Sweeeeet new cover from Arrow Video’s release of THE INCREDIBLE MELTING MAN!
Sweeeeet new cover from Arrow Video’s release of THE INCREDIBLE MELTING MAN!
Happy 81st birthday Ken Barr!
My print inspired by the 80’s camp slasher movie, “The Burning”, is now available in a limited run of twenty prints. Get em’ before Cropsy gets YOU!
Reblogging for the evening crowd!
If you don’t know the art of Trevor Henderson, get to. He’s got an amazing style and clearly, his heart is in the right place- HORROR!
Let’s face it. Ebay, and the internet in general changed the way we collectors acquire movie posters, and for the better too. One of the last pre-internet purchases I made was of the 1970’s French re-release of NIGHT OF THE LIVING DEAD. It cost me $250 plus tax and at the time, I couldn’t be happier. I bought it at a now-defunct shop on Yonge street in Toronto. Hollywood Renaissance was it’s name, and I never missed a chance to pop in when I had time to kill. But shortly after making this purchase, I discovered ebay, where that same poster would sell for $35 plus shipping from France, bringing the total to maybe $60, give or take.
You do the math.
The price has obviously risen in the last 15 or so years since, but hasn’t reached the amount I laid out. I still get a vast majority of my pieces from the internet, but when I travel, I make sure to visit an actual brick and mortar store to dig for goodies. And I do this because:
1) Real people. Maybe I’m out of touch, but I like speaking with actual humans. You can talk about movies, poster artists, or the damn weather if that suits you. In this digital world, it’s nice to connect
2) Real posters. It’s nice to physically behold and handle the pieces you’re about to buy. The web can be a gamble, despite several buyer assurance measures (like ratings from other customers, etc), but seeing the thing for yourself is still the best way to go.
So with that in mind, here’s the first in a series of posts I’m calling Brick and Mortar. I’m paying tribute to actual, physical retail outlets that sell posters.
On a recent trip to New York to film my documentary on why people love horror, I visited the fantastic Chisholm Larsson Gallery, located in Manhattan’s Chelsea neighborhood. I circled the destination on my desired places to visit while there and thought about it every day. I left it up to the film crew as to whether or not they would follow me in with cameras. They did, so look for it in the movie. I had been there once before, in 2003, and was thoroughly impressed with everything the store had to offer. But this past trip was, well, a trip in itself.
Having given them a heads up, Robert Chisholm and his warm and knowledgeable staff were ready for us. They put up some pieces of interest (some dazzling European posters for HOUSE ON HAUNTED HILL, THE TERROR, CURSE OF THE WEREWOLF).
Fortunately, Robert was game to appear on camera, and with that, a lengthy discussion/ogling session was launched. He pulled out a few vintage church posters from Spain circa 1920. These pieces were from a series of about 100 prints, presumably distributed the Catholic churches in and around Madrid. They depict various biblical scenes, but obviously, I was mostly interested in the ones showing hell and bodies emerging from graves and things of that nature.
The charmingly unrefined style, coupled with the unflinching subject matter are enough to make a curious horror fan’s mouth water. Just make sure not to do it near the posters themselves, as they were quite brittle and in need of some preservation. At this point, it should be made clear that Chisholm Larsson deals with posters of all varieties- advertising, sports, travel, cultural events; not just movie posters. But I was there for the movie stuff. You know how it is.
Up next, the staff presented an Italian 4 sheet for Antonio Margheriti’s THE LONG HAIR OF DEATH (1964). A simple design, but exquisite in its simplicity and colour palette. We found this randomly in their stock list, available for browsing on one of several PC’s inside the shop. This arrangement makes poster shopping so much easier. In fact, their website is one of the best I’ve ever seen. Too often it’s an “ask and I’ll see if we have it” kind of deal in most shops. Not that there’s anything wrong with that. But a comprehensive stock list, complete with photos, and a variety of search fields makes the trip that much smoother.
After one the staff members voluntarily proclaimed her love for Dario Argento’s SUSPIRIA (1977), I decided to dive into their site to see what materials they had for the title. I found this oddball piece; a vinyl banner, complete with grommets for hanging. Robert and I speculated on the banners initial use. Was it for hanging above the concession stand? Was it used outdoors, for drive-ins? Who knows. Who cares? It’s a thing of beauty, and I’d never seen one before.
As much fun as I was having, it was time to get down to business. A particular poster I had been eyeballing for months was beckoning. It’s for a charmingly terrible film called ZOMBIE LAKE (1981). As far as I knew, it had only screened in France and Belgium, and both posters from those countries boasted the same Constantin Belinsky artwork, seen below.
The film had a relatively broad video release back in the day but used different artwork. In fact it was one of those covers that I stared at as a kid every time I went to Jumbo Video. A couple of years ago, I found a good condition slipcase of the Canadian release.
The art, along with several other Wizard Video releases (Wizard was the US distributor, and I suppose the release above was handled by a local partner) is credited to a C. or sometimes E. Casaro. Is this the same artist as Renato Casaro, hiding under an utterly lazy pseudonym? The style and technique certainly match up. Who knows?
In any event, finding this piece at the Chisholm Larsson Gallery was like finding a needle in a haystack- by accident. As a lover of all things zombie, I of course had to have it. Did anyone know ZOMBIE LAKE ran in Venezuela? I didn’t. Did anyone know that the US video art fronted a theatrical release? I didn’t. Here’s the poster:
They even wrote a very sweet note on the parcel, complete with bloody horror letters!
After the 4th hour of nerding out, it was time to go. Like I said, a lot of the visit was captured on tape and parts of it will make it into WHY HORROR (the name of the documentary).
So thanks Robert and the Chisholm Larsson Gallery staff for a truly excellent and inspiring time. And when in New York, go give them a visit and tell them Tal sent you!
For those who don’t know, Women in Horror Recognition Month is an organization that aims to have the horror community lead the way in destroying gender barriers in an industry that practices systematic bias against women. How does it plan on doing this? By highlighting the amazing work women have done and continue to do behind the scenes of Horror Entertainment in all it’s forms. Authors, filmmakers, FX artists, screenwriters, producers; women are doing some excellent work and we as a community have an amazing opportunity to shine a much needed light on their efforts.
But what about poster artists? Surely in the long list of names that make up the great illustrators there must be some women? Right? Can you name them? DIdn’t think so.
Well, after reading this, that will no longer be the case. You’ll have not one, but TWO amazing women whose you’ve already admired- you just never knew who created them.
First up is New Jersey native Tricia Zimic.
These days, Tricia is wildlife painter, but genre fans will know her exceptional body of work creating posters and DVDs for lowbrow heroes Troma Entertainment.
Make sure to swing on over to her Facebook page and say hi!
Here are some samples of her work:
Next up is Joann Daley, an artist whose work I have a particular affinity for. She created two of my favourite illustrations ever: CREEPSHOW (1982), and SCANNERS (1981). But like practically every movie poster illustrator, her work reached far beyond film. In the mid-90’s, she crafted a few series of trading cards for Fleer- in the Star Wars and Marvel universes.
Joann doesn’t appear to be illustrating any more. The avenues for such work have diminished over the years, but Joann if you’re reading this, THANKS FOR ALL THE NIGHTMARES!
Below is a gallery of some of her astounding work. A PLEASE make sure you get more info on Women in Horror Recognition Month every February!
Till next time!
It’s been about 8 months since my last post. A LOT has happened during that time and I’ll tell you about it bit by bit in the next little while. But for now, here’s the condensed version:
I moved. Twice.
My wife and I had a baby. His name is Zev. In an upcoming post, I will take you through the tricky process of decorating a new home with a very impressionable fresh human, while maintaining a cool vibe.
My film WHY HORROR? launched and completed a successful Kickstarter campaign. (Additionally, we shot a buttload of awesome interviews for the film). - see below for some poster related videos from the campaign.
I, along with Steven Kostanski, took part in a 4-way debate wherein each team of 2 players defended the merits of the Stephen King film adaptation of their choice. We picked MAXIMUM OVERDRIVE…and won!
I contributed 10 of my favourite gore poster picks for this year’s Rue Morgue Halloween issue.
I slowed down my poster buying but still managed to secure several holy grail pieces. Look for a post on those, with pics, in the future.
—-And beyond my personal life, there are lots of great postery tidbits to share. Again, keep your eyes peeled for future posts.
Today, I’m going to share a video from the WHY HORROR? Kickstarter campaign. We go inside the film office where I’ve plastered the walls with some posters from my collection and talk a little about the
There’s also a PART 2 for your viewing pleasure!
For someone who is passionate about posters but rarely appreciates them in an academic framework, this should be very interesting.
Follow the link for info:
First, check out his profile from comicbookdb.com. There, the story ends in the 70’s.
Where I pick it up is in the 80’s, when the artist knocked out several posters for 21st Century Distribution and Almi Picures, companies that specialized in importing and “Americanizing” many European and Asian genre films.
His signature only appears on one poster (Eye of the Evil Dead aka Lucio Fulci’s Manhattan Baby) but there are a few technical, thematic, and composition elements that all point in the same direction.
Here are some examples of his non-movie poster work: