REBECCA (1940) LOBBY CARD, Vintage Original, Alfred Hitchcock
Size Lobby Card (11" x 14")
REBECCA (1940) Vintage Original Lobby Card, Movie Starring Laurence Olivier, Joan Fontaine and Directed by Alfred Hitchcock is in Fine Condition. Movie Poster and Condition. This original, vintage unrestored Lobby Card...
REBECCA (1940) Vintage Original Lobby Card, Movie Starring Laurence Olivier, Joan Fontaine and Directed by Alfred Hitchcock is in Fine Condition.
Movie Poster and Condition.
This original, vintage unrestored Lobby Card is presented in Fine condition, it still retains its vibrant colours and is in clean presentation, minor handling wear and some signs of age-related yellowing may be present.
This authentic Rebecca (1940) vintage original lobby card is a genuine cinema-issued promotional piece created for the theatrical exhibition of Alfred Hitchcock’s legendary film. Lobby cards were traditionally displayed in cinema foyers to advertise the feature presentation and showcase memorable scenes from the movie. Today, they are highly prized by collectors of classic Hollywood movie memorabilia. This particular lobby card represents one of the most celebrated films of the Golden Age of cinema and features imagery connected to Hitchcock’s atmospheric storytelling style. While the specific poster artist responsible for the lobby card design is not widely credited, the photography-based layout reflects the elegant promotional artwork typical of the 1940s studio era. For collectors of Alfred Hitchcock films, vintage thriller cinema, or classic Academy Award-winning movies, this original lobby card offers both historic appeal and strong display value.
Movie Synopsis
Rebecca (1940) is one of the most celebrated films directed by legendary filmmaker Alfred Hitchcock. Produced by David O. Selznick and based on the acclaimed 1938 novel by Daphne du Maurier, the film combines romance, mystery and psychological suspense into a haunting cinematic experience. Upon its release, Rebecca was widely praised by critics and audiences alike and went on to win the Academy Award for Best Picture, making it the only Hitchcock-directed film to receive that honour.
The story follows a shy and inexperienced young woman, played by Joan Fontaine, who is working as a paid companion to a wealthy socialite while travelling in Monte Carlo. During her stay, she meets the charming but brooding English aristocrat Maxim de Winter, portrayed by Laurence Olivier. Maxim is still emotionally scarred by the mysterious death of his glamorous first wife, Rebecca, yet he quickly becomes captivated by the quiet sincerity of the young woman.
The pair soon marry and travel to Maxim’s magnificent estate, Manderley, located on the windswept English coast. However, the new Mrs de Winter soon discovers that life at the estate is overshadowed by the lingering presence of Rebecca. Although Rebecca is no longer alive, her memory dominates every corner of the house and every member of the staff.
The most intimidating presence is the housekeeper, Mrs Danvers, played with chilling intensity by Judith Anderson. Fiercely loyal to Rebecca, Mrs Danvers subtly undermines the new bride at every opportunity, constantly reminding her that she can never live up to the beauty, sophistication and influence of the previous mistress of Manderley.
As the young bride struggles with feelings of insecurity and isolation, the mystery surrounding Rebecca’s death begins to unravel. Gradually, secrets about her life and the circumstances of her disappearance come to light, leading to a dramatic and suspenseful revelation that challenges everything the characters believed to be true.
Alfred Hitchcock’s direction brings extraordinary tension to the story, using shadow, lighting and carefully crafted camera work to create an atmosphere of psychological unease. The film’s gothic tone and intricate character dynamics have made it a defining example of classic suspense cinema.
An interesting production detail is that Rebecca was Hitchcock’s first American film after moving from Britain to Hollywood. Producer David O. Selznick insisted that the film remain faithful to Daphne du Maurier’s novel, resulting in a production that blends Hitchcock’s visual storytelling style with Selznick’s grand studio approach.
The performances of Laurence Olivier and Joan Fontaine were widely praised, with Fontaine receiving an Academy Award nomination for her role. The film’s elaborate sets, particularly the unforgettable depiction of Manderley, also contributed significantly to its enduring legacy.
Today, Rebecca remains one of the most admired films of the Golden Age of Hollywood. Its combination of romance, suspense and gothic atmosphere continues to captivate audiences, and original promotional materials such as lobby cards from the film are highly sought-after by collectors of classic Hitchcock cinema and vintage movie memorabilia.
To find out more about Rebecca (1940) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.