- Carry On Australian Daybill Movie Posters
- The Wayward Bus Australian Daybill Original or Reissue
- Camille Daybill – Original or Reissue Movie Poster
- Aub Moseley one of our great Australian Movie Poster Artists
- BUTCH CASSIDY Daybill Movie Poster Original or Reissue
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- LINEN BACKING MOVIE POSTERS – Wallpaper Paste or Wheat Paste?
- Linen Backed Movie Posters – a word of Warning
- High Society Daybill Movie Poster – Original or Reissue?
- Kevin Brianton Collector Profile Richardson Studio Movie Posters
- Alfred Hitchcock Australian Movie Posters
- Queensland Gallery of Modern Art Movie Poster Presentation report
- Endless Summer Sundays Queensland Gallery of Modern Art
- Mad Max Australian Movie Posters – Original or Reissue?
- Golden Years of Television Australian Daybill TV Series Movie Posters
- Australian Movie Poster Misprints and Errors – are they more valuable?
- Australian Movie Poster Collectors Profile: Vesna Babic
- Profile of a Movie Poster Collector: Rick Bayne
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- PROFILES OF MOVIE POSTER COLLECTORS: Matthew Kerr
- PROFILE OF A MOVIE POSTER COLLECTOR: Brian Arnold
- THE CARS THAT ATE PARIS: Original or Reissue Daybill?
- Robert Burton Printers Movie poster artists
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- Highest Priced Australian Movie Poster
- Ask Any Girl Daybill: Original of Reissue?
- Guns of Navarone Daybill: Original or Reissue?
- Creature with the Atom Brain Daybill: Original or Reissue?
- The Early Years: 1900 – 1941
- The Wartime Daybills: 1941-1945
The Wartime Daybills: 1941-1945
Some Australian daybills were printed in a 10″ x 30″ format during a portion of the war years (aka the Wartime Daybills) from approximately 1941 to approximately 1945.
This may or may not be true because there were many daybills printed in the 13″ x 30″ format but the explanation sounds reasonable.
The interesting thing about these daybills is that there were a number of titles that were printed in the narrow format but in duotone. This has lead to a great deal of speculation about the originality of certain titles includng “The Glass Key” the 1942 film noir.
Two posters exist for this title including a narrow format 10″ x 30″ duotone daybills and a full colour 13″ x 30″ daybill.
The question is – which came first?
There is little doubt that the narrow format daybill was produced for the original release because this format was clearly only used for a very brief period but when was the full colour version released?
It seems reasonable to suggest that, if the narrow format was used for the duotone version then this poster may have been the first release but others would argue that both posters were produced at the same time. If this was the case then why was the full colour version not produced in the narrow format? Both posters were produced by The Richardson Studio. One theory is that the film became more popular than expected and a full colour daybill was produced as it became more widely screened. Bear in mind that there are other examples of a full colour narrow format daybill accompanied by a duo-tone narrow format daybill.
Australian Pressbooks are very hard to find from this era and if anyone has one that can shed some light on the subject I would love to see it.
The Marchant posters featured photographic images that were retouched and they are particularly appealing.
The Richardson Studio also produced many narrow format daybills.
These daybills are a unique and interesting part of Australian Movie Poster history and they are genuinely rare and always sought after.