{"product_id":"godzilla-vs-king-ghidorah-ゴジラvsキングギドラ-1991-original-japanese-b1-first-release-theatrical-poster-noriyoshi-ohrai-s-monumental-illustrated-design","title":"“GODZILLA VS. KING GHIDORAH \/ ゴジラvsキングギドラ” (1991) – ORIGINAL JAPANESE B1 FIRST-RELEASE THEATRICAL POSTER – NORIYOSHI OHRAI’S MONUMENTAL ILLUSTRATED DESIGN - KA7","description":"\u003ch3\u003e\u003cspan\u003e“GODZILLA VS. KING GHIDORAH \/ ゴジラvsキングギドラ” (1991) – ORIGINAL JAPANESE B1 FIRST-RELEASE THEATRICAL POSTER – NORIYOSHI OHRAI’S MONUMENTAL ILLUSTRATED DESIGN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRare Original B1 Illustrated Advance Printing | Original Japanese Release Campaign | Artwork by Noriyoshi Ohrai | “12・14 決戦!” Design | c. 72.8 × 103 cm (28.7 × 40.6 in) | Excellent+ Condition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexceptional original Japanese B1 theatrical poster printed for the first Japanese release of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGodzilla vs. King Ghidorah\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in 1991\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, featuring one of the most celebrated Godzilla compositions created by the great Japanese illustrator \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNoriyoshi Ohrai\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt more than a metre tall, this rare B1 printing presents Ohrai’s painting at an extraordinary scale. Godzilla rises from the centre of the composition while the three heads, immense wings and coiling body of King Ghidorah encircle him. Three luminous beams cross the image above a surfaced submarine and ascending missile, compressing the film’s monsters, military technology and nuclear anxiety into a single, overwhelming spectacle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eillustrated advance design produced for the original Japanese theatrical campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, not the photographic poster style that also accompanied the film. Specialist poster archives identify the design as an original 1991 Japanese B1 advance poster, printed single-sided and carrying artwork by Noriyoshi Ohrai. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal B1 examples are considerably more elusive than the familiar standard-size posters and modern reproductions that have subsequently used this image. This is the genuine large-format theatrical sheet issued by Toho in 1991.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster survives in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with exceptionally strong colour, a remarkably clean principal image and no distracting fold lines. There are only very minor signs of handling and light age-related marks to the reverse, detailed in the condition report below. Unbacked and unfolded, it will make a spectacular framed centrepiece.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDate and Original Japanese Theatrical Release\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eGodzilla vs. King Ghidorah\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e opened in Japanese cinemas on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e14 December 1991\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distributed by Toho. Written and directed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKazuki Ōmori\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with special effects directed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKōichi Kawakita\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and music by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAkira Ifukube\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it was the eighteenth feature in the Godzilla series and one of the defining early films of the Heisei continuity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe prominent white announcement at the upper right reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「12・14 決戦！」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“December 14: The Decisive Battle!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than treating the date as routine release information, the poster transforms it into part of the confrontation. The opening day becomes the appointed moment when Godzilla and King Ghidorah will finally meet in battle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principal production credits printed along the lower edge identify:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e製作・田中友幸\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Production: Tomoyuki Tanaka\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e脚本・監督・大森一樹\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Screenplay and Direction: Kazuki Ōmori\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e特技監督・川北紘一\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Special-Effects Direction: Kōichi Kawakita\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e音楽監督・伊福部昭\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Music: Akira Ifukube\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster belongs unequivocally to the film’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1991 Japanese release campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It is not a later revival poster, exhibition print, commemorative art edition or modern reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Film and Its Place in Godzilla History\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA battle between Godzilla and his greatest three-headed adversary—reimagined through time travel, altered history and nuclear power.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe story begins when a vast unidentified craft appears above Tokyo carrying visitors from the twenty-third century. Claiming that Japan will eventually be destroyed by Godzilla, the Futurians propose travelling into the past and removing the dinosaur that would become Godzilla before its transformation can occur.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir intervention appears successful, but the disappearance of Godzilla is followed by the arrival of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Ghidorah\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The supposed rescue mission is revealed as a plan to weaken modern Japan, while Godzilla re-emerges in an even more powerful form. The conflict ultimately extends beyond Godzilla and the organic King Ghidorah to include the futuristic cyborg \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMecha-King Ghidorah\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film reconnects several stages of Godzilla history. It introduces the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGodzillasaurus\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, explores a possible origin for Godzilla during the final months of the Pacific War and brings King Ghidorah into the Heisei-era continuity. It also places the monsters within a story of economic power, future intervention and the continued consequences of nuclear technology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eŌmori’s screenplay moves between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1944, 1992 and the twenty-third century\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, continually changing the apparent roles of monster, enemy and protector. King Ghidorah is initially presented as an instrument of destruction, while Godzilla’s return both saves Japan from one threat and creates another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOhrai’s poster does not attempt to explain this complicated chronology. Instead, it distils the film into its essential promise: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo colossal powers locked together in a battle that fills the entire visual field\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGodzilla at the centre:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Godzilla rises behind King Ghidorah as a dense black and charcoal mass, his open mouth and glowing red eye emerging against the storm-lit sky. His positioning gives him the stillness and weight of a mountain while the rest of the composition twists violently around him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKing Ghidorah’s three heads:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Each head enters the image from a different direction. One turns inward from the upper left, another attacks from the upper right and the third cuts horizontally across the centre. Their long horns, yellow eyes and individually rendered scales create a remarkable sense of depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe three beams are given different tonal treatments—red and white, incandescent gold, and a cooler blue-white—allowing them to cross over the darker body of Godzilla without becoming visually confused.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe wings and circular movement:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e King Ghidorah’s enormous wings form a natural border around the confrontation. Their curves lead the eye down both sides of the poster before returning towards the title, while the creature’s coiling body repeatedly circles Godzilla.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis structure is one of the painting’s great strengths. Although packed with monsters, wings, claws, beams and scales, the image remains exceptionally controlled. Almost every major line returns the viewer’s attention to Godzilla at the centre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe submarine and missile:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e A black submarine rises from the turbulent sea in the lower portion of the composition while a missile ascends vertically towards the monsters. The sharp, mechanical form provides a powerful contrast to the organic bodies surrounding it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe submarine and missile also concentrate the film’s nuclear and military themes into a single emblem. Human technology appears substantial in the foreground, yet it is almost absurdly small when measured against Godzilla and King Ghidorah.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe ocean:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Dark water, white spray and orange launch smoke create a narrow area of open space beneath the monsters. The waves separate the painting from the title while maintaining the image’s constant sense of movement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe release announcement:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The large white \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「12・14 決戦！」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering is positioned directly against King Ghidorah’s right wing. Its uncompromising vertical arrangement resembles an announcement posted over the battle itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Japanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The heavy red \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「ゴジラ」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering sits above the yellow-to-orange \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「キングギドラ」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, divided by a sharply angled white “VS”. The colours repeat those of the monsters: Godzilla’s title is darkly shadowed and forceful, while King Ghidorah’s lettering reflects the creature’s golden scales and fiery energy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe artist’s signature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Ohrai’s signature appears in red within the lower-left portion of the artwork, immediately above the original theatrical markings. This is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eprinted signature reproduced as part of the poster design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, not a hand-signed autograph.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe colour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Burnished gold, orange, copper and deep brown dominate King Ghidorah, contrasted against the black, grey and blue tones of Godzilla. Small areas of red, green and brilliant white energise the composition without disturbing its overall harmony.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe fine painterly and canvas-like texture visible throughout the illustration belongs to the reproduction of Ohrai’s original artwork. It should not be mistaken for abrasion or deterioration to the poster’s surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Japanese B1 Format and Why This Printing Is So Desirable\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese B1 format measures nominally approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e72.8 × 103 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, giving it around twice the printed surface area of the standard B2 theatrical poster.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat additional size is particularly important with this design. At B1 scale, the viewer can properly appreciate the individual scales across King Ghidorah’s body, the texture of Godzilla’s skin, the gradations within the beams, the spray surrounding the submarine and the atmospheric layers of cloud and smoke.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting works first as a single monumental confrontation, but the large format allows it to reward much closer examination. Even small details—Ghidorah’s claws gripping Godzilla’s body, the fine structures surrounding the submarine and the coloured reflections across the monsters—remain clearly legible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal Japanese B1 posters were more demanding to distribute, display and preserve than standard B2 sheets. Surviving examples of this design are consequently much less frequently encountered, especially \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eunfolded, unbacked and with colour of this strength\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe distinction between an original theatrical B1 and a later reproduction is particularly important here. Ohrai’s image has remained enormously popular and has subsequently appeared on modern posters, licensed merchandise and three-dimensional interpretations. This example is the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1991 Japanese theatrical printing\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, carrying the period Toho copyright line, release announcement, production credits, Eirin mark and printed artist signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAbout the Artist: Noriyoshi Ohrai\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eNoriyoshi Ohrai (1935–2015)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e was one of Japan’s most important commercial illustrators, working across cinema, publishing, advertising, science fiction, historical subjects and video games.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInternationally, he became especially celebrated for his painted artwork for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Empire Strikes Back\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. In Japan, his film work included a long and highly influential association with Godzilla, from the 1984 revival through a sequence of Heisei-era posters and eventually \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGodzilla: Final Wars\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in 2004. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOhrai’s great skill was his ability to combine vast quantities of visual information without sacrificing clarity. His paintings may contain multiple figures, weapons, vehicles, explosions and architectural elements, yet they remain governed by strong central shapes and carefully controlled light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster is an outstanding example. Godzilla provides the dark central axis; King Ghidorah creates the circular movement; the three beams form diagonals across the image; and the missile establishes a vertical line from the sea towards the monsters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe result feels simultaneously chaotic and meticulously planned.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of Ohrai’s work, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGodzilla vs. King Ghidorah\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is especially desirable because the composition is so completely devoted to its two principal monsters. There are no portraits of actors and no photographic inserts. The entire poster is an uninterrupted piece of painted kaiju spectacle.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+, with extraordinary colour and exceptional display appeal. Original unfolded, unbacked and single-sided sheet.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principal artwork remains remarkably clean. The golds and oranges of King Ghidorah are rich and luminous, Godzilla retains deep black and blue-grey definition, and the red and yellow title lettering remains exceptionally vivid.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eno distracting fold lines or significant creases across the image\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The complex areas of King Ghidorah’s wings and body remain sharply presented, while the dark lower title area shows very little of the rubbing often found on posters with large passages of solid colour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is only \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003every minor edge and handling wear\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, consistent with the poster’s age and large format. No major tears, paper loss or restoration are evident.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blank reverse shows a few faint handling traces and light age-related marks. A narrow area of subtle speckling or surface transfer is visible across part of the lower reverse. These marks are confined to the back and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edo not show through or interfere with the printed artwork\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe small texture visible across the coloured areas of the front is inherent to the printed reproduction of Ohrai’s painting and is not surface damage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e describes the poster’s overall condition; it is not being presented as Mint or entirely free from age-related evidence. Its outstanding strengths are the extraordinarily clean front, absence of folds, powerful original colour and impressive large-format presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review the photographs of the front, reverse, edges and detailed areas carefully, as they show the exact poster offered for sale.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAuthenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthenticity:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Original 1991 Japanese B1 first-release theatrical poster for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGodzilla vs. King Ghidorah\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, featuring artwork by Noriyoshi Ohrai.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal printed details:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e “12・14 決戦!” release announcement, Toho production and distribution credits, ©1991 TOHO copyright line, Eirin mark and Ohrai’s printed signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFormat:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Japanese B1, approximately 72.8 × 103 cm; original single-sided theatrical printing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePresentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Excellent+ condition; unfolded, unbacked and unrestored.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eNot a modern reproduction, exhibition reprint, commercial art poster or later commemorative edition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA rare original B1 from the height of Noriyoshi Ohrai’s association with the Heisei Godzilla series—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ean extraordinary synthesis of monster mythology, nuclear imagery, painterly detail and monumental theatrical design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57402098254202,"sku":null,"price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-looking-at-an-art-gallery-wall_42_f7343146-5180-4f46-a695-a5a9e5f3c6e1.jpg?v=1791786432","url":"https:\/\/japanposter.co.uk\/products\/godzilla-vs-king-ghidorah-%e3%82%b4%e3%82%b8%e3%83%a9vs%e3%82%ad%e3%83%b3%e3%82%b0%e3%82%ae%e3%83%89%e3%83%a9-1991-original-japanese-b1-first-release-theatrical-poster-noriyoshi-ohrai-s-monumental-illustrated-design","provider":"Japan Poster Shop","version":"1.0","type":"link"}