Film
James Bond: On Her Majesty’s Secret Service
1969
14″ x 22″ (35.5 x 56 cm), US Window Card – Single Sided
United States (USA)
Very Fine – Flat/Unfolded (as issued)
Peter Hunt
Bernard Lee, Desmond Llewelyn, Diana Rigg, Gabriele Ferzetti, George Baker, George Lazenby, Lois Maxwell, Telly Savalas, Virginia North
“Far Up…Far Out…Far More..”
A US window card from the first year of release 1969 for George Lazenby‘s one & only appearance as Ian Fleming’s super spy James Bond in “On Her Majesty’s Secret Service”. A magnificent James Bond poster with bold vibrant colours and a combination of intricate and detailed all-action artwork from regular Bond illustrators Frank McCarthy and Robert McGinnis, make for particularly fine and memorable poster that is immediately recognisable as a Bond film. The window card format is particularly scarce with far fewer printed than the regular one-sheets and due to its smaller size is perfect for display. Presented unrestored in original unfolded (as issued) condition this rare example demonstrates some light handling and age wear and displays to impressive effect and represents a fantastic piece of collectable James Bond cinematic memorabilia from one of the most respected entries in this long running franchise.
Trivia: George Lazenby suggested a scene where Bond skis off a cliff and opens a parachute. This was scrapped, as the filmmakers lacked the resources to pull it off. It was used as the opening for The Spy Who Loved Me (1977).
…more detail
Vintage Movie Posters Grading Criteria... read more +
”George Lazenby steps into the role of James Bond and is sent on his first mission. For help with Marc-Ange Draco (Gabriele Ferzetti), he must become very close friends with his daughter, Teresa “Tracy” (Dame Diana Rigg), and heads off to hunt down Ernst Stavro Blofeld (Telly Savalas) one more time. This takes him to Switzerland, where he must pose as Sir Hilary Bray to find out the secret plan of Blofeld. The facility is covered with Blofeld’s guards, as well as his henchwoman, Irma Bunt (Ilse Steppat). What does Blofeld have in mind this time ? Can Bond keep up this act for much longer ? Are any Bond Girls safe ?”
George Lazenby‘s one & only appearance as Ian Fleming’s super spy James Bond. The victim of a ill-conceived marketing campaign & poor takings at the box-office meant he was destined never to return. Having performed his duty for queen and country over the course of five films, Sean Connery‘s Bond was long overdue a break; taking his place, Australian actor George Lazenby, who begins his first mission, “On Her Majesty’s Secret Service“, with a well choreographed fist-fight, rescuing reckless babe Countess Theresa ‘Tracy’ (the gorgeous Diana Rigg, one of the sexiest Bond women ever) from a pair of gun-toting thugs.
This act of heroism brings Bond to the attention of Tracy’s father, organised crime boss Draco (Gabriele Ferzetti), who asks Bond to marry Tracy, for which he will not only pay the spy £1million but also help him find his nemesis Blofeld (Telly Savalas). Neither Bond or Tracy are willing to go along with the deal, but the couple wind up falling in love anyway; their relationship must go on hold, however, until Bond has located Blofeld’s hideout and foiled the villain’s latest plot to blackmail the world.
A rather uneventful middle act—during which Bond does little else but hop in and out of bed with dolly birds—prevents OHMSS from being perhaps the greatest movie in the series, but the rest is pure 00-heaven, Bond’s human side developed nicely during the first part of the film, and his license to thrill fully exercised during the amazing, action packed last 45 minutes or so, which features some incredible ski-stunts and one of the nastier deaths to befall a baddie (head-first into a snow-blower, resulting in a gruesome spray of blood-red slush!).
Other high points include Louis Armstrong’s unforgettable song We Have All The Time In The World, a cool car chase that sees Bond and Tracy taking part in a stock car race, and last but not least, the oh-so-tragic ending,
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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.
