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Since the beginning of collecting, Universal Horror has been considered the top of the heap value-wise, with the one-sheets for their early films ( Dracula, Frankenstein, Mummy, and Invisible Man) generally considered among the most expensive items in the hobby. But there is a generally accepted pecking order and groupings as to what makes up the top tier posters, and for the most part they are almost all early Horror and Science Fiction titles. There isn't an Action #1 equivalent, or even an Amazing Fantasy #15 equal when talking about 50s/60s posters. Posters aren't as quite an exact science as comics. This might be a tall order, but can you give me a general overview of what factors are important to poster collectors in terms of the importance of the film, rarity, versions of the poster, etc? It strikes me as a little surprising, given the size of the audience, that I don't think we could say the same about movie posters. The average comic fan has a very general idea of what's valuable and why, particularly in recent years as high-profile auctions have gotten major publicity. What makes this poster potentially the most valuable movie poster in the world? In comics, we have sort of a pecking order of what we consider historically important and a general idea of what's rare, we see the supply/demand equation play out regularly in auctions, and I think these concepts have seeped into the mainstream to some extent. There is a half sheet and an insert and several lobbies, but I don't even think a complete set of the lobbies exist. Interestingly there isn't even a US one-sheet known on this film. There is an excellent site here that shows many of these designs. Most countries created their own posters for the film and were not forced by UFA to use the German designs. The copy in the Austrian National Library Museum is a "credits" version, and I guess the argument could be made it might even be more valuable than this, but since the museum isn't selling we will likely never know. The International version is the one we are offering, it is identical to the German one except that it does not have the German credits printed on the poster. It was designed by Heinz Schulz-Neudamm and used only for the 3-sheet (both the German and International version).
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Sean Linkenback: Yes, this poster is the original use of this art. Is this German 3-sheet the original use of this art/design? Was this design used in other versions of the poster for other countries? Since he understands both markets, I decided to pick his brain about how the movie poster market works, how it is differs from the vintage comics market, and how his startup intends to address the challenges that the growing market currently faces.īleeding Cool: Let's start with a little background on the Metropolis poster. When I saw this poster, I recognized it as one of the most famous images we now associate with the film.
#Vintage gay porn movie poster update#
When I was getting into vintage comics in the late 1980s, he was writing market reports for the old Oversteet Comic Book Price Update - in those pre-internet times a treasure trove of information on how that market works. Linkenback also knows the vintage comic market well. Apples and oranges? Very likely, but when one of the people behind this offering, Sean Linkenback, sent me a notice that he and partner Peter Contarino were launching a new venue for collectors to buy and sell posters, I wanted to dig a little deeper into how this market works and where it's going. In the time since this poster set the world record for movie posters in 2005, the world record for a comic book sale has jumped from $350,000 to $2.16 million. The question intrigued me, because I know quite a bit about the vintage comics market but very little about movie posters. Can this copy of the Metropolis German 3-Sheet break its own record? It is up for sale now at Movie Poster Exchange.