Additional information




UK Quad (30" x 40") Single Sided, Printed in England by Charles & Read Ltd.

Country of Origin

UK / British


Very fine / originally folded (as issued)


Stanley Donen


Alan Badel, Carl Duering, Duncan Lamont, Gregory Peck, Kieron Moore, Sophia Loren

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“Ultra mod, ultra mad, ultra mystery !”

A cool and colourful film poster from the mid 1960’s where the psychedelic backdrop encapsulates the mood of the time, perfectly typifying the ‘Swinging Sixties’ period. Artist Robert McGinnis has created a truly striking UK quad film poster for Stanley Donen’s 1966 comedy thriller caper “Arabesque”. Focusing on the two stars; Gregory Peck, looks super suave almost Bondesque & Sophia Loren, sexy with a hint of mischief and danger. With both then offset against the psychedelic background. It is a graphic design style that works well and certainly impresses.  The originally folded (as issued) unrestored example offered here has some very minor handling & age wear but colours remain bright, vibrant and unfaded. A fine example that rarely comes to market in such fine condition and represents a very collectable piece of stylish original movie memorabilia.

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Film Description

Arabesque Movie Poster

“Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organisation of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi’s mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can’t decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister.”

After the success of his Alfred Hitchcock homage Charade, director Stanley Donen made this very similar comedy-thriller with Gregory Peck and Sophia Loren in the lead roles. While Peck and Loren are not quite as suited to this kind of thing as Cary Grant and Audrey Hepburn, they still make an attractive couple. If you thought Charade was complex, you’ll find Arabesque resembles a hundred shoelaces tangled into an impenetrable knot. The plot is not really meant to be followed – it merely exists as an excuse to stage one dazzling set piece after another.

American scholar David Pollock (Gregory Peck) works at Oxford University and is noted as one of the world’s foremost experts in ancient hieroglyphics. He is asked – firstly by oil tycoon Beshraavi (Alan Badel), and later by a Middle Eastern prime minister (Carl Duering) – to decipher a hieroglyphic code that contains details of a sinister espionage plot. Not really a man of action, Pollock suddenly finds himself thrust into the world of international intrigue, where sudden death and double-crosses are never far away. Various factions want to know the secret of the hieroglyphic code, and Pollock finds himself on the run from enemies on all sides. The only person who seems willing to help him is Beshraavi’s mistress, Yasmin Azir (Sophia Loren), but she lies to and crosses him so frequently during their flight that he begins to question whose side she is really on….

Arabesque is beautifully shot by Christopher Challis and memorably scored by Henry Mancini. The kaleidoscopic plot throws in everything from James Bond-style humour and villainy to Hitchcock-inspired chase sequences. Utterly derivative and muddled it may be, but no-one seems to mind. Indeed, the fun in Arabesque stems from the elegant outfits, the silky smooth villains, the chases and romances, the lavish locales and the touches of humour. Donen marshals proceedings with skilful authority, moving things along at a dizzying pace which helps disguise many of the plot holes. The performances of the handsome leads are adequate throughout, but the villainous support players really steal the movie – Badel, especially, in a role that oozes sinister menace. Arabesque is inconsequential, professionally-assembled and effortlessly entertaining stuff.



Vintage Movie Posters Grading Criteria

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.

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.

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.

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.

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.

All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.

Most Popular Poster Types

US Posters

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.

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.

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.

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.

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.

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.

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.


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.

27 X 40″, printed on paper. Very rarely used size.


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.

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.

(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.

(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.

FRENCH Posters

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.