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“Clawing Monster From A Lost Age strikes from the Amazon’s forbidden depths !”
This elusive one sheet’s greatness lies in its impressive design with only the neon green and yellow eyes of the title character (Countess Marya Zaleska) “Dracula’s Daughter” projecting through the ominously onyx black background, as the title “drips” in the same garish colours just below. The Daughter of Dracula, is played with true mystique by Gloria Holden in a spectacular sequel to Universal’s sensational “Dracula” (1931). Original 1936 paper from this early horror classic is extremely scarce, with only one known example of the one-sheet ever being publicly offered to the market. With an original one-sheet costing tens of thousands of pounds this S2 Art Group recreation is a fine, high quality and genuinely rare alternative, produced to an extremely high standard and printed on to heavy duty fine art paper. S2 bought 100-year-old lithograph presses, completely refurbished them, and created stone slabs that allowed them to make nearly perfect replicas of this classic movie poster. They were printed in exactly the same way the posters were originally printed, re-creating them down to the finest detail within the art, and even including the tiny writing from the bottom of the poster. Printed in 2000 in very limited numbers (hand written #91), each has the name of the person who prepared the plates and the date of the printing in the bottom border of the art. It is a super high quality stone litho print that measures the same as a regular one-sheet 27″ x 41″ (69 x 104 cm). This really is a beautiful print and represents an incredible looking item of movie memorabilia.
Trivia: Gloria Holden repeats Bela Lugosi’s famous line, “I never drink…wine” during Lady Hammond’s party.
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“Look! It’s moving. It’s alive. It’s alive… It’s alive, it’s moving, it’s alive, it’s alive, it’s alive, it’s alive, IT’S ALIVE!”
Artist Matthew Peak is no stranger to horror icons as it was his Freddy Krueger artwork that adorned the first Nightmare on Elm Street (1984) US One-Sheet and has now has created an award-winning “Frankenstein Monster” print for the 2018 exhibition Mondo Presents “Universal Studio Monsters”. This limited-edition example has been hand-numbered #6 from a print run of 325. In 2018, the leading and most respected alternative movie poster forum expressobeans.com made this print their “Cinema Poster of the Year”. Incredibly rare and highly collectible, an excellent example of modern cinematic movie memorabilia.
Trivia: Boris Karloff‘s Monster in this film does not physically resemble the character in Mary Shelley‘s novel. It was make-up artist Jack P. Pierce who came up with innovations such as the Monster’s flat head, the bolts through the neck, the droopy eyelids, and the poorly-fitted suit. Any future Frankenstein film that features any of these physical abnormalities is taking its inspiration from Pierce’s make-up work.
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“Look! It’s moving. It’s alive. It’s alive… It’s alive, it’s moving, it’s alive, it’s alive, it’s alive, it’s alive, IT’S ALIVE!”
Issued by Nakatomi Inc in 2013 as a series of high-quality silk-screen prints scanned directly from Berni Wrightson’s original pen and ink drawings used in the 25th-anniversary edition of his ‘Frankenstein’ book. This amazingly detailed and intricate illustration, titled ‘A Filthy Process’ shows Frankenstein working to bring his ‘creature’ to life in his laboratory. Printed onto 130lb Cougar Natural Cover paper, this print has been signed with a full ‘Bernie Wrightson’ signature and hand-numbered #45/100. Presented in excellent condition with minimal handling wear this incredibly rare and highly collectible screen print, is an excellent example of modern cinematic movie memorabilia. Note: A page of Wrightson’s original Frankenstein art for the comics adaptation (same series as this) sold at auction in 2019 for a world record price of $1.2 million.
About Bernie Wrightson: Bernard Albert Wrightson was an American artist, among his career high points were co-creating the Swamp Thing character for DC Comics, his unique illustrated interpretation of the novel Frankenstein and adapting classic horror tales for Warren Publications, which feature his trademark intricate pen and brushwork.
Trivia: Boris Karloff‘s Monster in this film does not physically resemble the character in Mary Shelley‘s novel. It was make-up artist Jack P. Pierce who came up with innovations such as the Monster’s flat head, the bolts through the neck, the droopy eyelids, and the poorly-fitted suit. Any future Frankenstein film that features any of these physical abnormalities is taking its inspiration from Pierce’s make-up work.
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“Look! It’s moving. It’s alive. It’s alive… It’s alive, it’s moving, it’s alive, it’s alive, it’s alive, it’s alive, IT’S ALIVE!”
Artist Tyler Stout is no stranger to horror icons and has now has created an award-winning “Frankenstein Monster” print for the 2025 Universal Monsters Art Show, held simultaneously at the Canopy Gallery, in Austin, Texas and Universal CityWalk in Los Angeles during October in 2025. Stout’s giant-sized tribute to Frankenstein is as bold and electrifying as the creature himself. It certainly isn’t your average print, and instead of sticking to standard alternative movie poster dimensions (24″ x 36″ – 61 x 91.5 cm), Stout went huge, and this piece stretches to an impressive 24″ x 72″ (61 x 193 cm) and is printed in two sections, echoing the towering presence of the Monster. Beautifully printed by DL Screenprinting on exclusive copper paper with copper-coloured title treatment and accents. This is a limited edition poster print set signed and dated by Stout from his personal AP (Artists Proof) edition of #125 with this being #82. Highly collectible, and an excellent example of movie art memorabilia.
Commissioned by Rob Jones, he had this to say about the project and Tyler Stout – “The work of Tyler Stout undoubtedly popularized the notion of alternate film posters more than other artists in the field. His work spoke to people with active relationships to cinema. Tyler hoped to evoke a pop culture icon that beckoned from the back pages of his childhood comic books: the Jack Davis ‘Life Size Frankenstein’ poster. To make that happen feasibly as a screenprint, he divided the image across two 24 x 36-inch sheets. Results are unlike any other AMP made for Frankenstein. I adore the result and perhaps overly identify with Henry Frankenstein, so consumed with personal pursuit that Tyler shows him living within the confines of his own work, i.e., the monster.”
Trivia: Boris Karloff‘s Monster in this film does not physically resemble the character in Mary Shelley‘s novel. It was make-up artist Jack P. Pierce who came up with innovations such as the Monster’s flat head, the bolts through the neck, the droopy eyelids, and the poorly-fitted suit. Any future Frankenstein film that features any of these physical abnormalities is taking its inspiration from Pierce’s make-up work.
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