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Challenge in the Snow

£750.00

Film

Challenge in the Snow

Additional information

Year

1968

Size/Type

UK Quad (30" x 40")

Country of Origin

UK / British – Printed in England by D & A Broomhead Litho Ltd, London

Condition

Very fine – single central vertical foldline (as issued)

Director

Claude Lelouch, Francois Reichenbach, Guy Gilles

Actor/Actress

Jean-Claude Killy, Johnny Hallyday, Peggy Fleming

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“Challenge in the Snow”

British designer and artist Brian Bysouth is revered by his peers and responsible for some of the most iconic film posters ever printed; this original 1968 UK quad for “Challenge in the Snow” certainly demonstrates why. It is a dynamic eye-catching piece of artwork as the lone ski jumper glides effortlessly through the Alpine air; easily the best paper from the Film. Based upon the 1968 Winter Olympics held in Grenoble, France it is memorabilia that appeals across a wide range of collectors; art, posters, winter sports, Olympics. Extremely desirable its rarity is unquestionable & I cannot find record of a previous sale nor any currently being offered for sale. Presented in excellent original unrestored condition it has a single vertical foldline (centre) and bright vibrant colours with a pure white background…A marvellous piece to own that has come from the personal archive collection of the artist Brian Bysouth which he has signed and annotated on the reverse.

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Vintage Movie Posters Grading Criteria... read more +

Film Description

Challenge in the Snow Movie Poster

“Grenoble” – aka “13 Jours en France”Claude Lelouch, Francois Reichenbach and Guy Gilles are directors of this colourful documentary film about the X Olympic Winter Games, held in Grenoble, France, in 1968. Over the course of 13 days in February, Olympic teams from countries around the world compete in winter sports, and Challenge in the Snow captures much of the exciting action. Jean-Claude Killy, an alpine skier from France, is the star of the games, winning three gold medals, and his triumphs are extensively documented during the film.

TRIVIA: A marvellous original movie poster that has come from the personal collection of the artist Brian Bysouth which he has signed in pencil on the reverse. For a fantastic interview with Brian Bysouth (one of the most prolific British film poster artists) please follow the link in his name which will connect you to Eddie Shannon’s excellent site www.filmonpaper.com

 

After the film in May 1968, Killy signed with International Management Group, the sports management firm headed by Mark McCormack. After racing on Dynamic VR17 and Rossignol skis during the part of his career when he was dominant, Killy signed a deal with Head Skis in the fall 1968 to endorse a metal and fiberglass ski named for him, the Killy 800.[2][3] Head, which was acquired by AMF the following year, manufactured a line of Killy skis for at least two years.

In television advertisements, Killy promoted the American Express card. He also became a spokesman for Schwinn bicycles, United Airlines, and Chevrolet automobiles; the latter, a role detailed by journalist Hunter S. Thompson in his 1970 article “The Temptations of Jean-Claude Killy” for Scanlan’s Monthly.

Killy starred as a ski instructor in the 1972 crime movie Snow Job, released in the UK as The Ski Raiders, and US TV as The Great Ski Caper. American children in the early 1970s knew Killy from a TV commercial where he introduces himself, his thick accent making his name into “Chocolate Kitty.” Killy played himself in the 1983 movie Copper Mountain: A Club Med Experience, starring Jim Carrey and Alan Thicke, set at Copper MountainColorado.

Jean-Claude Killy also had a short career as a racing driver between 1967 and 1970, participating in several car races including at Monza. In team with fellow Frenchman Bernard Cahier, Killy was 7th overall in the 1967 Targa-Florio in a Porsche 911 S and first in the GT classification.

In November 1972, Killy came out of ski racing retirement at age 29 to compete on the pro circuit in the U.S. for two seasons. After a spirited challenge from two-time defending champion Spider Sabich, Killy won the 1973 season title, taking $28,625 in race winnings and a $40,000 bonus for the championship.[4][5] He missed the next season, won by Hugo Nindl,[6] due to a recurring stomach ailment, then returned in the fall of 1974.[7][8][9] Injuries slowed him and he finished well out of the 1975 standings, won by Hank Kashiwa.

In addition to trying his skill as a car racer, Killy made two television series. One, The Killy Style, was a thirteen-week series that showcased various ski resorts, and the other, The Killy Challenge, featured him racing against celebrities, who were all given handicaps. He was also sponsored by a champagne company, Moët & Chandon, which paid him to be seen with a bottle of their champagne on his table everywhere he went. In 1974 Killy, as part of this sponsorship deal was paid to ski down the previously unskied eastern slope of Mt Ngauruhoe (Peter Jackson’s “Mt Doom”) in New Zealand. The average slope on this side of the active volcano is 35 degrees. Radar recorded his speed at over 100 mph (160 km/h), and it took two takes, as cloud cover spoiled the first.

From 1977 to 1994, he was a member of the Executive board of the Alpine Skiing Committee of the FIS. Killy served as co-president of the 1992 Winter Olympics, held in Albertville, France, and as the President of the Société du Tour de France cycling race between 1992 and 2001. From 1995 to 2014 he was a member of the International Olympic Committee and chaired the coordination committee for Turin 2006 and Sochi 2014.[10] He has been an Honorary Member since then.[11]

The ski area of Val d’Isère and Tignes in the French Alps was given the name l’Espace Killy, in his honor.

Killy became Grand Officer of the Légion d’honneur in 2000.

Intrawest credits Killy with the design of a ski trail, “Cupp Run,” at their Snowshoe resort in West Virginia.

Vintage Movie Posters Grading Criteria

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.

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

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 Posters

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 Posters

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 Posters

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.