Film
Halloween III: Season of the Witch
1978, 2024 Release
36″ x 24″ (91 x 61 cm) Single Sided, Limited Edition Artist Proof – Signed and Hand-Numbered #11/15 by Graham Humphreys
UK / British
Near Mint – Rolled, Flat & Unfolded (as issued)
Tommy Lee Wallace
Brad Schacter, Dan O’Herlihy, Jadeen Barbor, Michael Currie, Ralph Strait, Stacey Nelkin, Tom Atkins
“Witchcraft enters the computer age, and a different terror begins.”
John Carpenter’s masterpiece of modern horror “Halloween” spawned a multitude of sequels which included this 1982 offering “Halloween III: Season of the Witch”. A sequel in name only as it didn’t feature Michael Myers but took a new take on the mythos as ancient witchcraft meets modern technology in the form of Silver Shamrock masks. Who better then to take on the artistic duties than the modern maestro of horror artwork – Graham Humphreys. The content and characterisations are super realistic, layout and colours perfectly balanced and a near perfect example of a re-imagined poster. Released in 2024 as an exclusive Private Commission, this strictly limited Artist Proof edition is hand-numbered AP 11/15 and signed by the artist. Immediately selling out when launched, this originally rolled, flat-unfolded (as issued) example displays to exceptional effect and represents a truly outstanding and extremely desirable item of collectable movie memorabilia with a ‘modern’ twist. Originally rolled, flat-unfolded (as issued) the example offered displays to exceptional effect and represents a truly outstanding and extremely desirable item of collectable John Carpenter horror movie memorabilia.
Trivia: The tagline “The night no one comes home” is a play on the original Halloween movie’s tagline “The night HE came home.”
…more detailVintage Movie Posters Grading Criteria... read more +
“After the death of her father under suspicious circumstances, Ellie Grimbridge and Dr Daniel Challis decide to investigate the shady activities of Conal Cochran: the owner of the Silver Shamrock Novelties company. Before long, they discover Cochran’s diabolical plot to brainwash the children of America into doing his bidding through a mixture of ancient rituals, technology, and witchcraft. This Halloween, wearing the mask of a skeleton, a witch, or a pumpkin can be deadly. Can Ellie and Daniel thwart the plans of the evil toy maker?”
Halloween III: the Season of the Witch must rank as one of the strangest sequels to a franchise in the history of cinema. It’s a film that generally speaking does not have a good reputation. The main reason for the bad attitude to this movie is clearly because the vast majority of people unsurprisingly go into this film with the expectation of seeing another Michael Myers romp, and evidently a lot of viewers aren’t overly impressed by his absence here. Moreover, Halloween III is not even in the same sub-genre as the rest of the series, seeing as it is a sci-fi horror as opposed to slasher flick. In other words, if this film had been a standalone movie it would most probably be regarded as a fairly original little horror flick; it certainly would not have attracted nearly as much negativity. John Carpenter, the director of the first instalment, had the reasonably good idea of making each Halloween instalment a different standalone horror tale set on Halloween night. Unfortunately his grand plan was undermined by a rather silly flaw, in that the previous film, Halloween 2, was a continuation of the Michael Myers story, therefore, it was hardly surprising that the expectation would be that subsequent instalments followed this same formula in the manner of the likes of the Friday the 13th series. As a result, Season of the Witch was met with bemusement and the franchise reverted back to Myers mayhem for the remainder of the series.
It’s a shame that Halloween III wasn’t released as a standalone movie called simply Season of the Witch because this is a quirky horror flick with a good amount of invention. Sure it’s a bit silly in places, with a few plot holes (i.e. wouldn’t the differing American time zones screw up the scheduling of Silver Shamrock’s death-by-television extravaganza?) but it’s odd enough to always remain interesting. I liked the spooky town that Silver Shamrock seemed to control, with ominous CCTV, odd inhabitants and sinister tannoy announcements. The suit-wearing bad guys were also a bit different to the typical psychotic villains, and I thought they were integrated well into the film. Acting-wise Dan O’Herlihy was very good as the evil chief mask-maker, while the rest of the cast was serviceable enough. The famous ‘Happy Happy Halloween’ theme song was used extensively but I liked it and felt it conveyed the feeling that something was not quite right with the Silver Shamrock promotional campaign. This, of course, is borne out with an ending to the movie that is refreshingly nihilistic.
This should not have been part of the Halloween series. The association is unfortunate. But as an unconnected standalone movie, Season of the Witch has got quite a lot to offer as a horror film
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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.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
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.
