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By no means complete, this gallery represents only a select portion of Amsel's remarkable work, including several unused designs that have, to my knowledge, only been featured within rare auction catalogs. (I'd greatly welcome any new contributions people could provide!) Credit is noted for all known sources.

To learn about those posters often mistakenly attributed to Amsel, click here.

Lucky Lady (2)
1975
Watercolor, pencil, acrylic, pen and ink on board
30 x 30 in.
Amsel's artwork for Stanley Donen's big-budgeted crime caper was reproduced on a billboard in Times Square, covering two city blocks.
Lucky Lady
1975
The finished poster.
Nashville (2)
1975
Watercolor, colored pencil, acrylic, gouache, pen and ink on board
40 x 30 in.

The Late Show (2)
1976
Watercolor, acrylic, airbrush, colored pencils on board
21 x 19 in.
Amsel often incorporated a film's title design into his illustrations, making them a part of the art itself. The Late Show is a good example.

The Late Show
1976
The final poster.
The Last Tycoon (2)
1976
Watercolor, acrylic, airbrush, colored pencils and ink on board
32 x 23 in.
B&W photo of Amsel's unused design for Elia Kazan's classic Hollywood satire.
The Last Tycoon (10)
1976
Watercolor, acrylic, airbrush, colored pencils and ink on board
32 x 23 in. (smaller detail of image shown)
What a difference color makes! This recently discovered image reveals much more to Amsel's illustration.
The Last Tycoon
1976
Size & media unknown.
Image courtesy of Scot Ryersson.
The Shootist (3)
1976
Conte pencil on glassine
11.5 x 18 in.
This comprehensive sketch for John Wayne's final film gives us a rare glimpse into Amsel's artistic process. For every polished, final one-sheet there are many, many studies and sketches; yet regrettably, most are not yet available to the public. I saw this original sketch back in 2000 when it was put up for auction; whether or not the ghostly "shadow" of the horserider at the bottom was something erased, or deliberately faded, I could not tell.
The Shootist (2)
1976
Watercolor, acrylic, charcoal, colored pencils, gouache and gold paint on board
(Size of art unknown.)
What I'd give to see this original with my own eyes! Amsel, I've been told, sometimes used gold paint with his illustrations for dramatic effect, even though it couldn't be accurately reproduced on the final poster due to printing limitations. This portrait must have made The Duke himself proud.
The Shootist
1976
The final poster.
Voyage of the Damned (2)
1976
Watercolor, acrylic, colored pastels and pencils on board
34 1/2 x 26 1/2 in.
Voyage of the Damned
1976
The final poster.
The Seven Percent Solution (2)
1976
Watercolor, acrylic, colored pencils, pen and ink on board
22 x 18 in.
Based on Nicholas Meyer's famous story, Herbert Ross' film has Sherlock Holmes meeting Sigmund Freund. Amsel beautifully captures the decorative Art Nouveau style of Alfons Mucha in this painting that, unfortunately, was allegedly plagarized by another artist in the final poster illustration.
Between the Lines
1977
(Size and medium unknown.)

Julia (2)
1977
Watercolor, acrylic, colored pencils, gouache with applied lettering on board
40 x 30 in.

New York, New York (2)
1977
Pen and ink, gouache and pencil on tissue paper laid down on board
13 1/2 x 11 1/4 in.
Unusued comprehensive art for Martin Scorsese's controversial, ambitious musical.
New York, New York (2)
1977
Pen and ink, gouache and pencil on tissue paper laid down on board
13 1/2 x 11 1/4 in.
Another unused concept piece.
The Big Sleep (3)
1978
Watercolor, acrylic, gouache, colored pencils, airbrush on board
22 1/2 x 16 in.
Amsel's preliminary design for the final one-sheet. (Below.)

The Big Sleep (3)
1978
Watercolor, acrylic, colored pencils, airbrush on board
22 7/8 x 16 in.
Finished art as it appears in the final poster.

You can see a modified version of the poster on the paperback book rerelease, which omits the lion doorknocker, and has a slightly different depiction of actress Candy Clark. (Notice the difference in her face and hair.)

Paradise Alley (2)
1978
Watercolor, acrylic, colored pencils, pen and ink on board
26 x 20 in.
Unused finished art for Sylvester Stallone's directorial debut. (More people might have seen the film had Amsel's poster been used!)
Death on the Nile (2)
1978
Watercolor, acrylic, colored pencils, pen and ink on board
40 x 30 in.
Here Amsel continued the visual motif he employed with his design for Murder on the Orient Express.

Death on the Nile
1978
Preliminary sketches.
Images courtesy of David Edward Byrd.

Death on the Nile
1978
The final poster.
Old Boyfriends (2)
1979
Watercolor, acrylic, pencil, pen & ink on board.
24 x 20 in.
Cuba (2)
1979
Watercolor, acrylic, colored pencils, and airbrush on board
40 x 40 in.
Unused poster design.
The Muppet Movie (2)
1979
Watercolor, acrylic, colored pencils, pen and ink on board
40 x 30 in.
Unused finished art for the classic family film.
The Champ (3)
1979
Watercolor, colored pastels and pencils on board
29 3/4 x 21 1/4 in.
Notice the dramatic difference between the original art and the colors in the reproduced image below.
The Champ
1979
The finished poster, used here for the film's release in Germany.
The Champ (2)
1979
Watercolor, colored pastels and pencils on board
29 1/4 x 20 1/4 in.
Amsel's art was used for the film's European release.
The Rose (2)
1979
Watercolor, acrylic, and colored pencils on board
30 x 23 1/4 in.
Unused concept logo.
Norma Rae (10)
1979
Acrylic, airbrush, colored pastels and pencils on board
26 x 24.25 in.