Film
Pretty Woman
1990
UK / British
Near mint minus; originally rolled (as issued)
Garry Marshall
Alex Hyde-White, Hank Azaria, Hector Elizondo, Jason Alexander, Julia Roberts, Laura San Giacomo, Ralph Bellamy, Richard Gere
British Video (VHS) Poster – Single Sided – 34.75″ x 17″ (88 x 43 cm)
“She walked off the street, into his life and stole his heart.”
An original 1990 British video (VHS) poster for the quintessential classic romance “Pretty Woman”. This beautiful originally rolled example is pretty much faultless. A classic 90s poster featuring the two stars – Julia Roberts and Richard Gere with imagery that was used for the worldwide marketing campaign . Particularly scarce in such high grade condition with a high gloss finish (the cinema posters don’t have this) that really adds a touch of quality to the finish and makes the white background really pop. Often seen as one the THE defining and most loved movies of the 1990s it represents a fantastic piece of movie memorabilia.
Trivia: Julia Roberts‘s head was superimposed on Shelley Michelle‘s body for the poster. Richard Gere‘s hair is brown on the poster, but going grey in the movie.
…more detailVintage Movie Posters Grading Criteria... read more +
“Replete with extreme wealth and suave good looks, Edward Lewis could seemingly have any woman he wants, a committed significant other needed on his arm at social events to further how he makes his money as a corporate raider, but since he focuses more on his corporate-raiding pursuits with his lawyer of 10 years and partner-in-crime Philip Stuckey than any woman, every significant other he’s had in his life has felt neglected and eventually left him, the fact of which he is just realising. In Beverly Hills, still in need of a woman on his arm as he and Philip work toward taking over a company owned by the increasingly insolvent James Morse, he decides, from a chance encounter, to hire Hollywood Boulevard hooker Vivian Ward as his escort for the week. It makes sense: a professional who would be committed to the work without having any relationship issues after the week is done. Beyond their chance encounter, he also makes this decision because she surprises him about how un-hookerish she is in certain respects. Vivian, relatively new to Los Angeles and the business, must still look and act the part, with Edward, beyond giving her money, leaving her largely to her own devices to do so. She finds a somewhat-unlikely Henry Higgins in Barney Thompson, manager of the Beverly Wilshire Hotel where Edward is staying. Barney draws that fine line of keeping the hotel’s upscale clients happy while maintaining the posh decorum of the upper class, which does not include people to the hotel looking for rooms with hourly rates. As Barney and his associates are able to transform Vivian into a Cinderella, the questions become whether Vivian can go back to her Hollywood Boulevard life and whether she does have her Prince Charming beyond this week in the form of Edward (or anyone else) who truly does see her as Cinderella as opposed to a Hollywood Boulevard streetwalker.”
Pure Hollywood fluff story that is so smart and sports such a dynamite cast that it becomes one of the more wonderful films of the period. “Pretty Woman” is pop culture at its finest as Julia Roberts (in an Oscar-nominated, icon-making role) is a prostitute on the mean streets of Los Angeles who gets a big financial break one night when she meets up with cold, but lonely business guru Richard Gere. They immediately create a bond and have a night of passion which soon becomes a week-long partnership with Gere and Roberts posing as love interests (and of course $3000 is involved as well). Could it be possible that Roberts, a lady with a heart of gold in spite of her background, is just the thing Gere has been needing in his life? A trumped-up adult-oriented version of “Cinderella” is probably the best way to describe “Pretty Woman”. The old Hollywood story gets a glossy new look thanks to director Garry Marshall (doing arguably his finest film-making work). Gere and Roberts make for one of the more attractive pairs the cinema has ever seen. They just shine beacons of light on one another it seems. The fact that both are very good performers definitely enhance their appearances though. A smashing soundtrack and that vivid 1980s style (even though this was released in 1990) make “Pretty Woman” one of the big winners in fans hearts.
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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.
