Great poster Matias.
My wife and I have this one hanging up as she is Peruvian and I believe that is the 4th country on the Good Neighbor tour - not Bolivia.

Nice that Scott was finally able to move this piece after offering it for so long, but yet another sign of the post-Haggard horror depression as this poster used to regularly sell (on the rare occasions it became available) in the $7-8,000 range.

Having said that, I am definitely in the market for an original Universal (not Realart) one-sheet for this film and would pay $15,000+ (the better the condition the more the "+") for a copy.

I hear a lot of blind people live in those countries...

I don't get foreign people.
sometimes it seems like they have a different word for everything.
and don't get me started on their poster collecting habits...

Those aren't foreign posters though - they are all country of origin 

Thank God, the Aussies didn't turn any of those beautiful pieces of art into crayon-drawn daybills.

Thanks Tob
I put up some of Ohrai's amazing posters this evening and will be doing more soon.
http://kaijuposters.com/80up.html

I didn't think it was April 1st, but maybe it is...

of course you didn't sway him with this argument.
Anyone who collects Aussie posters can't be swayed by "it's all about the art" arguments or they wouldn't collect Aussie paper.

Mel, that Biollante B1 poster used to be probably the toughest (thought not the most expensive) from the 80s/90s series of Godzilla films.
Even now I don't believe Bruce has sold a copy, but Hideyuki had one not too long ago in one of his auctions and I've seen a couple of others surface.
Fantastic image on that one though.

The Thierry hates "French Grande" for Godzilla is the same artwork as the smaller poster. The only difference is the artist's signature is larger and there is some spacing differences in the text on the right side. There is a nice photo of it in my book, but that was done from a slide and I have not taken another photo of it since (I actually have a friend come over and do all the photos of my large paper since I am so horrible at it), but I will get it on the site eventually.

There is a re-release French poster for Godzilla that I still need. If anyone would like to sell it, or knows where a copy is, I am a ready buyer.

Thanks for the feedback.
We are still working on it of course, but as you can see we are open to suggestions and willing to change.

Didn't realize about the right-click issue, so I will definitely talk to the programmers about that.
The wasted space on the side seems to be a common issue with Bruce, Heritage, and most everyone. It will probably be addressed at some point, but is definitely back-burner.

Still working on some other changes

wow - never realized Cioffi universally invoked such a reaction.
Sounds like he needs his own thread so people can tell their stories (and sorry to hijack your thread John).

Thanks guys, I am going to try to add stuff to the page weekly until it is finished (yeah right, like it will ever be finished).

The vertical B0 is the largest poster made for the first film.
The bigger poster you are probably thinking of is the 10-sheet for King Kong vs. Godzilla.
It will be on the site soon

Not really photos of my walls, but I am starting a site where I will catalog everything (eventually, this will be a long project):

www.kaijuposters.com

Still looking for Japanese lobbies like this one:



Also - starting a new website dedicated to cataloging all the Japanese Kaiju posters:
www.kaijuposters.com

Ok Steve (and others),
still waiting for your reviews of the site redesign, but also thought I would give a reminder here that we do have a cool stills auction this week as well as our regular poster goodness.

http://www.movieposterexchange.com/buy.php?list=weekly

Another great one John.

Still waiting for that John Cioffi article... 

I can't wait until non-US lobby cards means a bunch of early Japanese lobbies I need
 

Why would each theater only get two or three posters?
I am friends with the owner of one of Atlanta's last remaining independent theaters (Plaza), they only have two screens but whenever they show a film they get up to a complete tube of posters and usually at least 20 of any title.

I think both are a little correct. Beauty of course is in the eye of the beholder and yes you could buy what you consider to be much much nicer posters for $1800, but you could also buy a lot worse (i.e. daybills). As for rarity, I think we already know that it's not how many they printed, it's how many survived and even more important how is the demand compared to the number that survived.
Demand for original material from the Mummy is of course high among horror collectors and really for the $1800 this one-sheet sold for, yes you could easily get an original herald from the film (when they surface), but it most likely would not even get you a decent shape dead scene lobby card. This Realart release was the only re-issue of the film, so for 99% of the people who are interested in obtaining something from the Mummy they will have to settle for something from Realart.

But you would be surprised how rare some of the Realart material can be. When I first started collecting, a lot of horror collectors snubbed their noses at Realart material as it was worthless re-release junk, but time has proven that not only is some of the Realart material quite rare, but that it can actually be better than the original release material.
And a reminder that the Realart material is older today than the Universal originals were when I started collecting.

Using House of Dracula again as an example and look at Bruce's archives - he has only sold 4 individual lobby cards from the Realart release of House of Dracula in the past 20 years (and two of those were laminated). That's half a set in 20 years out of a couple million items sold.
One of those four cards was this fantastic scene card of the Frankenstein monster:

To me, this card is better than any original release House of Dracula scene card and probably the best Glenn Strange monster scene.

Or take this card from Frankenstein Meets the Wolf Man:

When I purchased this from Bruce's auction nearly a decade ago, people said I was crazy for paying a record price for a Realart scene card.
But to me it is a top 5 Universal scene card and is the ONLY scene card (original release or Realart) to show two monsters in the same scene and I proudly display it on my wall amongst some original cards (thanks Bruce).
I would love to complete my Realart lobby set on Captive Wild Woman, I've upgraded my original release set to all beautiful mint cards, but I can't even find the missing cards from the Realart set to complete it in any condition.

This used to be a solid $3000-$3500 piece and I know of at least one copy that sold for $5000.
The post-Haggard depression continues.

VERY Cool

I agree. Grading should be standard, but the word for the condition doesn't matter as much as long as a) you are consistent and b) you provide large images of everything.

Is there really a difference in grade between the Casino Royal and this one? I don't think the older one should have gotten a higher grade just because it's older, but as long as you provide a really large detailed image the word grade doesn't matter so much.

 

holds true for 3 and 4 figure posters also.
I view it like this: any fund manager would kill to make 5-25% on every single transaction they do.
So if I can buy any poster that I think the will provide a greater return than the best opportunity I have in the market at the same time, I will purchase the poster
(provided I like the poster/image - I always buy with a back of my mind belief that if everything was worthless tomorrow would I still be happy and enjoy what I have).
It has served me well so far

To each their own, and everyone knows what their own time is worth, but I dream of being able to keystone items like that.
When dealing with top horror and sci-fi pieces I've been very happy buying to make anywhere from 5-25%
But my focus has always been on turnover and not stockpiling, my goal at Cinevent every year is to have at least 90% different inventory from the prior year.