, visitors to the nation’s capitol in Washington could find a presidential platter which featured the White House and 10 presidents, including William McKinley. On the reverse the platter was marked La Francaise Porcelain.

Elsewhere in the country during the early 1900s items were as diverse as a pottery Old Oaken Bucket in Scituate, Maine, or a Mayflower Arriving advertising tile for a Boston company celebrating its 100th birthday, which sold more than 12,000 copies.

A good example of the diversity of such souvenir pottery early in the 20th century came from an eastern newspaper advertisement. It offered a full line of souvenirs including, “toothpick holders, pin trays, ashtrays, vases, baskets, cups, saucers, creamers and boxes.” All items were 25 cents each.

By the 1920s “patriotic and preservation groups were restoring and maintaining historic sites” throughout the United States, according to Arene Burgess’s book, “A Collector’s Guide to Souvenir Plates.” “The souvenir stand became an intrinsic part of almost every tourist attraction,” she wrote

A souvenir pitcher from “Lincoln's Birthplace Kentucky.” The pitcher is 3 inches high and marked “PCA, Hand crafted, made in USA” on bottom.

During the Roaring Twenties and the decade that followed, travelers could find a blue-and-white plate with floral border promoting Mechanic Island or something depicting the Women’s League Building at the University of Michigan. They could pick-up a pitcher depicting the fabled House of Seven Gables or a clearly marked ashtray from Moose Jaw in Canada.

The 1939 World’s Fair in New York City was the site of an amazing array of souvenir pottery, ranging from various sized teapots and pitchers to hand-painted plates depicting the skyline of the Big Apple.

Certainly a great deal of souvenir pottery was produced in later years, especially plates which could be proudly propped up on cupboard shelves or hung on dining room walls. However the variety and quality seldom rivaled that which had been produced in such great numbers during its golden age.

Today souvenir pottery in unique forms such as animal figurals and structures are highly prized, along with images of buildings and other constructions which may no longer exists.

Recommended reading: “Collector’s Guide to Souvenir China,” by Laurence Williams (Schiffer Publishing) and “A Collector’s Guide to Souvenir Plates,” by Arene Burgess (Schiffer Publishing).

— by Robert Reed

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On Jan. 20, Warlick’s forecast—as well as Dr. Martin Luther King Jr’s dream of racial unity and reconciliation—will come to fruition as the inauguration of America’s first president of African-American descent is held on the Capitol steps before the eyes of the world. Obama’s unprecedented presidency will resonate throughout history, and undoubtedly, the material evidence of his victory, swearing-in and presidency will be treasured for generations to come.

As the owner, producer and curator of the American Presidential Experience’s InauguralFest and with his store, Political Americana, located literally just down the street from the White House, rest assured that Warlick will be at the center of Tuesday’s events (and the inevitable flood of “Obamabilia”) as an estimated crowd of two to five million will be in Washington, D.C., as Obama takes the oath of office.

Crystal paperweight with 2009 inaugural seal

Presidential memorabilia, like many collectibles, can serve as social barometers and indicators of an ongoing narrative describing the times we lived in, are living in and will live in as the future approaches. It is little wonder, then, that “Obamabilia” speaks to messages of hope and change in a dark economic and geopolitical climate.

Jim Warlick’s work in the political-collectibles field as a retailer and an acknowledged authority has helped to preserve this ongoing narrative. From saving campaign literature in childhood to selling buttons at the 1980 Democratic National Convention and on through the opening of his Political Americana store, Warlick’s involvement with political collecting has been lifelong. He has parlayed his keen understanding of the presidency’s significance into a success measured more in the preservation of America’s political heritage and the extension of the presidential experience to everyday Americans than in sales or personal gratification.

Autographed Obama picture

“I’ve always been a student of American political history,” says Warlick. “Being a part of political campaigns and collecting early American political memorabilia, I’ve learned more about American history than I ever did in school. Collecting and documenting political memorabilia is a great way to preserve American history for future generations to share and learn from.”

Those visiting D.C. next week will have an opportunity to share in Warlick’s passion as part of the larger festivities that will be occurring throughout the nation’s capital not only at his Political Americana and five official souvenir store locations selling inauguration memorabilia, but also at the American Presidential Experience’s InauguralFest. As did visitors to the American Presidential Experience in Denver last August during the Democratic National Convention, those attending InauguralFest will get a hands-on look at three centuries worth of presidential memorabilia and collectibles including scale-model replicas of Air Force One and the Oval Office.

A John-John pose in the Oval Office replica

From an exhibit of First Ladies’ gowns to one of the infamous Florida voting machines that introduced the phrase “hanging chads” to the world, the range of exhibits that Warlick has curated tells not only the story of the American presidency but also of the nation itself—a story that will reach one of its defining climaxes as the son of a white Kansas woman and a black Kenyan man accedes to the most powerful office in the world.

First Ladies' gowns

It is a historic moment in American history, and Jim Warlick will be there as it happens to collect, identify and share the significant artifacts that will capture the spirit of this turning point in our national, cultural and social narrative.

The American Presidential Experience’s InauguralFest is located at the old Washington Convention Site at 1001 H. St. NW Washington, DC (Metro Center subway stop). It is open every day from 9 a.m.-9 p.m. Jan. 16 through Jan. 23 and from 9 a.m.-5.p.m. Jan. 24. For tickets and further information, visit the InauguralFest Web site.

The Political Americana store is located at 1331 Pennsylvania Ave. NW, Washington, D.C. 20004. Four other locations selling official inauguration memorabilia are in Washington, Virginia and Maryland. Visit www.officialsouvenirs.com, www.politicalamericana.com , email info@officialsouvenirs.com, or call 202-737-7730 for more information.

Other articles about Jim Warlick and political collectibles:

Jim’s WorthPoint Worthologist profile

Jim’s WorthPoint blogs

Warlick profile by Mark Jaffe

Top Obama collectibles

The American Presidential Experience

WorthPoint at the American Presidential Experience (video)

Jim Warlick’s Political Americana (video)

WorthPoint—Get the Most from Your Antiques & Collectibles

It’s an extraordinary moment that stamps an exclamation point on hundreds of years of shameful history. Slavery. Jim Crow laws that segregated buses, restaurants and restrooms. Separate-but-not-equal schools. Restricted civil rights and liberties. All of which served to make blacks second-class citizens.

It took decades upon decades of sacrifice and sit-ins, lawsuits and lynchings before President Lyndon Baines Johnson signed into law the Civil Rights Act of 1964 and the Voting Rights Act of 1965. And one man who championed the movement and gave his life to it was the Rev. Martin Luther King Jr.

Collectibles and memorabilia shed light on an era

Collecting artifacts and memorabilia from the Civil Rights era helps preserve and contextualize both the facts and the emotions of this complicated time. Few commercial dealers have tackled the topic like Syl Turner, owner of the Broad Street Antique Mall in Chamblee, Ga.

Syl Turner

For two decades, Turner has maintained one of the nation’s largest commercial inventories of Black Americana collectibles. Online, Turner also operates the BlackHistoryStore.com and offers items on GoAntiques.

He has several King-related historical items on GoAntiques in the weeks leading up to the MLK holiday.

Interest in Black Americana grows

Turner said interest in King collectibles spikes around the holiday. But King collectibles—and Black Americana generally—have been steadily growing in importance and price. The holiday and the Obama inauguration draw extra attention to what’s available, but it’s a category that has transcended any particular event, he said.

“I see a little spike in activity around the King birthday, but that’s about it,” Turner said. “The additional interest actually continues through February because that’s Black History Month.”

The slain civil-rights leader and Nobel Peace Prize laureate was born Jan. 15, 1929, but a national holiday and day of service honoring him is on the third Monday in January. It was observed for the first time on Jan. 20, 1986. Speaking of the importance of service, Dr. King said, “If you want to be important— wonderful. If you want to be recognized—wonderful. If you want to be great—wonderful. But, recognize that he who is greatest among you shall be your servant. That’s a new definition of greatness.”

King collectibles are difficult to come by even though he was a prolific writer, Turner said, because his widow, Coretta Scott King, and others “exerted direct control” over most of his documents.

Most King documents in institutions

More than two years after Mrs. King’s death, most of the large collections of King documents and personal effects are in institutional collections.

In 2006, Morehouse College—King’s alma mater—acquired 10,000 items from the King family for an undisclosed sum raised with the help of a private coalition of business and civic leaders. Sotheby’s, which had announced an auction date for the collection, estimated it would command up to $30 million.

The collection includes items ranging from canceled checks, to a term paper King wrote as a student at Morehouse, to a draft of his most famous speech, “I Have a Dream,” delivered at the 1963 March on Washington.

Anti-Vietnam speech outline withdrawn from auction

In December 2008, the King Center in Atlanta prevailed upon Sotheby’s to withdraw from auction three important King documents that singer Harry Belafonte sought to sell. Valued up to $1.3 million, they included an outline of King’s first speech opposing the Vietnam War and notes found in his pocket following his assassination.

“There’s not much out there for the average collector,” Turner said. “A handwritten letter is very difficult to find because most are in the hands of institutions.”

More commonly available are collectibles related to significant events in King’s life and items related to his family. Recently, Turner sold a 12-page program of installation services of King as Pastor of Dexter Avenue Baptist Church in Montgomery, Ala., on Oct. 31, 1954. The church was the headquarters of the Montgomery bus boycott that propelled King into the national spotlight. The program was in excellent condition and commanded $3,500.

Turner has acquired several other examples of King-related items, often from parishioners at Ebenezer Baptist Church in Atlanta where King was co-pastor with his father.

For example, Turner is offering a rare eight-page Ebenezer Baptist Church bulletin dated June 30, 1974. During that service, King’s mother, Mrs. Alberta King, was shot and killed at the organ console by a deranged gunman as worshippers recited the Lord’s Prayer. Her husband, Martin Luther King Sr., was the pastor. The program has handwritten eyewitness notes of the murder, including the comment, “Worship began on Earth; completed in Heaven.”

Ebenezer Baptist Church program

Inside program

Another collectible related to King’s parents is a 1984 funeral program for Martin Luther King Sr. listed in near-mint condition. “It was in a lady’s Bible and looks like it came right off the press,” Turner said.

MLK Sr.'s funeral program

One of the larger collectibles is a limited-edition poster commemorating King’s life by artist Edie B. Eisenberg. The 40-by-30-inch poster is designed as an American flag and features famous King quotes. It is listed in excellent condition. “I don’t think it was ever circulated,”

Memorial flag poster

Also rare and unusual is a 20-page program for the Coretta Scott King Freedom Concert Program on May 23, 1965. The concert was presented by the Philadelphia Beauticians’ Association at the First African Baptist Church in Philadelphia.

Freedom concert program

Turner isn’t the only GoAntiques dealer with MLK collectibles available this month.

Alan Radwill of Guaranteed Autographs is offering an autographed copy of Dr. King’s 1964 book, “Why We Can’t Wait.” He used a fountain pen with blue ink to sign the title page.

"Why We Can't Wait"

Autographed page

Antique Goodies of New Zealand has a Martin Luther King, Negro Funeral Home advertising fan. Advertising fans were often distributed at funerals as a way to stave off the heat.

Funeral fan

Lake Murray Treasures has a gold-tone, filigree-metal double picture frame. On one side is a photo of Martin Luther and Coretta Scott King, on the other Robert Kennedy. Between them is an electric clock.

Clock

If you are interested in viewing Martin Luther King’s “I Have a Dream” speech, click here for a 17-minute video that includes it, or click here for a video with only the speech.

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.

If you are a collector of circus posters, like this 1922 Ringling Bros. and Barnum & Bailey poster of a clown in white make-up, you'll want to be able to tell the authentic article from the reproductions.

So you’ve just found the most amazing circus poster online and want to bid on it. Or maybe you are thinking about buying one at an antique mall. How do you know it is real? Could it be a reproduction? You aren’t sure. What can you do?

Size is the first clue about whether or not a poster is original. The majority of collectible posters are one-sheet (28 inches by 42 inches) or half-sheet. But posters also came in larger sizes — three-sheet, six-sheet, nine-sheet, 16-sheet, 20-sheet, 28-sheet and many other sizes. One of the largest ever produced was for Buffalo Bill’s Wild West, a gigantic 108-sheet billboard.

The circus poster reproductions seen most often are the six printed in 1960 by Circus World Museum in Baraboo, Wisconsin and the vast assortment printed by Ringling Bros. and Barnum & Bailey beginning in the early 1970s and continuing through the early 1980s. Those are the ones we will concentrate on in this article. Some of those posters are shown above.

Al G. Barnes Circus Tiger Riding Elephant

Circus World Museum posters

The posters printed by Circus World Museum measure 13 ¼ inches by 19 inches each. If they haven’t been altered it’s easy to identify them because in the lower left border it says “Copyright 1960 Circus World Museum.” But I have seen these in antique shows with that line trimmed off and being passed off as original. Sometimes they are neatly framed and matted. The posters were originally sold as a set in a folder that said “Old Time Circus Posters – Six Colorful, Authentic Reproductions – Each Resplendent and Spectacular Reproduction is an Eye Feast of Beauty That Captures All the Unparalleled Magnificence of the Original Poster.” The titles and images of the six posters are:

Ringling Bros. – Army of 50 Clowns
Barnum & Bailey – Peerless Prodigies of Physical Phenomena . . .
Barnum & Bailey – The Meers Sisters
Al G. Barnes Circus – Tiger riding on an elephant
Adam Forepaugh & Sells Bros. – Automobile Double Forward Somersault
Forepaugh & Sells Brothers – Hippopotamus & Rhinoceros

Ringling Bros. – Army of 50 Clowns

Barnum & Bailey – Peerless Prodigies ...

Barnum & Bailey – The Meers Sisters

Adam Forepaugh & Sells Bros. – Automobile

Forepaugh & Sells Brothers – Hippo & Rhino

Ringling Bros and Barnum & Bailey posters

In the early 1970s Ringling Bros. and Barnum & Bailey began reproducing many of their historic posters. They were advertised as “The Only Antique Posters Authorized by The Greatest Show On Earth.” These reproductions were sold at the concessions stands on the traveling shows and by mail as advertised in the souvenir program book. They were also sold in the gift shops at their theme park, Ringling Bros. and Barnum & Bailey Circus World, which opened in 1974 in central Florida near Disney World.

Beginning with the 100th Anniversary Program in 1970, some of the Ringling Bros. and Barnum & Bailey programs had poster reproductions inserted in the program book. These varied in size, but were about 16 inches by 20 inches. It’s easy to identify them because they were folded in quarters and have staple holes where they were inserted into the program. They continued this for several years.

In 1970 the 100th Edition of Ringling Bros. and Barnum & Bailey souvenir program advertised a set of four posters measuring 26 inches x 17 inches for $3.98 per set. Those posters were:

Barnum & Bailey – Tiger Head – Blue Background
Barnum & Bailey – 1000 Skits by 50 Original Clowns
Ringling Bros. and Barnum & Bailey – Giraffe Neck Women from Burma
Ringling Bros. and Barnum & Bailey – Dainty Miss Leitzel

Barnum & Bailey – Tiger Head, Blue Background	Barnum & Bailey – 1000 Skits by 50 Original Clowns
Ringling Bros. and Barnum & Bailey – Giraffe Neck Women	Ringling Bros. and Barnum & Bailey – Dainty Miss Leitzel

Individual Ringling Bros. and Barnum & Bailey posters

Starting in 1971 individual posters could be ordered from the souvenir program book. They were advertised as approximately 24 inches by 17 inches. All of these posters had an order number printed in the lower corner which begins with the letter “P.” Here’s a list of these posters:

Ringling Bros. and Barnum & Bailey – Chariot Races, Blue Background

1897 – Ringling Bros., Three Famous Aerial Artists

P-103 – 1935 – Ringling Bros. and Barnum & Bailey – Chariot Races – Blue Background
P-104 – 1897 – Ringling Bros. – Three Famous Aerial Artists
P-105 – 1904 – Barnum & Bailey – The Great Florenz Troupe
P-109 – 1921 – Ringling Bros. and Barnum & Bailey – Polar Bear – Red Background
P-113 – 1938 – Ringling Bros. and Barnum & Bailey – Gargantua the Great
P-114 – 1938 – Ringling Bros. and Barnum & Bailey – Terrell Jacobs & Lions
P-116 – 1888 – Ringling Bros. – Portraits of the five brothers
P-117 – 1927 – Ringling Bros. and Barnum & Bailey – May Wirth
P-118 – 1933 – Ringling Bros. and Barnum & Bailey – Felix and 99 other Famous Clowns
P-123 – 1904 – Barnum & Bailey – Blue Ribbon Winners – High Jumpers
P-125 – 1917 – Barnum & Bailey – Clown Standing over Tents – Blue Background
P-127 – 1920 – Ringling Bros. and Barnum & Bailey – Worlds Biggest Menagerie – Elephant Head & other Animals
P-128 – 1916 – Barnum & Bailey – By the Hair of their Heads
P-131 – 1900 – Barnum & Bailey – Clown Band – German Text
P-132 – 1915 – Barnum & Bailey – Great Groups of Trained Wild Beasts including Mlle. Adgie
P-136 – 1928 – Ringling Bros. and Barnum & Bailey – Crouching Lion
P-137 – 1895 – Ringling Bros. Mlle Elena
P-141 – 1922 – Ringling Bros. and Barnum & Bailey – White Face Clown on left
P-143 – 1916 – Barnum & Bailey – Pallenberg – Bears That Dance
P-144 – 1913 – Barnum & Bailey – Great Free Street Parade
P-146 – 1916 – Barnum & Bailey – Roaring Tiger Head
P-149 – 1936 – Ringling Bros. and Barnum & Bailey – Seated Clowns with Circus on their backs
P-152 – 1900 – Ringling Bros. – Portraits of the five brothers
P-153 – 1897 – Barnum & Bailey – Portraits of Barnum & Bailey
P-155 – 1932 – Ringling Bros. and Barnum & Bailey – 5 Big Herds of Performing Elephants
P-157 – 1903 – Barnum & Bailey – Miss Helen Girard
P-158 – 1906 – Barnum & Bailey – A Whole Horse Show
P-159 – 1925 – Ringling Bros. and Barnum & Bailey – Chariot Races- Red Background
P-162 – Ringling Bros. and Barnum & Bailey – Giraffe Neck Women
P-202 – 1883 – Buffalo Bill’s Wild West – Featuring Indians

1904 – Barnum & Bailey; The Great Florenz Troupe	1938 – Ringling Bros. and Barnum & Bailey; Gargantua the Great
1938 – Ringling Bros. and Barnum & Bailey; Terrell Jacobs & Lions	1888 – Ringling Bros. – Portraits of the five brothers

]]> http://www.worthpoint.com/blog-entry/circus-posters-%e2%80%94-authentic-or-reproduction/feed 49 http://www.worthpoint.com/blog-entry/100-horror-film-posters http://www.worthpoint.com/blog-entry/100-horror-film-posters#comments Thu, 30 Oct 2008 11:42:07 +0000 Allan Maurer http://blog.worthpoint.com/?p=2375530

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.