{"product_id":"chodenji-machine-voltes-v-超電磁マシーン-ボルテスv-original-a-1-hand-painted-master-production-cel-ga-セル画-of-kenichi-go-steve-armstrong-剛健一-toei-nippon-sunrise-production-circa-1977-78-copy","title":"“Time Bokan Series: Itadakiman” (タイムボカンシリーズ イタダキマン), Seven Original Hand-Painted Production Cel-ga (“セル画”) Group, including Itadakiman \/ Kusaku Magota, Yan-Yan and Dasaineen, Tatsunoko Production \/ Fuji Television, 1983","description":"\u003cp data-end=\"1309\" data-start=\"833\"\u003eA group of \u003cstrong data-end=\"901\" data-start=\"844\"\u003eseven original hand-painted production cel-ga (“セル画”)\u003c\/strong\u003e, each measuring approximately \u003cstrong data-end=\"948\" data-start=\"932\"\u003e27 x 23.5 cm\u003c\/strong\u003e, from \u003cstrong data-end=\"988\" data-start=\"955\"\u003eTime Bokan Series: Itadakiman\u003c\/strong\u003e (タイムボカンシリーズ イタダキマン), produced by \u003cstrong data-end=\"1046\" data-start=\"1022\"\u003eTatsunoko Production\u003c\/strong\u003e and broadcast in 1983. The group comprises individually hand-painted animation cels on transparent acetate, preserved with visible registration holes, studio sequence markings, pencil guide lines, and, in several cases, red pencil paint-department colour callouts.\u003c\/p\u003e\n\u003cp data-end=\"2014\" data-start=\"1311\"\u003eThe group is especially appealing as a \u003cstrong data-end=\"1394\" data-start=\"1350\"\u003emulti-cel character and sequence archive\u003c\/strong\u003e, rather than a single isolated cel. Several sheets carry matching or closely related production notation, most notably \u003cstrong data-end=\"1529\" data-start=\"1514\"\u003e“#4 \/ C229”\u003c\/strong\u003e, with visible layer and sequence numbers including \u003cstrong data-end=\"1587\" data-start=\"1581\"\u003eB2\u003c\/strong\u003e, \u003cstrong data-end=\"1595\" data-start=\"1589\"\u003eB6\u003c\/strong\u003e, \u003cstrong data-end=\"1604\" data-start=\"1597\"\u003eC13\u003c\/strong\u003e, and \u003cstrong data-end=\"1621\" data-start=\"1610\"\u003eC14 END\u003c\/strong\u003e. The presence of \u003cstrong data-end=\"1648\" data-start=\"1639\"\u003e“END”\u003c\/strong\u003e on the C14 sheet indicates the final cel of that particular layer sequence. Other cels in the group are marked \u003cstrong data-end=\"1766\" data-start=\"1760\"\u003eA3\u003c\/strong\u003e or carry independent production notation. Therefore, the group should be described as a \u003cstrong data-end=\"1934\" data-start=\"1858\"\u003eseven-piece associated production group centred around the C229 sequence\u003c\/strong\u003e, it is not seven consecutively numbered frames from one uninterrupted cut.\u003c\/p\u003e\n\u003cp data-end=\"2860\" data-start=\"2016\"\u003eThe present group belongs to \u003cstrong data-end=\"2057\" data-start=\"2043\"\u003eItadakiman\u003c\/strong\u003e, the seventh entry in Tatsunoko’s celebrated \u003cstrong data-end=\"2117\" data-start=\"2103\"\u003eTime Bokan\u003c\/strong\u003e franchise released in \u003cstrong data-end=\"2266\" data-start=\"2258\"\u003e1983\u003c\/strong\u003e, as the seventh work in the Time Bokan series, incorporating elements of \u003cstrong data-end=\"2379\" data-start=\"2356\"\u003eJourney to the West\u003c\/strong\u003e and the search for sacred puzzle pieces or plates. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"3469\" data-start=\"2862\"\u003eThe series occupies a distinctive place within Tatsunoko history. \u003cem data-end=\"2965\" data-start=\"2953\"\u003eItadakiman\u003c\/em\u003e was a return toward a more comedy-oriented line after the more serious direction of preceding entries, with a setting inspired by \u003cstrong data-end=\"3128\" data-start=\"3095\"\u003eSaiyūki \/ Journey to the West\u003c\/strong\u003e, and a central twist in which the transforming hero spends much of his time in the company of the villain-side trio. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e This makes the present group particularly evocative: it captures not only the transformed hero, but also the comedic interplay between \u003cstrong data-end=\"3436\" data-start=\"3419\"\u003eKusaku Magota\u003c\/strong\u003e, \u003cstrong data-end=\"3449\" data-start=\"3438\"\u003eYan-Yan\u003c\/strong\u003e, and \u003cstrong data-end=\"3468\" data-start=\"3455\"\u003eDasaineen\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-end=\"3495\" data-start=\"3471\"\u003eThe seven cels comprise:\u003c\/p\u003e\n\u003cp data-end=\"3983\" data-start=\"3497\"\u003e\u003cstrong data-end=\"3553\" data-start=\"3497\"\u003e1. Itadakiman \/ transformed Kusaku Magota action cel\u003c\/strong\u003e — a strong colour cel depicting the hero in full transformed armour, with blue, red, yellow and black costume elements, riding or positioned against a large purple mechanical form. The upper margin retains production notation, including a visible sequence marking at the upper right. This is the most visually assertive “hero” cel in the group, preserving the series’ hybrid of action-hero design and Tatsunoko mechanical comedy.\u003c\/p\u003e\n\u003cp data-end=\"4281\" data-start=\"3985\"\u003e\u003cstrong data-end=\"4015\" data-start=\"3985\"\u003e2. Yan-Yan profile cel, A3\u003c\/strong\u003e — a clean side-profile portrait of \u003cstrong data-end=\"4062\" data-start=\"4051\"\u003eYan-Yan\u003c\/strong\u003e, shown with orange hair, purple costume and a composed expression. Marked \u003cstrong data-end=\"4145\" data-start=\"4137\"\u003e“A3”\u003c\/strong\u003e at the upper right. The sheet has strong character-design appeal and functions as a crisp portrait cel of the villain-side female lead.\u003c\/p\u003e\n\u003cp data-end=\"4620\" data-start=\"4283\"\u003e\u003cstrong data-end=\"4324\" data-start=\"4283\"\u003e3. Kusaku Magota cel, #4 \/ C229 \/ C13\u003c\/strong\u003e — a smaller-scale cel of \u003cstrong data-end=\"4367\" data-start=\"4350\"\u003eKusaku Magota\u003c\/strong\u003e in civilian form, with red sleeves, blue vest and determined expression. Marked \u003cstrong data-end=\"4469\" data-start=\"4448\"\u003e“#4 \/ C229 \/ C13”\u003c\/strong\u003e. A faint unpainted guide image of another character is visible behind him, indicating layered production planning or alignment with another cel layer.\u003c\/p\u003e\n\u003cp data-end=\"4992\" data-start=\"4622\"\u003e\u003cstrong data-end=\"4667\" data-start=\"4622\"\u003e4. Kusaku Magota cel, #4 \/ C229 \/ C14 END\u003c\/strong\u003e — a related cel of Kusaku in a similar pose, marked \u003cstrong data-end=\"4745\" data-start=\"4720\"\u003e“#4 \/ C229 \/ C14 END”\u003c\/strong\u003e. The sheet includes red pencil colour callouts and shading notes, making it one of the most technically informative pieces in the group. The \u003cstrong data-end=\"4896\" data-start=\"4887\"\u003e“END”\u003c\/strong\u003e notation gives it particular production interest as the terminal frame of its C-layer sequence.\u003c\/p\u003e\n\u003cp data-end=\"5381\" data-start=\"4994\"\u003e\u003cstrong data-end=\"5058\" data-start=\"4994\"\u003e5. Yan-Yan and Kusaku Magota interaction cel, #4 \/ C229 \/ B6\u003c\/strong\u003e — a two-character cel showing \u003cstrong data-end=\"5100\" data-start=\"5089\"\u003eYan-Yan\u003c\/strong\u003e leaning forward and pointing toward Kusaku, who appears low in the frame with an anxious or defensive expression. Marked \u003cstrong data-end=\"5237\" data-start=\"5222\"\u003e“#4 \/ C229”\u003c\/strong\u003e and \u003cstrong data-end=\"5250\" data-start=\"5242\"\u003e“B6”\u003c\/strong\u003e. This cel captures the comic dynamic central to the series: Yan-Yan’s assertive presence and Kusaku’s reactive, child-hero energy.\u003c\/p\u003e\n\u003cp data-end=\"5832\" data-start=\"5383\"\u003e\u003cstrong data-end=\"5445\" data-start=\"5383\"\u003e6. Yan-Yan and Kusaku Magota technical cel, #4 \/ C229 \/ B2\u003c\/strong\u003e — a two-character cel marked \u003cstrong data-end=\"5495\" data-start=\"5475\"\u003e“#4 \/ C229 \/ B2”\u003c\/strong\u003e, with extensive red pencil colour and shading instructions around Yan-Yan’s hair, face and costume. The annotations include numerous paint references and directional notes, making this a particularly desirable \u003cstrong data-end=\"5736\" data-start=\"5706\"\u003etechnical production sheet\u003c\/strong\u003e within the group. It reveals the practical working process behind the finished broadcast image.\u003c\/p\u003e\n\u003cp data-end=\"6358\" data-start=\"5834\"\u003e\u003cstrong data-end=\"5877\" data-start=\"5834\"\u003e7. Yan-Yan and Dasaineen comedy cel, A3\u003c\/strong\u003e — a strong gag-composition cel showing \u003cstrong data-end=\"5928\" data-start=\"5917\"\u003eYan-Yan\u003c\/strong\u003e beside \u003cstrong data-end=\"5949\" data-start=\"5936\"\u003eDasaineen\u003c\/strong\u003e, the green-clad, long-nosed member of the Nisokusanmon Trio. Marked \u003cstrong data-end=\"6026\" data-start=\"6018\"\u003e“A3”\u003c\/strong\u003e at upper right. Dasaineen is identified in character references as a member of the \u003cstrong data-end=\"6131\" data-start=\"6110\"\u003eNisokusanmon Trio\u003c\/strong\u003e, and his visual design corresponds closely to the green outfit, cap and exaggerated facial features seen here. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e This cel is especially representative of Tatsunoko’s comic-villain tradition.\u003c\/p\u003e\n\u003cp data-end=\"7164\" data-start=\"6360\"\u003eWhat makes the group especially compelling is the way it preserves both the \u003cstrong data-end=\"6459\" data-start=\"6434\"\u003efinished visual image\u003c\/strong\u003e and the \u003cstrong data-end=\"6511\" data-start=\"6468\"\u003etechnical architecture of cel animation\u003c\/strong\u003e. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"7656\" data-start=\"7166\"\u003eIn this group, that production process remains unusually visible. The collector can see the practical layering logic of the sequence through the \u003cstrong data-end=\"7317\" data-start=\"7311\"\u003eA3\u003c\/strong\u003e, \u003cstrong data-end=\"7325\" data-start=\"7319\"\u003eB2\u003c\/strong\u003e, \u003cstrong data-end=\"7333\" data-start=\"7327\"\u003eB6\u003c\/strong\u003e, \u003cstrong data-end=\"7342\" data-start=\"7335\"\u003eC13\u003c\/strong\u003e, and \u003cstrong data-end=\"7359\" data-start=\"7348\"\u003eC14 END\u003c\/strong\u003e notations; the red pencil callouts used for ink-and-paint direction; the registration holes used to align the sheets; and the ghosted underdrawing or guide outlines visible through several cels. It is not merely a group of images, but a compact archive of Tatsunoko’s early-1980s studio workflow.\u003c\/p\u003e\n\u003cp data-end=\"8348\" data-start=\"7658\"\u003eFor collectors of \u003cstrong data-end=\"7700\" data-start=\"7676\"\u003eTatsunoko Production\u003c\/strong\u003e, \u003cstrong data-end=\"7716\" data-start=\"7702\"\u003eTime Bokan\u003c\/strong\u003e, \u003cstrong data-end=\"7762\" data-start=\"7718\"\u003eYoshitaka Amano-related character design\u003c\/strong\u003e, \u003cstrong data-end=\"7807\" data-start=\"7764\"\u003eKunio Okawara-related mechanical design\u003c\/strong\u003e, and original Japanese cel-ga, the present lot offers unusual breadth. It includes a transformed hero image, character portraiture, multi-character interaction, comedy villain material and technical colour-callout sheets. The series’ relative scarcity is also significant: \u003cem data-end=\"8093\" data-start=\"8081\"\u003eItadakiman\u003c\/em\u003e ran to only \u003cstrong data-end=\"8121\" data-start=\"8106\"\u003e20 episodes\u003c\/strong\u003e, making original production material less commonly encountered than material from longer-running Time Bokan titles such as \u003cem data-end=\"8256\" data-start=\"8245\"\u003eYatterman\u003c\/em\u003e, which Tatsunoko records as a 108-episode production. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"9343\" data-start=\"9187\"\u003e\u003cstrong data-end=\"9201\" data-start=\"9187\"\u003eProvenance\u003c\/strong\u003e\u003cbr data-end=\"9204\" data-start=\"9201\"\u003eAcquired in Kyoto from the same seller as a single seven-piece group; all seven cels came together in the same plastic envelope.\u003c\/p\u003e\n\u003cp data-end=\"10269\" data-start=\"9345\"\u003e\u003cstrong data-end=\"9358\" data-start=\"9345\"\u003eCondition\u003c\/strong\u003e\u003cbr data-end=\"9361\" data-start=\"9358\"\u003eOverall very good for period production material of this type, with strong surviving colour and excellent display presence across the group. Please review the photographs carefully, as they show the exact items for sale.\u003c\/p\u003e\n\u003cp data-end=\"10785\" data-start=\"10271\"\u003e\u003cstrong data-end=\"10287\" data-start=\"10271\"\u003eAuthenticity\u003c\/strong\u003e\u003cbr data-end=\"10290\" data-start=\"10287\"\u003eThis is a group of \u003cstrong data-end=\"10373\" data-start=\"10309\"\u003eseven original period hand-painted production cel-ga (“セル画”)\u003c\/strong\u003e from \u003cstrong data-end=\"10412\" data-start=\"10379\"\u003eTime Bokan Series: Itadakiman\u003c\/strong\u003e (タイムボカンシリーズ イタダキマン), produced by \u003cstrong data-end=\"10488\" data-start=\"10446\"\u003eTatsunoko Production \/ Fuji Television\u003c\/strong\u003e in 1983. The group includes cels of \u003cstrong data-end=\"10555\" data-start=\"10525\"\u003eItadakiman \/ Kusaku Magota\u003c\/strong\u003e, \u003cstrong data-end=\"10568\" data-start=\"10557\"\u003eYan-Yan\u003c\/strong\u003e, and \u003cstrong data-end=\"10587\" data-start=\"10574\"\u003eDasaineen\u003c\/strong\u003e, with several sheets bearing related \u003cstrong data-end=\"10638\" data-start=\"10625\"\u003e#4 \/ C229\u003c\/strong\u003e production markings. These are not reproductions, printed cels, sericels, modern replicas or digital prints. Certificate of Authenticity Included.\u003c\/p\u003e\n\u003cp data-end=\"10875\" data-start=\"10787\"\u003e\u003cstrong data-end=\"10794\" data-start=\"10787\"\u003eAge\u003c\/strong\u003e\u003cbr data-end=\"10797\" data-start=\"10794\"\u003eThese works date to \u003cstrong data-end=\"10831\" data-start=\"10817\"\u003ecirca 1983\u003c\/strong\u003e and are now approximately \u003cstrong data-end=\"10874\" data-start=\"10858\"\u003e43 years old\u003c\/strong\u003e.\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":56821597077882,"sku":null,"price":675.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/IMG_5781_cc5a66ea-14f6-40ac-a038-ccebb0f224c5.jpg?v=1776680957","url":"https:\/\/japanposter.co.uk\/products\/chodenji-machine-voltes-v-%e8%b6%85%e9%9b%bb%e7%a3%81%e3%83%9e%e3%82%b7%e3%83%bc%e3%83%b3-%e3%83%9c%e3%83%ab%e3%83%86%e3%82%b9v-original-a-1-hand-painted-master-production-cel-ga-%e3%82%bb%e3%83%ab%e7%94%bb-of-kenichi-go-steve-armstrong-%e5%89%9b%e5%81%a5%e4%b8%80-toei-nippon-sunrise-production-circa-1977-78-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}