The Australian Long Daybill

My first love and passion in poster collecting is the humble Australian daybill.

I love that most of the time you get artwork on them differs from the main US version which seems to dominate alot of collections. Its size makes it perfect for framing, enabling you to put more of them up on the wall.

I have a particular fondness and soft spot for the long daybill. But I am getting ahead of myself...

Firstly, the humble daybill can vary greatly in size, but the most common would be approximately 13" x 30". This size daybill came into use around the 1940s and although in some rare occassions is still used to date, they are becoming obsolete.

The long daybill is approximately 15" x 40" and often has a white space at the top of the poster where theatres were able to write in the session times for the films. They are quite rare and relatively hard to come by. Usually, they feature some stunning artwork. Long daybills were utilised up unto the early 1940s when the smaller format was adopted.

Here I have included a selection of long daybills from my personal collection which I absolutely adore.

Do Re Mi Clown Troupe
(1910 -1920)

Not a movie poster, but still one of my favourites. I am unsure of the exact date for this poster but it is thought it dates from the early 1900s.


Monna Vanna
(1922)

One of a series of three posters I have in this style. They are a bit of an oddity, as no one seems to know much about the films or the posters themselves.

Stranger of the North (Aka Big Timber)
(1922)

The second in this style of poster. It was quite brittle when it came to me, so it has been linen backed to enable me to enjoy it.

A Woman of Paris
(1923)

All I could say when I saw this one was WOW. A truly stunning poster in person. This was printed using the linocut method of printing

Long Live the King
(1923)

In the early part of the century, posters were sometimes used as a form on insulation. Unfortunately (or fortunately - depends how we look at it) this is one such poster. Perhaps if it wasn't needed for insulation, it wouldn't be here at all! In two pieces with some paper loss, it is in need of TLC.

 

Shifting Sands
(1923)

This is the third in this style of poster.

The Social Code
(1923)

This has also been used by some industrious person for insulation and has come off the worse for it. A section missing in the middle of the poster, this could be re-created when this one finally makes its way to one of those talented restorers.

The Bedroom Window
(1924)

Badly damaged from its stint under the lino or in the walls, there is not much hope this will ever see the former days of its glory. However, considering its rarity, I still think it should be preserved, so along with its "insulation sisters" it too shall one day get the resto treatment.

So Big
(1924)

 

Bright Lights
(1925)

This little guy makes me smile every time I look at him. It was truly love at first sight, and I had to have him. The film itself is believed lost (IMDB), making any promotional material on it an absolute treasure. On Linen.

 

The Man In Blue
(1925)

This has suffered at the hands of someone whom had scissors too close in their reach. The top portion of the poster has been trimmed, but still a beautiful poster in its own right.

Laddie
(1922)

Matrimony aka Hans Engleska Fru
(1927)

A beautiful Richardson Studio daybill.

The Way of All Flesh
(1927)

For his role in this film, Emil Jannings won the first ever Oscar for the Best Actor in a Leading Role. Unfortunately the film itself has been lost, making it the only Academy Award winning film where no surviving prints exist. A Richardson Studio daybill, this is one I treasure dearly. On Linen with some restoration

 

Arrowsmith
(1931)

I mean really, do I need to say anything? Did you look at the poster? Stunning...it is simply stunning in person. On Linen.

The Affair of Susan
(1935)

In much need of repair, this poster could be salvaged I think, with the missing areas recreated.

Broadway Gondolier
(1935)

On Linen.

Fang and Claw
(1935)

A beautiful early RKO daybill, printed full bleed as are just about all RKO Australian daybills.

 

She Gets Her Man
(1935)

 
3 Live Ghosts
(1936)
Banjo on my Knee
(1936)
The Girl on the Front Page
(1936)
Nobody's Fool
(1936)

Sinister House aka Muss 'Em Up
(1936)

Another fine RKO poster, it had its stint under the lino but come out in fairly good shame. Once this has been cleaned and backed, it will present beautifully. When I received it, I fell in love so it went straight in the frame.

 
Strangers on Honeymoon
(1936)

Too Many Parents
(1936)

The first film to feature Francis Farmer. Another stunning Richardson Studio daybill, on Linen. At the top you can see the theatre name and screening date which has been written in. I decided to leave these alone when backing to add that little bit of extra history to the poster.

 
Two in a Crowd
(1936)

2 Wise Maids
(1937)

This little guy makes me smile every time I look at him. It was truly love at first sight, and I had to have him. The film itself is believed lost (IMDB), making any promotional material on it an absolute treasure. On Linen.

Aren't Men Beasts!
(1937)

 

Artists and Models
(1937)

Does that guy look familiar to you? Another stunning Richardson Studio daybill, on Linen. After backing, the colours on this just pop.

 

Bulldog Drummond Escapes
(1937)

I had seen and missed out on purchasing this poster early on in my collecting life. So when the opportunity presented itself again, I didn't let it slip by. A Vibrant and stunning Richardson Studio daybill, on Linen and framed.

 

Last Train From Madrid
(1937)

Another beautiful Richardson Studio daybill, again with the theatre and session times written in the top section (two posters - same theatre - freaky!). In addition, we are informed that we get to see a Popeye cartoon as well!

Renfrew of the Royal Mounted
(1937)

When I first received this poster I thought that it had been trimmed, but on closer inspection it appears to be a full bleed (no borders) printing. I haven't seen many such daybills, most long daybills at the very least seem to have the top white panel for session information.

 

Waikiki Wedding
(1937)

Richardson Studio daybill. 1937 appears to have been a fine year for posters.

Her Jungle Love
(1938)

Another beautiful Richardson Studio daybill, on Linen with some restoration.

Jane Steps Out
(1938)

 

Sing You Sinners
(1938)

Yes, you guessed it another Richardson Studio daybill. The unmistakable style of these posters cannot be missed.

 

The Hunchback of Notre Dame
(1939)

To say that I love this poster would be understating how much joy it brings me. An outstanding RKO poster, I can stare at this one all day. On Linen.

 

Little Accident
(1939)

 

Mutiny on the Blackhawk
(1939)

Insert BIG sigh here. Not only has this one been trimmed all over, someone thought it an even better idea to laminate it. Such a shame.

My Wife's relatives
(1939)

Paris Honeymoon
(1939)

Richardson Studio daybill.

Street of Missing Men
(1939)

More trimming - yikes. At least this time they've left the beautiful image alone.

 

Sudden Money
(1939)

Richardson Studio daybill, on Linen. An absolutely stunning poster.

Wolf Call
(1939)

Trimmed at top. Looks like 1939 was also a good year for the daybill!

 

Joe and Ethel Turp Call on the President
(1939)
The Sun Never Sets
(1939)

They Asked For It
(1939)

 
Black Diamonds
(1940)

Gangs of Chicago
(1940)

 

The Old Swimmin' Hole
(1940)

 

We Who Are Young
(1940)

 

The Ghost of St. Michael's
(1941)

On Linen.

The Great Train Robbery
(1941)

 
Mr. District Attorney
(1941)

One Night in Lisbon
(1941)

Early 40s sees the end of the Long daybill.

 

 

 

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