Film
Andy Warhol’s Dracula
1974
US One Sheet / (27" x 41") / Single Sided, NSS# 74/274 BRYANSTON PICTURES
United States (USA)
Very Fine minus ; originally folded (as issued)
Paul Morrissey
Arno Juerging, Dominique Darel, Joe Dallesandro, Maxime McKendry, Milena Vukotic, Monique van Vooren, Udo Kier, Vittorio De Sica
Made by Paul Morrissey as a companion piece / sequel for its closely made forerunner “Andy Warhol’s Frankenstein”, “Andy Warhol’s Dracula” has some nice, stylistic moments, excellent period piece settings and costumes, wild overacting from Udo Keir as Dracula and, of course, lots of gratuitous sex scenes. Although the Andy Warhol name is only referred to in the title for Paul Morrissey’s 1974 wacky horror it cannot be said that the accompanying movie poster (not by Warhol) for this Bryanston Pictures release is not impressive. A colourful, weird ‘monster-mash’ design by acclaimed artist Ken Barr…beautifully detailed and certainly memorable. Any art or memorabilia with a Warhol connection is very collectable and this original 1974 US one sheet is no exception. Presented in very good unrestored original folded (as issued) condition this rare oddity displays well and represents a fine piece of very desirable original cult movie memorabilia.
…more detailVintage Movie Posters Grading Criteria... read more +
“Udo Kier is without a doubt the sickliest of vampires in any director’s interpretation of the Bram Stoker tale. Count Dracula knows that if he fails to drink a required amount of pure virgin’s blood, it’s time to move into a permanent coffin. His assistant suggests that the Count and he pick up his coffin and take a road trip to Italy, where families are known to be particularly religious, and therefore should be an excellent place to search for a virgin bride.”
Paul Morrissey‘s follow-up to his outrageous “Andy Warhol’s Frankenstein“ is much more low key but superior in many ways, with a witty script, funny performances and some genuinely shocking moments. It’s one of the few movies to successfully bridge the gap between the art house and the grindhouse. It is a sleazy American exploitation movie as much as it is an avant garde European art film.
Count Dracula (Udo Kier) has become weak and sick from a lack of pure blood and travels to Italy with his servant (Arno Juerging) to find virgins, who’s blood may revitalize him. He picks a family in financial trouble, assuming that they will welcome the marriage of one of their daughters to a wealthy stranger.
Unfortunately, the girls are far from virgins, regularly servicing handyman Joe Dallesandro, and Kier is unlucky enough to discover this only after feeding on them and violently puking their tainted blood back up in a pair of outlandishly gruesome sequences.
Slowly, the family begins to suspect who their new guest is, leading up to an outrageously gory finale in which Dallesandro dismembers Kier with a axe! “Andy Warhol’s Dracula“ (Blood For Dracula) is one of the oddest–and best–vampire movies ever made, with a sharp sense of humor and some nice satirical touches that raise it above the usual grindhouse fare with which it shares the spotlight.
Morrissey’s direction and dialog is far more polished than what he displayed in his earlier films but the irreverent and off-the-cuff feel of “Trash“ and “Heat“ is intact. There is some second unit photography by Antonio Margheriti and the bloody make-up effects were provided by the future award winning Carlo Rambaldi….Highly recommended for fans of cult horror!
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
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LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
