£495.00
Film
Jaws – Martha’s Vineyard Welcomes You
1975, 2020 Release
36″ x 24″ (91 x 61 cm) Single Sided – Hand-Signed Artist Proof Limited Edition Print by Laurent Durieux
United States (USA)
Near Mint – Rolled (as issued) – Flat/Unfolded
Steven Spielberg
Lorraine Gary, Murray Hamilton, Richard Dreyfuss, Robert Shaw, Roy Scheider, Susan Backlinie
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Probably the most important film of ‘modern’ cinema, launching a movie trend that is now commonly referred to as the ‘Summer Blockbuster’. It also happens to be one of the best and most memorable movie poster images ever ! So why reimagine it ? Well, this is a perfect example of why. When it comes to amazing alternative movie posters, this limited edition art print by Laurent Durieux is a real eye-catcher and more along the lines of a travel poster as ‘Martha’s Vineyard Welcomes You’. There are a lot of alternative ‘Jaws’ posters on the market with this 2020 offering considered one of the best and most desirable with beautiful imagery. This wonderful design, featuring the second on screen victim – Alex Kitner is very clever as Alex is seen running on the Amity beach, the sea in the background and if you look closely the black Labrador Pippin about to run into the sea and meet his grisly fate. Look closer and you see an additional easter egg as one of the kites flying high above the beach resembles a black shark’s fin; a nod to Durieux’s earlier 2013 Jaws poster where the same fin is shown on a sunshade. This originally rolled, unfolded (as issued) example displays to exceptional effect. Durieux’s style is unmistakable with perfect, colours and composition. A truly outstanding and extremely rare art print that represents an impressive item of highly sought after modern movie memorabilia.
Trivia: Several decades after the film’s release, Lee Fierro walked into a seafood restaurant and noticed an “Alex Kintner Sandwich” on the menu. She commented that she had played his mother many years ago. Jeffrey Voorhees, manager of the restaurant, ran out to meet her. He had played her son, and they hadn’t seen each other since the original movie shoot.
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“It’s a hot summer on Amity Island, a small community whose main business is its beaches. When new Sheriff Martin Brody discovers the remains of a shark attack victim, his first inclination is to close the beaches to swimmers. This doesn’t sit well with Mayor Larry Vaughn and several of the local businessmen. Brody backs down to his regret as that weekend a young boy is killed by the predator. The dead boy’s mother puts out a bounty on the shark and Amity is soon swamped with amateur hunters and fisherman hoping to cash in on the reward. A local fisherman with much experience hunting sharks, Quint, offers to hunt down the creature for a hefty fee. Soon Quint, Brody and Matt Hooper from the Oceanographic Institute are at sea hunting the Great White shark. As Brody succinctly surmises after their first encounter with the creature, they’re going to need a bigger boat”
Widely regarded as the film that began the ‘summer movie blockbuster era’, JAWS (1975) was also rightfully one of the year’s most critically acclaimed movies. It was also the recipient of an Academy Award Nomination for Best Picture and a winner of Oscars for film editing (Verna Fields) and music score (John Williams). One of the reasons the film received no acting nods is that everyone involved is so good, how could one single out just one or two? (I personally feel Robert Shaw should have gotten a Best Actor nomination, however). Roy Scheider is wonderful as New York cop Martin Brody, who has relocated to a small coastal island town, only to have his bad case of ‘aquaphobia’ put to the ultimate test. Richard Dreyfuss is perfectly cast as a shark expert and provides some truly funny comic bits along the way. Lorraine Gary (who director Steven Spielberg says was the first person to be cast for the film) does an excellent job of being the concerned wife and mother. Finally, there’s Murray Hamilton, who gives one of the best performances of his career as Mayor Vaughn, who seems to be more concerned about the economy of the town than the safety of the residents. In a way, Vaughn is really the film’s villain. Solid cast indeed. The screenplay (by Peter Benchley and Carl Gottlieb) is tight and well-written, as is Spielberg’s direction. Whether it was the mechanical shark’s failure to operate correctly or Spielberg’s decision to simply see less of the shark until the end of the film, the “less is more” idea works perfectly, particularly in the opening scene, which is chilling to this day.
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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.