{"product_id":"bonjour-tristesse-悲しみよこんにちは-original-japanese-first-release-movie-poster-1958-ultra-rare-featuring-saul-bass-artwork-stb-tatekan-size","title":"“Bonjour Tristesse” (悲しみよこんにちは), Original Japanese First-Release Movie Poster 1958, Ultra Rare, Featuring Saul Bass Artwork, STB Tatekan Size T280","description":"\u003cdiv class=\"flex flex-col text-sm pb-25\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-69abb5f5-24a4-83a5-a791-daff033f1e76-11\" data-testid=\"conversation-turn-174\" data-scroll-anchor=\"true\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"a89e806d-e97a-4d6c-9646-fa9884adfc71\" dir=\"auto\" data-message-model-slug=\"gpt-5-2-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\u003cdiv class=\"flex flex-col text-sm pb-25\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-69c08a3e-a300-83a4-805e-b9361b92a1b5-12\" data-testid=\"conversation-turn-88\" data-scroll-anchor=\"true\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"3a8a5861-4427-4e99-a1b1-a88e19c9c0ba\" dir=\"auto\" data-message-model-slug=\"gpt-5-4-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1958 Japanese first-release STB tatekan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBonjour Tristesse\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Otto Preminger’s elegant and unsettling adaptation of Françoise Sagan’s celebrated novel. Starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJean Seberg, Deborah Kerr, and David Niven\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film combines the apparent freedom of a summer on the French Riviera with a devastating story of jealousy, manipulation, and regret.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrinted in the exceptionally scarce \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etall, two-sheet STB \/ tatekan format\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this poster incorporates \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass’s distinctive tearful-face artwork\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e into a striking Japanese composition. Oversized scarlet lettering, soft pink and cream backgrounds, deep green borders, and intimate photographic imagery give it extraordinary visual presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst-release Japanese paper, an ultra-rare display format, and one of Bass’s most evocative film images\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e makes this a particularly compelling piece for collectors of vintage posters, modern graphic design, and classic cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eBonjour Tristesse\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e received its first Japanese theatrical release on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e29 April 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distributed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eColumbia\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e under the title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e悲しみよこんにちは — “Hello, Sadness.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster belongs to that \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese theatrical campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The Columbia emblem and Japanese distribution credit remain visible at the foot of the lower sheet, while the advertising prominently promotes the film’s stars, literary source, and CinemaScope presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e68 years old\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it preserves the original release campaign’s combination of Riviera glamour, youthful romance, and emotional tragedy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Film, Its Reception \u0026amp; Its Legacy\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProduced and directed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOtto Preminger\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with a screenplay by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eArthur Laurents\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBonjour Tristesse\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e adapts the novel that made the young \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrançoise Sagan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e an international literary sensation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJean Seberg plays Cécile\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a teenager enjoying an indulgent summer with her wealthy, widowed father \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRaymond, played by David Niven\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and his young companion Elsa. Their carefree existence changes with the arrival of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAnne, played by Deborah Kerr\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, whose relationship with Raymond threatens to introduce responsibility and restraint into their lives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDetermined to preserve her freedom and her privileged position in her father’s affections, Cécile begins manipulating the people around her. What initially seems like a youthful game develops consequences she cannot control.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe supporting cast includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMylène Demongeot, Geoffrey Horne, and Juliette Gréco\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Gréco’s appearance and performance of the title song contribute to the film’s melancholy atmosphere, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGeorges Auric’s music\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGeorges Périnal’s cinematography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e give the production much of its distinctive character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the film’s most memorable formal choices is its contrast between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblack-and-white scenes of present-day Paris\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecolour memories of the Riviera summer\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The remembered world is bright and seductive; the present feels emotionally depleted. This reversal gives the film’s beauty a poignant purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts initial reception was mixed, particularly in the United States, but it found important admirers among the critics who would become leading figures of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrench New Wave\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrançois Truffaut and Jean-Luc Godard\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Seberg’s performance helped establish the screen presence that Godard would develop further in \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBreathless\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in 1960.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eToday, the film is admired for its controlled visual style, moral ambiguity, and sensitive portrayal of a young woman discovering the lasting consequences of her actions. Seberg’s cropped hair, Riviera wardrobe, and combination of confidence and vulnerability remain central to its enduring appeal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass \u0026amp; the Film’s Graphic Identity\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e helped transform film advertising through images that could express a story’s central idea with remarkable economy. His work with Preminger was particularly important in establishing this approach.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBonjour Tristesse\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Bass created a stylised female face from a small number of expressive marks: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eeyes, eyebrows, an elongated nose, lips, and a single falling tear\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The image communicates the emotional meaning of the title almost immediately.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis Japanese STB incorporates that motif prominently in its lower section. Here, the face is rendered in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edark blue-black ink with a vivid red tear\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, positioned above the photographic image of an intimate kiss. The relationship between the two images is especially effective: romance appears beneath an unmistakable sign of sorrow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese composition brings Bass’s artwork together with local typography, star portraits, and promotional copy, creating a distinctive interpretation of the film’s international campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental scarlet title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The enormous Japanese lettering \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e悲しみよこんにちは\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e fills the centre of the upper sheet. Its red characters, outlined in pale cream, create an exceptionally strong focal point against the soft pink background.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass’s tearful face:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The lower panel gives the iconic graphic ample space. Its rough-edged marks, heart-shaped pupils, and suspended red tear introduce an emotional directness that contrasts beautifully with the photographic imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eStar portraits across the top:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e A photograph of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDavid Niven and Deborah Kerr\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appears beside a separate portrait of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJean Seberg\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, her short hair and direct expression immediately recognisable. These images establish the principal relationships before the eye reaches the title.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLarge romantic photograph:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The oversized image of the lovers kissing occupies much of the lower section. Its diagonal arrangement and close framing give the poster an intimacy particularly effective at this tall display scale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA carefully balanced palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Scarlet lettering and the red tear connect the two sections, while the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edeep green border\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provides continuity from top to bottom. Pink, cream, and warm photographic tones soften the composition without diminishing its impact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrench title and Japanese typography:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The compact \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBONJOUR, TRISTESSE\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering above the face contrasts with the immense Japanese title. Together, they preserve the film’s French identity while giving the Japanese campaign its own unmistakable visual character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn our opinion, this is an especially interesting design for the film: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eromantic, sophisticated, and immediately recognisable\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the STB format allowing each element room to make its full impact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColumbia, CinemaScope, and the Japanese Release Pitch\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe upper section prominently announces:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「総天然色・シネマスコープ」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Full Colour — CinemaScope.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis promotes the film’s widescreen spectacle and its richly coloured Riviera sequences, although the film itself deliberately combines colour and black-and-white photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe line beneath the Japanese title reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「天才少女フランソワーズ・サガンのベストセラー小説映画化！」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“The bestselling novel by the brilliant young Françoise Sagan brought to the screen!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe copy places Sagan’s literary celebrity at the centre of the campaign, while the headline above the portraits promises memories of love, tears, and the emotional consequences of youthful passion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the bottom, the original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eColumbia Pictures\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e emblem accompanies:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「コロムビア映画会社提供」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Presented by Columbia Pictures.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, these details capture how the film was introduced to Japanese audiences: a prestigious literary adaptation offering international stars, fashionable European settings, romance, and tragedy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAbout STB \/ Tatekan Posters\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJapanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSTB \/ tatekan posters\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e were elongated theatrical advertisements, commonly printed in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo separate sections arranged vertically\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for prominent cinema display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir large size and practical use made them vulnerable to folding, mounting damage, separation, and disposal after exhibition. Keeping both sections together added another challenge to their preservation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1958 first-release STB\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for this title is an exceptionally scarce collecting opportunity. Its appeal extends across several fields: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese theatrical advertising, Saul Bass design, Jean Seberg memorabilia, and the cinema of Otto Preminger\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe format also gives the artwork a presence that smaller sheets cannot reproduce. The enormous Japanese title, isolated graphic face, and large romantic photograph become distinct stages in a single vertical composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent for its age, with visible signs of theatrical use, handling, and storage.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour and presentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003escarlet title lettering, deep green borders, pink upper field, and dark facial motif\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e retain strong visual impact. The principal photographs remain clear and expressive, and the red tear is particularly striking against the warm lower background.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eVerso:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The backs show fold impressions, handling marks, spotting, and some image show-through consistent with the age and use of the poster.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDespite these signs of age, the poster retains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexcellent overall display presence\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with its bold typography, distinctive colour scheme, and Saul Bass imagery remaining exceptionally effective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all supplied photographs carefully—front, reverse, and details—as they show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact poster offered\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese first-release STB tatekan poster from 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a reproduction or a reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA Certificate of Authenticity is included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57479203455354,"sku":null,"price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-standing-in-front-of-gallery-wall_54.jpg?v=1793181928","url":"https:\/\/japanposter.co.uk\/products\/bonjour-tristesse-%e6%82%b2%e3%81%97%e3%81%bf%e3%82%88%e3%81%93%e3%82%93%e3%81%ab%e3%81%a1%e3%81%af-original-japanese-first-release-movie-poster-1958-ultra-rare-featuring-saul-bass-artwork-stb-tatekan-size","provider":"Japan Poster Shop","version":"1.0","type":"link"}