{"product_id":"goddess-on-horseback-woman-commanding-five-white-horses-osaka-shosen-original-pre-war-japanese-shipping-advertising-poster-1918-taisho-7-ultra-rare-museum-grade-early-multicolour-offset-lithograph-by-machida-ryuyo-c-96-5-62-5-cm-copy","title":"“HOPE Cigarettes” — Ultra-Rare Original Pre-War Japanese Advertising Poster, c. 1931–1940 — Hiroshima Regional Monopoly Bureau — 77 × 53 cm S170","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong\u003eexceptionally scarce, original pre-war Japanese advertising poster\u003c\/strong\u003e for the first generation of \u003cstrong\u003eHOPE Cigarettes\u003c\/strong\u003e, issued under the authority of the \u003cstrong\u003eHiroshima Regional Monopoly Bureau\u003c\/strong\u003e — \u003cstrong\u003e廣島地方專賣局\u003c\/strong\u003e (\u003cem\u003eHiroshima Chihō Senbaikyoku\u003c\/em\u003e; modern characters: 広島地方専売局).\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMeasuring approximately \u003cstrong\u003e77 × 53 cm \/ 30.3 × 20.9 inches\u003c\/strong\u003e, this imposing commercial poster is considerably larger than the standard Japanese B2 format. It retains its \u003cstrong\u003eperiod black metal shop-display hanging fittings\u003c\/strong\u003e, an especially desirable survival feature that preserves important evidence of how the poster was originally exhibited.\u003c\/p\u003e\n\u003cp\u003eThe design is spectacular: a monumental crimson-red hand holds a plain-ended cigarette and a blue-green packet of HOPE cigarettes against an olive-mustard ground. Its radically simplified forms, asymmetrical composition and limited colour palette make it an outstanding example of \u003cstrong\u003eearly Shōwa-period Japanese commercial modernism\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eNo date is printed on the sheet. However, historical product records date the original pre-war HOPE cigarette to \u003cstrong\u003e1931–1940\u003c\/strong\u003e, making \u003cstrong\u003ecirca 1931–1940\u003c\/strong\u003e the most accurate date range for this poster. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe photographs show the \u003cstrong\u003eexact original poster being offered\u003c\/strong\u003e, including its complete front, original display fittings, edge details, lower imprint and reverse.\u003c\/p\u003e\n\u003ch3\u003eVisual Design \u0026amp; Artwork Analysis\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eArt Deco-Era Japanese Commercial Modernism:\u003c\/strong\u003e\u003cbr\u003eThe design belongs to the dynamic visual culture that emerged in Japan during the late Taishō and early Shōwa periods. It combines \u003cstrong\u003eArt Deco geometry, Constructivist-like scale and movement, and the economy of modern poster design\u003c\/strong\u003e. Instead of relying on a conventional figure or detailed narrative illustration, the designer reduces the advertisement to a handful of forceful, instantly recognisable forms.\u003c\/p\u003e\n\u003cp\u003eJapanese poster design developed rapidly during this period as new printing techniques and exposure to European and international graphic art encouraged the emergence of \u003cem\u003ezuan\u003c\/em\u003e — modern commercial design. The Japanese government’s Monopoly Bureau actively employed leading designers and commissioned increasingly sophisticated tobacco packages and posters during the 1920s and 1930s. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eThe Monumental Red Hand:\u003c\/strong\u003e\u003cbr\u003eThe central image is dominated by an enormous, stylised \u003cstrong\u003ecrimson-red hand\u003c\/strong\u003e, simplified almost to the point of becoming a mechanical or architectural form. The fingers create a sequence of bold vertical elements, while the cigarette crosses them on a sharp diagonal.\u003c\/p\u003e\n\u003cp\u003eThe exaggerated scale of the hand makes the product visible from a distance and gives the composition a remarkably contemporary graphic presence. Even without the lettering, the image communicates the act of holding a cigarette with immediate clarity.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eThe HOPE Cigarette Packet:\u003c\/strong\u003e\u003cbr\u003eThe hand grips an illustrated packet bearing the English words \u003cstrong\u003e“HOPE Cigarettes.”\u003c\/strong\u003e Its blue-green field, cream lettering and repeated linear borders echo the teal typography used elsewhere in the poster, visually unifying the packet with the surrounding advertising copy.\u003c\/p\u003e\n\u003cp\u003eThe cigarette itself is shown as a \u003cstrong\u003eplain-ended or non-filter cigarette\u003c\/strong\u003e, consistent with the original pre-war HOPE product. It should not be described as lit, as the design shows no ember or rising smoke.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eExceptional Colour and Composition:\u003c\/strong\u003e\u003cbr\u003eThe designer uses a restricted but highly effective palette of \u003cstrong\u003eolive-mustard yellow, deep crimson, teal blue-green and warm cream\u003c\/strong\u003e. The large red hand acts as the visual anchor, while the diagonal cigarette and angled HOPE packet create movement across the otherwise flat surface.\u003c\/p\u003e\n\u003cp\u003eA narrow cream panel and red vertical rule frame the slogan on the right. The resulting combination of strong negative space, oversized imagery and geometric typography is exceptionally bold for a commercial poster approaching ninety years of age.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003ePre-War Right-to-Left Typography:\u003c\/strong\u003e\u003cbr\u003eAcross the bottom, the Japanese word for tobacco, \u003cstrong\u003eタバコ\u003c\/strong\u003e (\u003cem\u003etabako\u003c\/em\u003e), is arranged in the traditional pre-war right-to-left horizontal order and therefore appears on the poster as \u003cstrong\u003eコバタ\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis should be understood as a period typographic convention rather than a misspelling. Together with the historical characters used in the issuer’s name and the prominent English-language branding, it is an important element in dating the design to pre-war Japan.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003ePoetic Advertising Slogan:\u003c\/strong\u003e\u003cbr\u003eThe vertical text on the right reads:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e紫煙床しき\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eShien yukashiki\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA natural English rendering is:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“The refined charm of purple smoke”\u003c\/strong\u003e\u003cbr\u003eor\u003cbr\u003e\u003cstrong\u003e“The alluring elegance of tobacco smoke.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e紫煙\u003c\/strong\u003e literally means “purple smoke” and was particularly used as a poetic or literary expression for tobacco smoke. \u003cstrong\u003e床しき\u003c\/strong\u003e is an older form derived from \u003cem\u003eyukashii\u003c\/em\u003e, suggesting something refined, evocative, charming or capable of drawing the heart. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eOfficial Government Attribution:\u003c\/strong\u003e\u003cbr\u003eThe vertical inscription on the lower left reads:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e廣島地方專賣局\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eHiroshima Chihō Senbaikyoku\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eHiroshima Regional Monopoly Bureau\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis identifies the poster as an official product of Japan’s government-controlled tobacco monopoly rather than an advertisement issued by an independent private tobacco company.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eLower-Right Imprint:\u003c\/strong\u003e\u003cbr\u003eA small, faded two-line imprint appears near the lower-right edge. Its upper line appears to include \u003cstrong\u003eマシロヒ\u003c\/strong\u003e, intended to be read from right to left as \u003cstrong\u003eヒロシマ — “Hiroshima.”\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eHistorical Context\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Original Pre-War HOPE Cigarette:\u003c\/strong\u003e\u003cbr\u003eThis poster advertises the \u003cstrong\u003efirst-generation HOPE\u003c\/strong\u003e, a plain-ended cigarette recorded as being sold from \u003cstrong\u003e1931 until 1940\u003c\/strong\u003e. It is not an advertisement for the more familiar post-war filter cigarette introduced during the 1950s. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDating — c. 1931–1940:\u003c\/strong\u003e\u003cbr\u003eBecause no printed year appears on the poster, it should be catalogued as \u003cstrong\u003ecirca 1931–1940\u003c\/strong\u003e. The presence of the English HOPE branding, the pre-war right-to-left lettering and the Hiroshima Regional Monopoly Bureau inscription are all consistent with that period.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eWartime Restrictions and the End of the Pre-War Brand:\u003c\/strong\u003e\u003cbr\u003eIn 1940, wartime restrictions on Western terminology led to English and other “foreign-word” cigarette names being changed or withdrawn. JT’s historical chronology records that names such as Golden Bat were converted into Japanese-language forms during this period. Available product records place the discontinuation of the original HOPE in the same year. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eJapan’s Government Tobacco Monopoly:\u003c\/strong\u003e\u003cbr\u003eUnder the \u003cstrong\u003eTobacco Monopoly Act of 1904\u003c\/strong\u003e, the Japanese government assumed control over the purchase of tobacco leaf and the manufacture and sale of tobacco products. This system continued through the Ministry of Finance Monopoly Bureau and, after the war, the Japan Monopoly Corporation, before the establishment of Japan Tobacco in 1985. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe poster is consequently both an advertising object and a document of Japan’s former state-controlled commercial system.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Hiroshima Regional Monopoly Bureau:\u003c\/strong\u003e\u003cbr\u003eHiroshima’s government tobacco operation developed from a tobacco monopoly office founded in \u003cstrong\u003e1897\u003c\/strong\u003e. On \u003cstrong\u003e1 July 1921\u003c\/strong\u003e, it became the \u003cstrong\u003eHiroshima Regional Monopoly Bureau\u003c\/strong\u003e, a regional division of the Ministry of Finance Monopoly Bureau. Its Hiroshima factory principally manufactured \u003cstrong\u003eplain-ended cigarettes\u003c\/strong\u003e, directly connecting the issuer named on this poster with the type of cigarette being advertised. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Shop-Display Function:\u003c\/strong\u003e\u003cbr\u003eThe surviving metal hanging hardware indicates that this poster was made for practical commercial display, most probably in a licensed tobacco shop or related retail setting. In the early 1930s, the Monopoly Bureau moved to a direct distribution system and worked with organised tobacco retailers on sales promotion, display equipment and standardised shop presentation. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePosters of this kind were temporary working advertisements rather than objects intended for long-term preservation. They were exposed to handling, shop interiors, changing campaigns and eventual disposal. This functional origin helps explain why a large, substantially complete survivor retaining its hanging apparatus is \u003cstrong\u003eexceptionally uncommon today\u003c\/strong\u003e.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eThe HOPE Name Still Exists in Japan:\u003c\/strong\u003e\u003cbr\u003eThe HOPE name was revived after the war. In \u003cstrong\u003e1957\u003c\/strong\u003e, a new HOPE was introduced as \u003cstrong\u003eJapan’s first domestically produced filter cigarette\u003c\/strong\u003e. That post-war product was historically distinct from the plain-ended pre-war HOPE represented here. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHOPE remains part of the official Japan Tobacco product range today\u003c\/strong\u003e, including the classic ten-cigarette HOPE together with HOPE Light and HOPE Super Light. The survival of the name gives this poster additional significance as an exceptionally early representation of one of Japan’s most enduring tobacco names. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExceptional Rarity:\u003c\/strong\u003e\u003cbr\u003eNo reliable production quantity or surviving census can be located for this exact Hiroshima-issued design. Its regional government attribution, very large size, ephemeral shop-display purpose and surviving original hanging hardware justify describing it as \u003cstrong\u003eexceptionally scarce\u003c\/strong\u003e or \u003cstrong\u003eultra-rare\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eFormat \u0026amp; Condition Assessment\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMedium and Dimensions:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOriginal multi-colour printed paper advertising poster\u003c\/strong\u003e, approximately \u003cstrong\u003e77 × 53 cm \/ 30.3 × 20.9 inches\u003c\/strong\u003e.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Display Hardware:\u003c\/strong\u003e\u003cbr\u003eThe poster retains its \u003cstrong\u003eperiod black metal hanging fittings\/banding\u003c\/strong\u003e, used to suspend the advertisement directly for commercial display. The surviving hardware is an important and desirable part of the object’s original history and should preferably be retained during any future conservation or framing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eOverall Condition — Very Good for Its Age:\u003c\/strong\u003e\u003cbr\u003eThe poster is in \u003cstrong\u003eVery Good condition for an original pre-war shop-display poster of this size and age\u003c\/strong\u003e, with honest wear associated with prolonged commercial use and storage.\u003c\/p\u003e\n\u003cp\u003eCrucially, the \u003cstrong\u003ecentral graphic remains substantially complete\u003c\/strong\u003e, the HOPE packet and principal lettering remain clearly legible, and there is no major loss through the central hand or principal advertising image.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eColour Preservation:\u003c\/strong\u003e\u003cbr\u003eThe colours remain highly effective, particularly the \u003cstrong\u003edeep crimson of the hand and the blue-green of the packet and typography\u003c\/strong\u003e. The restricted palette retains excellent visual coherence and the design remains immediately arresting despite the age-related surface wear.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eFront-Side Condition:\u003c\/strong\u003e\u003cbr\u003eThe front displays general age toning, scattered foxing and dark spotting, surface soiling, handling marks, localised stains, wrinkles and numerous vertical and horizontal creases.\u003c\/p\u003e\n\u003cp\u003eThere are short tears and small areas of splitting around the margins. The most pronounced wear is at the \u003cstrong\u003eupper-left corner\u003c\/strong\u003e, where the paper has been folded, compressed and torn around the metal hanging fitting. There is also a short tear or puncture at the upper centre beneath the rail, together with wear along the right edge and lower-right margin.\u003c\/p\u003e\n\u003cp\u003eAdditional horizontal fold lines and creases are visible through the lower part of the composition. These do not materially disrupt the monumental red hand or the overall legibility of the design.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eReverse-Side Condition:\u003c\/strong\u003e\u003cbr\u003eThe reverse shows pronounced overall tanning and oxidation, together with fold lines, surface dirt, localised staining, tide marks, creases and several tears or splits extending inward from the margins.\u003c\/p\u003e\n\u003cp\u003eSeveral pieces of \u003cstrong\u003earchival tape\u003c\/strong\u003e have been applied to areas along the edges as previous reinforcement. \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eUnbacked Presentation:\u003c\/strong\u003e\u003cbr\u003eThe poster appears to remain \u003cstrong\u003eunbacked\u003c\/strong\u003e, preserving its original paper and reverse. Given the archival tape and vulnerable edge tears, handling should be kept to a minimum until it has been professionally mounted or framed.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003eDisplay Potential:\u003c\/strong\u003e\u003cbr\u003eDespite the expected wear, this is an extremely impressive image with \u003cstrong\u003eoutstanding decorative presence\u003c\/strong\u003e. The eye is immediately drawn to the red hand, cigarette, HOPE packet and enormous geometric lettering, while the peripheral wear becomes far less prominent when the complete composition is viewed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOnce sympathetically framed, it will display excellently.\u003c\/strong\u003e A conservation-grade mount, acid-free materials and UV-filtering acrylic would protect the sheet while allowing its extraordinary graphic design to dominate. \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eWith its monumental modernist design, first-generation pre-war HOPE branding, official Hiroshima government-monopoly attribution and surviving period display fittings, this is a genuinely exceptional piece of Japanese advertising history. It has the presence of a major work of graphic design rather than a conventional commercial poster, and its honest age-related wear records its original working life. Properly mounted and framed, it will make a spectacular and highly distinctive statement piece.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57229505102202,"sku":null,"price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-looking-at-an-art-gallery-wall-2026-09-04T172341.138.jpg?v=1788510235","url":"https:\/\/japanposter.co.uk\/products\/goddess-on-horseback-woman-commanding-five-white-horses-osaka-shosen-original-pre-war-japanese-shipping-advertising-poster-1918-taisho-7-ultra-rare-museum-grade-early-multicolour-offset-lithograph-by-machida-ryuyo-c-96-5-62-5-cm-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}