This second 'Muster' or version of this iconic poster is presented here.  The poster has never been folded in 82 years, is in mint condition with no tears or rips, and is an outstanding example of the stone lithographic process; using seven heavy inks with vibrant and deep colours, and a heavy ink coverage impossible to replicate today with cheap offset printing. The poster was printed on double-weight poster paper, which has helped protect it over the decades.

The cinema owner's guide, sent to promote the film, offered 2 posters in 3 sizes.  Poster A and B, in the traditional "A0" large size format, and Poster A also available in a smaller size for "windows, news agent kiosks, restaurants and coffee houses."

That page showing the 2 posters is shown here:

The poster, printed in 1933 using the lithographic printing process ("stone litho") is a wonderful example of the 7 ink process whereby the same sheet of poster paper is sent through the printing press seven times and a new layer of a different ink colour is applied with perfect registration. This gives the vibrancy and brilliance to the poster with colours impossible to achieve in cheap offset printing which replaced lithography during WWII.  To appreciate the ink coverage used in this stone litho poster, still amazingly fresh after more than 80 years, take a look at the close-up of the very heavy ink coverage on the poster shown here, as caught by ambient room light on photos of the poster not used for our website image:

and here: 

The Völkischer Beobachter reported on 13 June 1933 a scandal at the film's premiere, at the Gloria-Palast in Munich : "Friday evening on the occasion of the first screening of the film SA MANN BRAND an incident occurred. The SA-Gruppenführer Beckerle informed the public that a Polish artist had designed the advertising posters for the film. In view of the fact that the cinema owner refused to destroy the posters, he (Beckerle) demanded that the SA- and SS- members vacate the premises. Those present followed this request immediately. Then the event was canceled."

quoted in Gerhard Stahr, Volksgemeinschaft vor der Leinwand? Der nationaloszialistische Film und sein Publikum. p. 126-127.

In fact, the graphic artist of this poster, Otto Ottler, was born in Munich, not Poland. The graphic artist of the other poster for this film was Willy Engelhardt, who was born in Bodenheim, the Rhineland, also not in Poland. Ergo, the rumour was false. How many posters were destroyed by SA or SS men because of this scandal cannot be determined.