Showing 37–48 of 109 results
A return to fun and adventure for Steven Spielberg’s 1989 sequel “Indiana Jones and the Last Crusade”. This original UK quad ‘The man with the hat is back. And this time, he’s bringing his Dad.’ style is the only one out of the marketing campaign to use just photography – and it’s a marvellous image of the two leads Harrison Ford and Sean Connery. Originally rolled, as issued to the cinema this superb example displays to fine effect being presented in totally unrestored condition and represents a fantastic piece of original movie memorabilia for an incredibly popular and well loved series of films.
Trivia: Sir Sean Connery was always Steven Spielberg‘s first choice to play Indiana Jones’ father, as an inside joke to say that James Bond is the father of Indiana Jones. If that had failed, Gregory Peck and Jon Pertwee were back-up choices for the role. Spielberg had always wanted to do a Bond movie, but did Indiana Jones as a James Bond-type character. In keeping with the James Bond theme, the movie has many Bond movie co-stars: John Rhys-Davies, Alison Doody, Julian Glover, Stefan Kalipha, Pat Roach, Eugene Lipinski, Michael Byrne, and Vernon Dobtcheff.
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“A Story of a mystery…A mystery inside worlds within worlds…Unfolding around a woman…A woman in love and in trouble.”
Designed by graphic designer Mister S. for the advertising agency Empire Design, this original 2006 UK quad poster for David Lynch’s mystery drama thriller “Inland Empire” features striking, colourful imagery of Laura Dern with the night-time Los Angeles skyline a fitting backdrop. With its simple, distinctive, imagery this rolled (as issued) example presents to superb effect, providing a high quality and very rare film poster from one of Cinema’s most revered cult directors.
Trivia: This is the last feature film directed by David Lynch. All of his other film projects since have been short films, music videos, documentaries, or TV episodes. In 2012, Lynch stated in an interview with the Los Angeles Times that he lacked the inspiration to start a new movie project, but “If I got an idea that I fell in love with, I’d go to work tomorrow”. In 2017 while promoting Twin Peaks (2017), Lynch was reported to have retired from directing feature films. But in January 2025, Lynch died despite clarifying years prior to his death that his words were misconstrued by reiterating, “I did not say I quit cinema. Simply that nobody knows what the future holds.”
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Timothy Dalton’s second outing as 007 was a truly gritty tale of revenge and action with a great white shark being an unusual instrument of torture for one scene. Keith Hamshere (who made Dalton the ‘perfect’ Bond in The Living Daylights campaign ) was again retained as the Bond photographer on this 1989 country of origin British UK quad for “Licence to Kill” featuring a moody Timothy Dalton in close up. Genuinely scarce this rolled (as issued) example looks superb and is presented totally unrestored in high grade condition and represents a worthy addition for any poster collector or any collection of James Bond cinematic movie memorabilia.
Trivia: It is widely and incorrectly rumored that this was Timothy Dalton‘s last James Bond film due it being financially disappointing. In reality, Dalton was to star in a third James Bond film after this one, titled “Property of a Lady”, written by Michael G. Wilson and Alfonse Ruggiero Jr. and set to start shooting in 1990, with pre-production work having begun in May of that year. However legal issues with MGM beginning that year created long delays which eventually led Dalton to announce his retirement from the role in 1994, a year after his initial contract expired, paving the way for Pierce Brosnan‘s casting in GoldenEye (1995). Had the film been made, it would have been set in Scotland, Tokyo, and Hong Kong, and would have involved nanotechnology.
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1987 was the end of a historic movie tradition as Brian Bysouth produced the last fully drawn painted James Bond film poster (Fascinating Brian Bysouth interview with Eddie Shannon of Film on Paper) for Timothy Dalton’s 007 debut as “The most dangerous Bond…Ever” in “The Living Daylights”. The advance teaser poster preceding this was a mixture of photograph and artwork created by Brian, the advertising agency Feref, Jeffrey Bacon & David Generic and is distinctive for the see-through negligee. However it is not Bond babe Maryam d’Abo in the shot but American model Kathy Stangel in this famous pose & beautifully photographed by Jim McCrary. The original 1987 UK (country of origin) movie poster offered here is presented in exceptional unrestored, rolled (as issued) unfolded condition with bright and unfaded colour tones and white areas that are truly bright. Hugely desirable and very collectable, it would be a worthy addition to any collection of James Bond movie memorabilia.
Trivia: Kara Milovy (Maryam d’Abo) is the last “main” Bond girl to be blonde until Spectre (2015). All leading Bond girls in the other films since have been brunettes or redheads.
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1987 was the end of a historic movie tradition as Brian Bysouth produced the last artist drawn painted James Bond film poster (Fascinating Brian Bysouth interview with Eddie Shannon of Film on Paper) for Timothy Dalton’s 007 debut as “The most dangerous Bond…Ever” in “The Living Daylights”. Bysouth has used the classic image of Bond viewed through the end of a gun barrel to fine effect and further embellished the finished design with great action scenes and marvellous renditions of the latest Bond-girl, Maryam d’Abo and of course the classic Aston Martin (in this case a V8 Vantage Volante). The original 1987 UK (country of origin) quad movie poster offered here is presented in high grade unrestored, rolled (as issued) condition and perfectly suited to the landscape style for which it was designed for. Colours are bright and unfaded, the black background a deep black and the white areas truly bright. Hugely desirable and very collectable, it would be a worthy addition to any collection of James Bond cinematic movie memorabilia.
Trivia: This was the last James Bond film to use an original Ian Fleming title until Casino Royale (2006), a gap of almost twenty years.
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“You Only Live Twice…and “TWICE” is the only way to live!”
A series of three main general release poster designs were commissioned to promote Sean Connery’s fifth outing as 007 “You Only Live Twice” (1967) with artwork by both Robert McGinnis and Frank McCarthy used. Of the three different styles produced for the film, the “Style-C”– ‘Bath-Tub’ is the most difficult poster to find. Whereas “action” is the key selling point of the two Frank McCarthy designs, McGinnis focuses on Bond’s sex appeal with his poster design with risqué artwork featuring a Japanese ‘geisha’ girl with her hand washing below the waterline near to Bond’s groin area. The original 1967 Style C British UK quad movie poster offered here is presented in amazing unrestored, folded (as issued) condition and perfectly suited to the landscape style for which it McGinnis designed it for. Colours are strong and vibrant with the white background totally unfaded and bright. A true first release stating ‘Sean Connery IS James Bond’ – Connery was by now increasingly concerned of being typecast and insisted on this tagline to be changed to read AS instead of IS, with the later printings either having a glued snipe or reprinted AS. Measuring 30″ x 40″, NOT one of the slightly over-sized 31″ x 41″ posters that were printed a little bit later and used largely for provincial cinemas. Hugely desirable and very collectable, it would be a worthy addition to any collection of James Bond movie memorabilia and is a truly impressive 007 poster.
Trivia: This marks the fifth and final on-screen appearance together of Sir Sean Connery and Lois Maxwell. In Diamonds Are Forever (1971), the scene where the disguised Moneypenny gives Bond his travel documents at the port of Dover, Maxwell and Connery filmed their lines separately, and were not present together for the short scene.
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The blood red background silhouetting the infamous T-rex skeleton makes for the most iconic and instantly recognisable logo in cinema history. It can only be Steven Spielberg’s 1993 blockbuster “Jurassic Park”. Ground breaking and game changing are phrases banded around far to easily in this day of modern cinema but “Jurassic Park” truly deserves these accolades. A massive worldwide success on its release with merchandising and memorabilia hugely sought after with the logo style design being the most desirable. From first year of release 1993 this rolled (as issued) Advance ‘Summer 1993’ original, unrestored UK quad film poster displays and presents to excellent effect. The bright red logo and title which is printed , slightly embossed, using a spot varnish finish, truly pops against the matt black background. From an aesthetic point of view I have always preferred the landscape format of the quad, as feel it suits the design (and is much more impressive) than the portrait style of a one-sheet. A fine piece of original movie memorabilia that is hard to find in such high grade condition from the film that kickstarted the CGI phenomenon and made millions fall in love with a T-Rex.
Trivia: The novel was published in 1990. However, pre-production of the film began in 1989, using only Michael Crichton‘s manuscript. It was widely believed that the book would be such a hit that it would make an outstanding movie. It turns out that assumption was correct
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Directed by the acclaimed filmmaker Ken Loach, “KES” is based on the 1968 novel “A Kestrel for a Knave”, written by Barry Hines. It is part of the kitchen sink realism movement that developed in Britain in the late 50s and early 60s. This movement focussed on those that were disillusioned with modern society, and on the domestic lives of working-class Britain. When re-released by the BFI in 1999 for the 30th Anniversary, graphic design agency The Farm was commissioned to create a new poster, and it’s fair to say it what he has produced surpasses the original. Exclusive to this British release it’s a stunning imagery sums up the feeling of isolation. The borrowed shorts typify the “done unto” theme for the young lad while attempting to add a touch of welcome understated humour to the poster – made more poignant by the fact that for David Bradley’s role in life humour was usually at his own expense or not at all. An incredibly scarce example of modern poster design, perfectly suited to the landscape format of the UK quad. Originally rolled (as issued) this superb example presents extremely well and represents a beautiful example of cinematic movie memorabilia from a film that remains a powerful study of school, family, strife and dreams ever made.
Trivia: KES (1969) has a 100% rating based on 32 critic reviews on Rotten Tomatoes.
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“It’s Craaazy! … big top … big shoes … big teeth!!”
If you were looking for a film to define cult classic, and you don’t suffer from coulrophobia, look no further than the Chiodo Brothers’ 1988 sci-fi, comedy, horror “Killer Klowns From Outer Space”. From the incredible Tom Simpson artwork on the British Quad to the premise that a gang of aliens looking like grotesque, colourful circus clowns have come to Earth to terrorise and murder us by cocooning their victims in candy floss, it has everything a cult film fan could want. Regarded as one of the scarcest posters from the period and of the genre, this is a full size 30″ x 40″ (76 x 102 cm) from the very limited cinema release and not one of the smaller posters produced with the same artwork when it released on video in Great Britain. An incredibly hard film poster with very few printed with only an extremely small number to have survived. The U.S. one sheet with bland artwork is pretty scarce and finding this original English poster featuring Tom Simpson artwork is almost impossible.. especially in this excellent unrestored rolled (as issued) condition. It represents one of the funnest and coolest items of original cinematic movie memorabilia we have ever offered for sale…“In Space No One Can Eat Ice Cream!”
Trivia: The popcorn gun include a compressor inside that would fire real popcorn. It was the most expensive prop in the movie, costing $7,000 and taking six weeks to build.
Watch the Trailer HERE
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“Now, if you’re sitting comfortably, I shall tell you why you must not be afraid to die. To die so that the god may live is a privilege, Kevin, and if you know anything at all about history, you will know that human sacrifice is as old as Dionin himself, whose every death is a rebirth into a god ever mightier !”
A terrifying eye-catching film poster for Ken Russell’s “Lair of the White Worm”. This original 1988 UK quad film poster is stunning; truly memorable horror imagery as we see a close up of snarling fanged snake-creature about to attack. Very in your face and not at all as understated and restrained (much like the legendary Director). With unique British, country of origin artwork this is an extremely desirable and very scarce poster. In excellent original, unrestored condition this folded (as issued) example displays to superb effect and represents an impressive item of original horror movie memorabilia from a cult British horror classic.
Trivia: The D’Ampton worm is an obvious reference to the Lambton worm, which is a real English legend, dating back at least to the mediaeval period.
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“You know, it’s kinda like… Success is subjective, you know. It could be an opinion.”
“Last Days”, Gus Van Sant’s experimental film loosely inspired by Kurt Cobain’s, err, last days and the rock star that indie darling Michael Pitt satisfyingly embodies here. The original UK quad film poster to accompany the 2005 release was designed by the creative arts agency Shoolery Design and features a ‘grungey’ close up of Pitt. Like many ‘art-house’ and independent releases the advertising campaign was very low key and the UK film poster that accompanied the extremely limited cinema release is truly scarce. Originally rolled this incredibly rare example displays to excellent effect and represents a highly sought after piece of collectible music/film/ memorabilia presented in superb condition.
Trivia: Gus Van Sant had originally intended to make a direct bio-pic of Kurt Cobain in the mid-1990’s but ran into legal obstruction from Cobain’s widow, Courtney Love. Undeterred, Van Sant met with Love to discuss some ideas for the film, as well as her possible involvement. Though the two actually became friends and discussed the film for years, Van Sant eventually realized that Love was too devastated by Cobain’s death to ever collaborate on the film or even allow a bio-pic to ever be made and adapted his ideas into this fictionalized story.
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