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| Dave, Tom Chantrell and Sam. Photograph (C) Dave and Sam 2000 |
We were introduced to Tom Chantrell at a London film fair in September 2000 and chatted away for
a couple of hours about his career. After posing for a couple of photos, Tom gave me his phone
number and I phoned him a few times in late 2000. Knowing I was a poster collector, he was more
interested in the pricing of posters, why some were so expensive, what made them collectible and
why nobody was buying his artwork. I tried to explain that most poster collectors didn’t collect
artwork and could barely afford the posters. At the time Tom Chantrell had a list of posters and
original artwork that he was trying to sell and I kick myself now for not buying more but I just didn’t
have the money. I did manage to get a short interview out of him, its not much but here it is.
A chat with Tom Chantrell by Dave.
Dave– The first poster you produced was in 1938
Tom– Yes, ”The Amazing Dr Clitterhouse” , I had only just got started on posters when the war came
along. I ended up in bomb disposal.
D– I have always wanted to know but they did have 30x40 horizontal quads back in the 30s because
collectors aren’t to sure when they started.
Tom– Oh yes, definitely in the 30s.
D– After the war you worked on titles like “Brighton Rock”
Tom– You know I did a self portrait, with me working on “Brighton Rock” and I look a bit like the way
Richard Attenborough looks on the poster.
D– You then did a lot for 20th Century Fox. and Warner Bros.
Tom– I did a lot of the Marylyn Monroe’s and I was the first to put Elvis Presley on posters here.
D– On one of the Elvis posters you play about with the famous Chantrell signature by having your
signature jiggling about a bit like Elvis.
Tom– I used to do this sometimes, just a bit of fun, there’s a poster were my name is upside down
because the film was set in Australia.
D– I think that might be “The Sundowners” and you did the same on “The Nanny” with a wavy
signature.
Tom– That’s because your seeing it from under the water.
D– Sometimes you didn’t sign the artwork, why was that?
Tom– Well sometimes there just wasn’t enough room but to be honest a lot of the time I just forgot.
You know I forgot to sign the artwork for “Star Wars” and they weren’t very happy because they had
asked for me and I think they wanted my name on it. So they got me to sign about half a dozen bits
of paper and these were sent out all over the world so that an artist could put my name on by hand. It
was all very funny.
D– By the mid 60s you were doing a lot of the “Carry ons” and “Hammer” and you got into a bit of
trouble with “Carry on Cleo” and “Carry on Spying”.
Tom– The people who made the “Bond” films objected to “Carry on Spying” because it was similar
to one of their posters but I got away with that one. I remember there was something to do with the
gun barrel because I had to straighten it or bend it or something because I had it tied in knots and
that was rejected so I had to change it. The poster for “Carry on Cleo” was definitely pulled and I still
don’t know why. They said I copied “Cleopatra”, it was a send up but all of the posters had to be
destroyed, I still managed to keep a few though.
D– What was it like working for “Hammer” and James Carreras.
Tom– I worked next door to them and got on very well, it was a busy time and did a lot of work for
“Hammer”. I was sometimes working on 5 posters at one time.
D– That would be the “Warner-Pathe” double bills, you had the double bill, two full quads and a
couple of double crowns. The silk screen posters weren’t very attractive, what was the point of doing
them when you had a full colour poster.
Tom– I think somebody at “Warner-Pathe” had a brother in law who owned a printing works. The
artwork for those posters were done in black and white and the colour added in at the printing
process.
D– One of my favourite posters is “One Million Years BC” do you still have the original artwork for
that.
Tom– Well no, the artwork of Raquel Welsh was reused when they reissued it with “She”.
I simply cut her out and stuck it on to the new artwork, but I did do completely new artwork for Ursula
Andress. Raquel Welch sent her husband round , I think it was her husband, but she wanted me to
do all of her posters from then on.
D– But why cut out such a lovely piece of artwork and reuse it.
Tom– Just to save time.
D– “Dracula Prince of Darkness” quad is unsigned but that is your work.
Tom– Yes that’s one of mine. Do you know that is me on “Dracula Has Risen From The Grave” and
not Christopher Lee.
D– Why’s that?
Tom– Couldn’t get any good photos of Christopher Lee, so I just posed myself with my fists
clenched, it looks ok.
To be honest I’d rather draw the ladies, I was always better at drawing women, just loved them.
D– You should write a book on all of this.
Tom– I’am afraid I’m not very interesting. I think someone was wanting to do a book on me and have
an exhibition of my work but I haven’t heard anything else about it.
End
I was hoping to meet up with Tom Chantrell in 2001 and record a much longer interview but sadly
Tom Chantrell died in July 2001.
I’am glad I got the chance to meet and talk with him.
Tom Chantrell was born in Manchester in 1916, apart from working on the Hammer posters already
mentioned on this site he worked on posters for a lot of very good films. Six of the best “Carry On”
movies, along with “Star Wars”, “Bullitt”, “Bonnie and Clyde”, ”Love Me Tender”, “Bus Stop”, to name
but a few. Ironically he also did the British design for “Cleopatra” a couple of years before getting
into trouble over his parody of the American poster for the movie.
Very few poster artists were regarded as highly among collectors as Tom Chantrell and when I met
him I said that I had always wanted to meet the man behind the famous Chantrell signature to which
he replied-
“ I must be a bit of a disappointment”
I can honestly say after all of these years, no not a disappointment at all.
Dave.
a couple of hours about his career. After posing for a couple of photos, Tom gave me his phone
number and I phoned him a few times in late 2000. Knowing I was a poster collector, he was more
interested in the pricing of posters, why some were so expensive, what made them collectible and
why nobody was buying his artwork. I tried to explain that most poster collectors didn’t collect
artwork and could barely afford the posters. At the time Tom Chantrell had a list of posters and
original artwork that he was trying to sell and I kick myself now for not buying more but I just didn’t
have the money. I did manage to get a short interview out of him, its not much but here it is.
A chat with Tom Chantrell by Dave.
Dave– The first poster you produced was in 1938
Tom– Yes, ”The Amazing Dr Clitterhouse” , I had only just got started on posters when the war came
along. I ended up in bomb disposal.
D– I have always wanted to know but they did have 30x40 horizontal quads back in the 30s because
collectors aren’t to sure when they started.
Tom– Oh yes, definitely in the 30s.
D– After the war you worked on titles like “Brighton Rock”
Tom– You know I did a self portrait, with me working on “Brighton Rock” and I look a bit like the way
Richard Attenborough looks on the poster.
D– You then did a lot for 20th Century Fox. and Warner Bros.
Tom– I did a lot of the Marylyn Monroe’s and I was the first to put Elvis Presley on posters here.
D– On one of the Elvis posters you play about with the famous Chantrell signature by having your
signature jiggling about a bit like Elvis.
Tom– I used to do this sometimes, just a bit of fun, there’s a poster were my name is upside down
because the film was set in Australia.
D– I think that might be “The Sundowners” and you did the same on “The Nanny” with a wavy
signature.
Tom– That’s because your seeing it from under the water.
D– Sometimes you didn’t sign the artwork, why was that?
Tom– Well sometimes there just wasn’t enough room but to be honest a lot of the time I just forgot.
You know I forgot to sign the artwork for “Star Wars” and they weren’t very happy because they had
asked for me and I think they wanted my name on it. So they got me to sign about half a dozen bits
of paper and these were sent out all over the world so that an artist could put my name on by hand. It
was all very funny.
D– By the mid 60s you were doing a lot of the “Carry ons” and “Hammer” and you got into a bit of
trouble with “Carry on Cleo” and “Carry on Spying”.
Tom– The people who made the “Bond” films objected to “Carry on Spying” because it was similar
to one of their posters but I got away with that one. I remember there was something to do with the
gun barrel because I had to straighten it or bend it or something because I had it tied in knots and
that was rejected so I had to change it. The poster for “Carry on Cleo” was definitely pulled and I still
don’t know why. They said I copied “Cleopatra”, it was a send up but all of the posters had to be
destroyed, I still managed to keep a few though.
D– What was it like working for “Hammer” and James Carreras.
Tom– I worked next door to them and got on very well, it was a busy time and did a lot of work for
“Hammer”. I was sometimes working on 5 posters at one time.
D– That would be the “Warner-Pathe” double bills, you had the double bill, two full quads and a
couple of double crowns. The silk screen posters weren’t very attractive, what was the point of doing
them when you had a full colour poster.
Tom– I think somebody at “Warner-Pathe” had a brother in law who owned a printing works. The
artwork for those posters were done in black and white and the colour added in at the printing
process.
D– One of my favourite posters is “One Million Years BC” do you still have the original artwork for
that.
Tom– Well no, the artwork of Raquel Welsh was reused when they reissued it with “She”.
I simply cut her out and stuck it on to the new artwork, but I did do completely new artwork for Ursula
Andress. Raquel Welch sent her husband round , I think it was her husband, but she wanted me to
do all of her posters from then on.
D– But why cut out such a lovely piece of artwork and reuse it.
Tom– Just to save time.
D– “Dracula Prince of Darkness” quad is unsigned but that is your work.
Tom– Yes that’s one of mine. Do you know that is me on “Dracula Has Risen From The Grave” and
not Christopher Lee.
D– Why’s that?
Tom– Couldn’t get any good photos of Christopher Lee, so I just posed myself with my fists
clenched, it looks ok.
To be honest I’d rather draw the ladies, I was always better at drawing women, just loved them.
D– You should write a book on all of this.
Tom– I’am afraid I’m not very interesting. I think someone was wanting to do a book on me and have
an exhibition of my work but I haven’t heard anything else about it.
End
I was hoping to meet up with Tom Chantrell in 2001 and record a much longer interview but sadly
Tom Chantrell died in July 2001.
I’am glad I got the chance to meet and talk with him.
Tom Chantrell was born in Manchester in 1916, apart from working on the Hammer posters already
mentioned on this site he worked on posters for a lot of very good films. Six of the best “Carry On”
movies, along with “Star Wars”, “Bullitt”, “Bonnie and Clyde”, ”Love Me Tender”, “Bus Stop”, to name
but a few. Ironically he also did the British design for “Cleopatra” a couple of years before getting
into trouble over his parody of the American poster for the movie.
Very few poster artists were regarded as highly among collectors as Tom Chantrell and when I met
him I said that I had always wanted to meet the man behind the famous Chantrell signature to which
he replied-
“ I must be a bit of a disappointment”
I can honestly say after all of these years, no not a disappointment at all.
Dave.
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The Following photos were taken by Simon Greetham at Tom Chantrells home in
1998 and are (C)Simon Greetham. Featured are some of Tom Chantrells original
artwork and designs. All original artwork and designs are (C)Tom Chantrell.
1998 and are (C)Simon Greetham. Featured are some of Tom Chantrells original
artwork and designs. All original artwork and designs are (C)Tom Chantrell.
Tom Chantrell posing with the "Mistress of the Seas"
original artwork.
Simon Greetham talks about "Mistress of the Seas"
"Its interesting to note this is the original master
artwork that was used in the large format brochure
produced by Hammer to stir up interest in the project.
As you can see from the pics the paint / ink has been
applied to a proof copy of the original pencil and ink
drawing. I asked Tom about this, he said that this was
common practise by him and several copies were run
off by Tom himself and various colours would be tried
out on each copy. The final copy ( which this is ) then
had a wash applied using a clear gel sheet with the
colour applied, this was then laid over the art work and
a print taken, this artwork forms the central pages of
the promotional brochure. Tom told me that Raquel
Welch had been approached to take the lead role
( shame it never made it to screen)".
original artwork.
Simon Greetham talks about "Mistress of the Seas"
"Its interesting to note this is the original master
artwork that was used in the large format brochure
produced by Hammer to stir up interest in the project.
As you can see from the pics the paint / ink has been
applied to a proof copy of the original pencil and ink
drawing. I asked Tom about this, he said that this was
common practise by him and several copies were run
off by Tom himself and various colours would be tried
out on each copy. The final copy ( which this is ) then
had a wash applied using a clear gel sheet with the
colour applied, this was then laid over the art work and
a print taken, this artwork forms the central pages of
the promotional brochure. Tom told me that Raquel
Welch had been approached to take the lead role
( shame it never made it to screen)".
Tom Chantrell and his original artwork for
"Quatermass and the Pit".
Tom Chantrell was very protective of his designs as
Simon Greetham says "Tom always told me that he
retained copyright on all his designs, he showed me
a letter that he would send out to clients regarding
this. License was only given for use of his artwork on
original release of the film and for promotional use,
i.e press books, pre publicity etc. Tom successfully
took companies to court who used his artwork when
the introduction of videos came about and video
distributors used his art work on there publicity /
video covers. He also stated in his letter that the
original artworks were to be returned to him".
"Quatermass and the Pit".
Tom Chantrell was very protective of his designs as
Simon Greetham says "Tom always told me that he
retained copyright on all his designs, he showed me
a letter that he would send out to clients regarding
this. License was only given for use of his artwork on
original release of the film and for promotional use,
i.e press books, pre publicity etc. Tom successfully
took companies to court who used his artwork when
the introduction of videos came about and video
distributors used his art work on there publicity /
video covers. He also stated in his letter that the
original artworks were to be returned to him".
Tom with the preproduction art for "Quatermass and
the Pit" showing John Neville in the lead.
The preproduction art for "Scars of Dracula" made up
from "Dracula Has Risen From The Grave" and "Taste
the Blood of Dracula" trade ad art. This looks to be art
for a trade ad and states at the bottom it was a
co-production between Hammer and Associated British
Picture Corporation. Before the paint was dry on the
artwork ABPC were taken over by EMI and so it was
probably never used in the UK.
Chantrells design did turn up on the Argentine posters,
you just wonder if Tom Chantrell knew about this.
the Pit" showing John Neville in the lead.
The preproduction art for "Scars of Dracula" made up
from "Dracula Has Risen From The Grave" and "Taste
the Blood of Dracula" trade ad art. This looks to be art
for a trade ad and states at the bottom it was a
co-production between Hammer and Associated British
Picture Corporation. Before the paint was dry on the
artwork ABPC were taken over by EMI and so it was
probably never used in the UK.
Chantrells design did turn up on the Argentine posters,
you just wonder if Tom Chantrell knew about this.
Tom Chantrell with his original pre-production artwork for
"The Devil Rides Out". Photo (C) Simon Greetham.
"The Devil Rides Out". Photo (C) Simon Greetham.
Tom with the art for "Dracula AD 1972" he also did the
poster for "The Satanic Rites of Dracula" and Simon explains
why Christopher Lee has his arms raised "Tom did do a
superb alternate Satanic Rites of Dracula, same poster as
was issued but Chris Lee was holding a sacrificial knife in
one hand and a dead cockerel in the other, Tom submitted
this design but was asked to remove the knife and cockerel
due to the black magic / voodoo element which Hammer
thought would not be approved by the censors, he was then
asked just to show Lee with the raised arms. Tom always said
to me it was just as though he had scored a goal".
poster for "The Satanic Rites of Dracula" and Simon explains
why Christopher Lee has his arms raised "Tom did do a
superb alternate Satanic Rites of Dracula, same poster as
was issued but Chris Lee was holding a sacrificial knife in
one hand and a dead cockerel in the other, Tom submitted
this design but was asked to remove the knife and cockerel
due to the black magic / voodoo element which Hammer
thought would not be approved by the censors, he was then
asked just to show Lee with the raised arms. Tom always said
to me it was just as though he had scored a goal".
Tom Chantrells original design for "Slave Girls" 1967.
This appears to be designed for the international market as
it uses the American title but I must admit I'am a little baffled.
This appears to be designed for the international market as
it uses the American title but I must admit I'am a little baffled.
Tom with his "futuristic" design for "Creatures the World
Forgot" complete with jet planes and space suits. I would
love to see what story outline Tom was shown because this
is not what was eventually filmed.
Forgot" complete with jet planes and space suits. I would
love to see what story outline Tom was shown because this
is not what was eventually filmed.
Tom Chantrells original preproduction artwork for Hammer's
"Taste the Blood of Dracula"
"Taste the Blood of Dracula"
Photographs (C)Simon Greetham.
All original artwork and designs are (C)Tom Chantrell.
All original artwork and designs are (C)Tom Chantrell.
The Argentine poster using Tom Chantrells design.
Tom Chantrells original pre-production artwork for the
Hammer classic "The Devil Rides Out".
Hammer classic "The Devil Rides Out".
Tom Chantrells original artwork for Hammer's "The Anniversary". This is Chantrells final rough design that was sent to
Hammer for their approval, from this a much more detailed artwork would be prepared and used on the British quad poster.
The image on the right of the two lovers is a pencil sketch showing where a photo was to be inserted on the printed poster.
Hammer for their approval, from this a much more detailed artwork would be prepared and used on the British quad poster.
The image on the right of the two lovers is a pencil sketch showing where a photo was to be inserted on the printed poster.
The following 8 designs were done by Tom Chantrell but never used as posters, though some were used as trade ads.
"Blood Will Have Blood" shows Eric Porter on the poster but he pulled out and was replaced by Robert Hardy. This title was
later changed to "Demons of the Mind" and this was the poster that lead to a major bust up between Michael Carreras and his
father James Carreras. Michael wanted to use the art on the poster, but his father sided with EMI to use a photographic design.
It is a shame that these designs were never used on the release posters as some of them were far better than those actually
used. Now, for the first time some of them can be seen thanks to Simon Greetham who received these flyers from Tom
Chantrell.
"Blood Will Have Blood" shows Eric Porter on the poster but he pulled out and was replaced by Robert Hardy. This title was
later changed to "Demons of the Mind" and this was the poster that lead to a major bust up between Michael Carreras and his
father James Carreras. Michael wanted to use the art on the poster, but his father sided with EMI to use a photographic design.
It is a shame that these designs were never used on the release posters as some of them were far better than those actually
used. Now, for the first time some of them can be seen thanks to Simon Greetham who received these flyers from Tom
Chantrell.
Tom Chantrells original
alternate artwork for
the non-Hammer
"Horror Express".
alternate artwork for
the non-Hammer
"Horror Express".
| Tom Chantrell Poster Artist |