{"product_id":"house-of-wax-original-first-release-japanese-movie-poster-1953-ultra-rare-stb-tatekan-size-51x145cm-gallery","title":"“HOUSE OF WAX”, Original First Release Japanese Movie Poster 1953, Ultra Rare, STB Tatekan Size (51x145cm) - Gallery","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“HOUSE OF WAX”, Original Release Japanese Movie Poster 1953, STB Tatekan (51 × 145 cm) — Ultra Rare\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJapanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 「肉の蝋人形」—printed here with the traditional character 蠟—(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eNiku no Rōningyō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, literally “Wax Figures of Flesh”)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSize:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e STB \/ Tatekan — c. 20 × 57 in (51 × 145 cm)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCountry \/ Studio:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Japan \/ Warner Bros. Pictures (ワーナー・ブラザース映画配給)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Multi-colour printing on thin theatrical stock; two-sheet construction\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eWhy this is a trophy piece\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eAn extraordinary \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese first-release STB tatekan for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (1953)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—a genuinely exceptional combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecanonical horror title, spectacular design, early date and extraordinary rarity\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Towering approximately 145 cm high, this is not simply an advertisement for a frightening film: it is an exuberant visual demonstration of cinema breaking free of the screen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDirected by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAndré de Toth\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eVincent Price\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e reimagined the earlier \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMystery of the Wax Museum\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (1933) through the spectacle of colour, stereoscopic photography and stereophonic sound. Its story of a sculptor whose uncannily lifelike exhibits conceal a terrible secret became one of the defining attractions of the 1950s 3-D boom, helping establish Price’s enduring association with sophisticated, theatrical horror. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA major commercial sensation on its original release\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film attracted audiences eager to experience its dimensional effects and immersive presentation. Contemporary critical reactions were not uniformly enthusiastic: admiration for its technical achievements sometimes came with reservations about its deliberately old-fashioned melodrama. Its lasting reputation, however, extends well beyond novelty. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eA canonical work of classic American horror, it was selected for the National Film Registry in 2014.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s rarity is equally compelling. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWe have been unable to trace a matching example in the public-sale records searched, and this is the first STB for this title we have ever seen.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e We do not use “holy grail” lightly: for collectors of Vincent Price, early colour horror and exceptional Japanese theatrical paper, this is precisely the kind of discovery that justifies the description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA once-in-a-decade find in our experience\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distinguished not only by its scarcity but by the remarkable strength of the surviving image.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDesign highlights (and on-poster translations)\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCinema breaking through the screen:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e A screaming woman appears to burst out of an illuminated cinema screen, her outstretched arms and dramatically foreshortened figure extending towards the viewer. A dark, threatening figure remains within the screen behind her, while rows of spectators occupy the auditorium below. The composition makes the promise of 3-D immediately understandable: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe terror is no longer safely contained within the picture\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental yellow headline:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 「立体映画」—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“3-D motion picture.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e These enormous characters dominate the upper sheet, their long, architectural shadows transforming the typography itself into a demonstration of depth. The headline is almost an image in its own right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOrange top billing:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The upper line announces \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“The third dimension”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e alongside Warner’s colour presentation. Before the viewer even reaches the film’s title, the poster establishes the campaign’s central attraction: a new kind of cinematic spectacle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBlood-red Japanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 「肉の蠟人形」—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Wax Figures of Flesh.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Stacked down the lower sheet in immense, irregular brush-style characters, the title replaces the relative restraint of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e with something considerably more visceral. Pale outlines and dark shadows give the lettering a torn, sculptural presence against the blue-grey background.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe original English campaign device:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“3 DIMENSION,” “HOUSE OF WAX” and “WARNERCOLOR NATURALVISION”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appear together beside the central illustration. This compact bilingual element anchors the Japanese design to the film’s colour-and-depth presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGreen vertical promotional copy:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 「最新最高の立体映画 決定版！」—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“The definitive achievement in the latest and greatest 3-D cinema!”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The accompanying text promises, in sense rendering: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Wonderful colour and three-dimensional depth—an overwhelming spectacle of unprecedented power!”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The language sells astonishment as emphatically as fear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTwo inset scenes and prominent billing:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Below the auditorium, two rectangular film images introduce looming shadows, threatened figures and a blazing interior. The principal cast names—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eヴィンセント・プライス (Vincent Price), フランク・ラヴジョイ (Frank Lovejoy) and フィリス・カーク (Phyllis Kirk)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—are printed in bold black katakana, with the director and producer credited in blue and Warner Bros.’ Japanese distribution line in red at the foot.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cspan\u003eCultural context: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in Japan\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e opened in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e9 June 1953\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, placing its Japanese campaign firmly within the film’s original international release year. Released locally as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「肉の蝋人形」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it offered audiences both a macabre story and the attraction of a new way of seeing cinema. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis STB captures that moment with exceptional clarity. The enormous \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“3-D motion picture”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e headline takes precedence over the film’s own title, while the illustrated figure crossing the screen’s boundary explains the promised experience without requiring a word of technical description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe result is more than horror advertising. It is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea striking document of how cinematic innovation was presented to Japanese audiences\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e: monumental lettering, emphatic colour, sensational copy and an image designed to command attention at street distance. The poster makes the viewing experience itself the spectacle.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003ePrinting \u0026amp; format notes\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTwo original sheets form one continuous vertical composition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the central illustration carrying the eye from the upper panel into the auditorium and title below. Both sections are present, preserving the complete relationship between the oversized headline, screen-breaking figure and lower narrative imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod campaign details remain clearly legible:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the English \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWarnerColor \/ Natural Vision\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e device, Japanese cast and production credits, Warner Bros. shield and the full Japanese distributor line. No artist attribution is asserted.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster remains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eon its original paper and is not linen-backed\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Its thin paper stock, and small pinholes are part of the physical character of this surviving theatrical object.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExcellent condition for its age—an exceptionally well-preserved example of an early-1950s Japanese theatrical two-sheet.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea small tear repaired with archival tape on the verso\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etiny pinholes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Light age toning, and gentle handling creases are also visible, consistent with the poster’s age and format.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeyond these points, the presentation is exceptional. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eThe yellow dimensional lettering, red title, blue-grey background and central illustration retain tremendous visual impact\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while the smaller images and Japanese lettering remain clear and expressive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe modest repair and pinholes do not diminish the overall force of the design. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOnce professionally framed, this would make a museum-grade display piece and a commanding centrepiece for a high-grade horror collection.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Its appeal lies in the combination of extraordinary imagery and beautifully preserved original paper—not simply in rarity alone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePlease review the detailed images provided—these show the exact poster offered, including the reverse and repaired area.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAuthentication\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGuaranteed 100% original first-release Japanese STB. Certificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eWhy this example matters\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAn exceptional title-and-format pairing:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The first \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHouse of Wax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e STB we have ever encountered, with no matching example located in the public-sale records searched.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA complete, early two-sheet survivor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Both panels remain together, preserving a remarkably ambitious composition in excellent condition for its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOutstanding design, independent of rarity:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The projected yellow lettering, screen-breaking figure, auditorium montage and immense red Japanese title make this a visually arresting poster even before its scarcity is considered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCross-collectible significance:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Classic horror, Vincent Price, 3-D cinema, Warner Bros., Japanese graphic design and mid-century theatrical advertising converge in one towering object.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eCredits (for reference)\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eDirector \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAndré de Toth\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; Screenplay \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCrane Wilbur\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, from a story by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCharles Belden\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; Producer \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBryan Foy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; Cinematography \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBert Glennon and Peverell Marley\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; Music \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDavid Buttolph\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; Starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eVincent Price, Frank Lovejoy, Phyllis Kirk, Carolyn Jones and Paul Picerni\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCharles Buchinsky\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, later known as Charles Bronson. A \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWarner Bros. Pictures\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e production and release. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAbout STB (Tatekan) posters\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eSTBs, commonly known as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etatekans\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, are tall Japanese theatrical posters, typically constructed from two vertically arranged sheets measuring approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e51 × 145 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e overall. Associated with cinema signboard display, the format gives designers an unusually dramatic vertical space in which to combine monumental titles, illustration and photographic scenes.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example uses that space magnificently. Rather than treating the two panels as separate advertisements, the design creates one continuous movement from the dimensional headline to the figure escaping the screen and the horror imagery beneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFor this title, in this format, with this quality of preservation, it is an exceptional discovery.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIt is over 73 years old.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eIt is not a reproduction or a reprint.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57344265847162,"sku":null,"price":9750.0,"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_43_e100bead-c37f-4e78-9d15-4bca5c105f7c.jpg?v=1791087654","url":"https:\/\/japanposter.co.uk\/products\/house-of-wax-original-first-release-japanese-movie-poster-1953-ultra-rare-stb-tatekan-size-51x145cm-gallery","provider":"Japan Poster Shop","version":"1.0","type":"link"}