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Original vintage poster “Guethary – Jewel of the Basque Coast,” AZCUE (1968)
THE DIFFERENT CONDITION OF A POSTER
If a poster is appreciated for its rarity, subject, signature or age and sometimes its size, it is also appreciated by its condition, which is an important component of its value. Please find below the different conditions of the posters proposed by www.posterissim.com
New : "mint". The poster has been handled but never used and has been carefully stored. This condition generally applies to the most recent posters.
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Excellent condition : also called "condition A" or "near mint". The condition of the poster is above average even if it shows slight traces of use. The poster has no major flaws and is not missing anything. Only minor defects are accepted, such as pinholes or slight discoloration on older objects. www.posterissim mainly sells posters in this condition.
Very good condition : or "very fine". The condition of the poster is close to "excellent condition" but with some additional defects such as slight tears or more pronounced folds.
Good condition : also known as "condition B". The visual is clean but has more pronounced defects than those of the previous conditions, sometimes with traces of moisture or yellowing of the paper. These defects have been often corrected during the restoration process, followed by washing and mounting.
Fair condition : "C" (suitable condition). The condition of the poster is below average, with a multiplication of defects (missing, discoloured, scotch, damaged edges), but remains very presentable.
Poor condition : or "condition D". Poster torn into several pieces, often with significant gaps and severe discoloration. Except for exceptional documents (historical or cultural) requiring extensive restoration, www.posterissim.com does not sell posters in this condition.
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MAIN FORMATS OF MOVIE POSTERS
The formats of the original movie posters have many variations depending on the country. For the sake of clarity, only the most commonly used formats will be discussed here.
They are represented at www.posterissim.com by a pictogram (), to easily compare the size of a poster to the size of a man.
French movie posters
Very large formats : these formats are discontinued today.
a) Giant: 158 X 118 inches ('') or 400 X 300 centimeters ("cm"), intended for the subway.
b) 4 panels: 94 X 125'' (240 X 320 cm).
c) 2 panels: 94 X 63'' (240 X 160 cm).
Large format (the reference format for French movie posters) : 47 X 63'' (120 X 160 cm).
Small current format: 23 X 32'' (60 X 80 cm) until the 80's then 15 X 21'' (40 X 60 cm) thereafter.
Pant size (for cinema doors and Morris columns): 23 X 63'' (60 X 160 cm).
American movie posters
US One Sheet (most common format): 27 X 41'' (69 X 104 cm). Single or Double-sided ("DS").
US Half sheet: 22 X 28'' (55 X 71 cm).
US 3 sheets: 41 X 81'' (104 X 205 cm).
Italian movie posters
2 fogli (most common format): 39 X 55'' (100 X 140 cm).
4 fogli: 55 X 78'' (140 X 200 cm).
Locandina: 13 X 27'' (33 X 69 cm).
Japanese movie posters
B2 (most common format): 20 X 29'' (51 X 74 cm).
B3 (Nakazuri): 14 X 20'' (35 X 50 cm). Double-sided.
Belgian movie posters
14 X 22" (35 X 55 cm). The most common format in Belgium.
Movie posters from other countries
Daybill (Australia): 13 X 30" (33 X 76 cm). Most common format.
One sheet (Poland): 27 X 40" (69 X 101 cm).
British Quad (UK): 30 X 40" (76 X 101 cm). The most common format, with the particularity of being horizontal.
Double Crown (UK): 20 X 30" (50 X 76 cm).
Czech Republic and Germany: 23 X 33'' (58 X 83 cm). Standard size.
Alternative movie posters
Small: 18 X 24" (46 X 61 cm).
Normal: 24 X 36" (61 X 91 cm). Most common format.
THE DIFFERENT VERSIONS OF A POSTER ON WWW.POSTERISSIM.COM
There are sometimes different versions of the same original poster. These different versions were displayed at the same time. Depending on the version, this is referred to as model A, B... A “Regular” or “Variant” version in the more recent world of alternative posters. This is mainly the case when promoting a film. In the case of advertising or tourism posters, it's usually the language used that differs.
The artist may be different, but so may the visual, the colors or the message to be conveyed. The printer, in principle, remains the same.
The number of posters printed may also differ, making one model rarer and therefore more sought-after than the other. Model A of Les Tontons flingueurs, designed by Siry, is well remembered, while model B, designed by Jouineau-Bourduge, is much less so.
Below are just a few examples :
A re-released poster may also be different, but it's not an original poster because it doesn't correspond to the first official release promoting the work, event, location or product. It is nonetheless of real interest, as it can sometimes be more successful than an original poster.
When www.posterissim.com offers a re-released poster, this is indicated in the product sheet on our site.
You will regularly find posters in different versions on www.posterissim.com. There may also be more subtle nuances. If you have any questions, we'll be happy to help.
Available
This original poster, titled “Guéthary – Jewel of the Basque Coast”, was created in 1968 by the studio AZCUÉ, known for its touristic and regional poster artwork during the 1960s. Printed by Asacolor in Anglet, a prominent printing house in the French Basque Country, it belongs to a golden era of public visual communication, when tourism promotion relied heavily on street and railway station posters.
This lithographic piece was designed as part of a broader campaign to boost tourism to the Basque coast, portraying Guéthary, a once-whaling village turned seaside destination, as a pristine and elegant resort. The visual language is distinctly mid-century modern: bold outlines, harmonious color blocks, stylized landscape with a sweeping beach, pine silhouettes, and mountainous background, possibly La Rhune.
Graphically, the poster exemplifies the post-war optimism and aesthetic clarity of the 1960s French school of tourism posters, influenced by the visual legacy of artists like Cassandre, Broders, and Marinot. However, it stands out by focusing on local heritage and regional elegance, making it a collectible gem today.
1964 - Jean Jacquelin
1910 - Naurac
1928 - Francis Bernard
