TO THE DEVIL A DAUGHTER (1976) Movie Poster, Daybill, Christopher Lee
Size AU Daybill Post-War (13" x 30")
TO THE DEVIL A DAUGHTER (1976) Original Vintage, Movie Poster, Daybill, Starring Christopher Lee, Nastassja Kinski & Richard Widmark, Directed by Peter Sykes is in Very Fine Condition. Movie Poster...
TO THE DEVIL A DAUGHTER (1976) Original Vintage, Movie Poster, Daybill, Starring Christopher Lee, Nastassja Kinski & Richard Widmark, Directed by Peter Sykes is in Very Fine Condition.
Movie Poster and Condition.
Condition: This original, unrestored Daybill Movie Poster presents in Very Fine condition with 2 Daybill folds as issued, edgewear on the right hand side below the 2nd fold, 2 small pin holes at the top middle and bottom middle positions, plus on the back in pen is 'T.D.A.D 14/9/77' and some stains/marks which do not show through. This authentic Australian Daybill movie poster from the film’s original theatrical release remains an attractive example of 1970s horror cinema advertising. Despite the minor storage and handling marks noted above, the poster presents extremely well when displayed, with strong colours and striking imagery typical of horror marketing from the era. Australian Daybill posters are highly regarded by collectors worldwide due to their distinctive size and comparatively limited print runs. This piece represents a desirable item of vintage horror film memorabilia, particularly for collectors of Hammer-style occult cinema and fans of legendary horror icon Christopher Lee.
Movie Synopsis
To the Devil a Daughter (1976) is a chilling British supernatural horror film produced by Hammer Film Productions and directed by Peter Sykes. Based on the novel by acclaimed horror author Dennis Wheatley, the film is widely recognised as one of the final productions from the legendary Hammer studio during the golden era of British gothic horror. Combining occult themes, suspenseful storytelling and striking performances, the film stands as a memorable entry in 1970s horror cinema.
The story follows American writer and occult expert John Verney, played by Richard Widmark, who becomes involved in a terrifying conspiracy involving a secret satanic cult operating in Europe. Verney is reluctantly drawn into the case when a frightened man begs him to help protect his teenage daughter Catherine, who has been placed under the guardianship of a mysterious religious organisation.
Unbeknownst to most people around her, Catherine—portrayed by a young Nastassja Kinski in one of her earliest film roles—is destined to play a crucial role in a dark ritual intended to summon a powerful demonic entity. The cult responsible for this sinister plan is led by the charismatic but deeply sinister ex-priest Father Michael Rayner, played by the legendary horror actor Christopher Lee. Rayner has abandoned the Church and devoted himself to occult practices, believing Catherine will become the vessel for a powerful supernatural force.
As Verney investigates further, he realises the frightening extent of Rayner’s influence and the deadly determination of the cult members who will stop at nothing to complete their ritual. Racing against time, Verney must uncover the truth behind the conspiracy while attempting to rescue Catherine before she becomes permanently bound to the forces of darkness.
The film is notable for its darker tone and more modern visual style compared with earlier Hammer productions. Shot largely on location across Germany and the United Kingdom, the film blends traditional gothic horror elements with the contemporary occult themes that became popular in cinema during the 1970s. The screenplay was adapted by Christopher Wicking, who worked closely with Wheatley’s source material to create a tense narrative filled with mystery and supernatural dread.
Christopher Lee delivers one of his most intense performances as Father Rayner, portraying the character with a chilling combination of intelligence, authority and malevolence. Meanwhile, Nastassja Kinski gained early attention for her haunting presence, foreshadowing the successful international acting career that would follow in later years.
Today, To the Devil a Daughter is remembered as one of Hammer’s final major horror films and has developed a loyal cult following among fans of classic British horror and 1970s occult cinema. For collectors of vintage film memorabilia, original theatrical posters from this film are prized pieces that capture the atmospheric style and enduring legacy of the Hammer horror tradition.
To find out more about To the Devil a Daughter (1976) 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.