{"product_id":"on-her-majesty-s-secret-service-女王陛下の007-original-release-japanese-movie-poster-1969-james-bond-007-b2-size-51-73-cm-g174-copy","title":"“On Her Majesty’s Secret Service” \/ 「女王陛下の007」, Original First-Release Japanese Movie Poster 1969, Ultra Rare, STB Tatekan Size (51 × 145 cm) S85","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003e“On Her Majesty’s Secret Service” \/ 「女王陛下の007」, Original First-Release Japanese Movie Poster 1969, STB Tatekan Size (51 × 145 cm)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJapanese title:\u003c\/strong\u003e 「女王陛下の007」 (\u003cem\u003eJoō Heika no 007\u003c\/em\u003e)\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e \u003cstrong\u003eSTB \/ Tatekan \/ approx. 20 × 57 in (51 × 145 cm)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCountry \/ distributor:\u003c\/strong\u003e \u003cstrong\u003eJapan \/ United Artists\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction:\u003c\/strong\u003e \u003cstrong\u003eEon Productions\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDirector:\u003c\/strong\u003e \u003cstrong\u003ePeter R. Hunt\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eStarring:\u003c\/strong\u003e \u003cstrong\u003eGeorge Lazenby, Diana Rigg and Telly Savalas\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eArtwork:\u003c\/strong\u003e \u003cstrong\u003eRobert McGinnis and Frank McCarthy; specially reconfigured for the Japanese STB campaign\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFirst Japanese release:\u003c\/strong\u003e \u003cstrong\u003e13 December 1969\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e \u003cstrong\u003eVery Good+ to Excellent; original theatre-used example, unbacked\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy this is a holy grail\u003c\/strong\u003e\u003cbr\u003ePrinted for the \u003cstrong\u003eoriginal 1969 Japanese theatrical release\u003c\/strong\u003e of \u003cem\u003eOn Her Majesty’s Secret Service\u003c\/em\u003e, this extraordinary STB \/ tatekan is one of the rarest large-format Japanese posters produced for the classic Bond series. The corresponding first-release Japanese B2 is already a highly desirable piece of 1960s Bond paper; the almost five-foot-tall STB belongs to a substantially rarer category.\u003c\/p\u003e\n\u003cp\u003eSTBs were produced in far smaller quantities than standard B2 posters and intended for prominent cinema use on tall standing boards. Their very purpose worked against their survival: the two sections were normally joined and pasted directly to rigid displays, exposed to repeated handling and ultimately discarded after the theatrical engagement. \u003cstrong\u003eComplete, original, cinema-used examples for major 1960s Bond titles are exceptionally difficult to find.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis particular design is especially desirable because it is \u003cstrong\u003eunique to the Japanese release in this configuration\u003c\/strong\u003e, ingeniously combining the celebrated painted artwork of \u003cstrong\u003eRobert McGinnis and Frank McCarthy\u003c\/strong\u003e with Japanese typography and an additional photographic montage running across the lower part of the poster. It takes one of the great pieces of Bond campaign artwork and transforms it into a towering vertical action composition designed specifically for the Japanese cinema.\u003c\/p\u003e\n\u003cp\u003eFor collectors of original James Bond material, the combination is formidable: \u003cstrong\u003ea first-release 1960s Bond, George Lazenby’s only appearance as 007, Diana Rigg as Tracy, one of the series’ most acclaimed films, McGinnis\/McCarthy artwork, a Japan-specific design and the ultra-rare STB format.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign highlights\u003c\/strong\u003e\u003cbr\u003eThe STB’s near five-foot height is exploited brilliantly. At the top, \u003cstrong\u003eGeorge Lazenby’s James Bond skis directly towards the viewer in black evening dress\u003c\/strong\u003e, pistol raised, alongside \u003cstrong\u003eDiana Rigg’s Tracy in a deep violet ski outfit\u003c\/strong\u003e. These elegant central figures, painted by Robert McGinnis, are superimposed over Frank McCarthy’s spectacular Alpine action artwork, creating one of the most kinetic images in the entire Bond poster canon.\u003c\/p\u003e\n\u003cp\u003eBelow them, the composition appears almost to collapse down the mountain. \u003cstrong\u003eAvalanches of snow, pursuing skiers, helicopters, gunfire, explosions and the bobsleigh action\u003c\/strong\u003e cascade diagonally through the centre of the poster. McCarthy’s extraordinary ability to convey speed and physical danger is particularly effective at this scale: instead of reading as a conventional rectangular poster, the STB feels like one uninterrupted descent through the film’s Swiss action sequences.\u003c\/p\u003e\n\u003cp\u003eThe artwork also records how central skiing was to the marketing of \u003cem\u003eOn Her Majesty’s Secret Service\u003c\/em\u003e. The Japanese promotional copy announces an escape \u003cstrong\u003efrom the summit of the Swiss Alps on skis\u003c\/strong\u003e, followed by a pursuit across Europe in the new Aston Martin. The imagery then delivers exactly that promise, turning the entire poster into a celebration of Bond spectacle, machinery and Alpine danger.\u003c\/p\u003e\n\u003cp\u003eJapanese graphic design gives the international artwork a completely different character. At upper right, vivid red vertical typography announces the \u003cstrong\u003esixth entry in the 007 series\u003c\/strong\u003e and promotes it as offering the series’ greatest entertainment and biggest scale. On the opposite side, teal Japanese typography creates a visual counterweight to the figures. The expanses of cream surrounding the upper artwork allow the colours and painted figures to remain unusually bold and modern.\u003c\/p\u003e\n\u003cp\u003eThe lower half is anchored by the enormous vermilion title \u003cstrong\u003e「女王陛下の007」\u003c\/strong\u003e, with the oversized \u003cstrong\u003e007 numerals\u003c\/strong\u003e dominating the width of the sheet. The comparatively restrained \u003cstrong\u003e「テクニカラー／パナビジョン」\u003c\/strong\u003e notation sits within the numerals, while the English \u003cem\u003eJAMES BOND 007 \/ ON HER MAJESTY’S SECRET SERVICE\u003c\/em\u003e logo appears below.\u003c\/p\u003e\n\u003cp\u003eThe final section shifts from illustration into \u003cstrong\u003ephotographic montage\u003c\/strong\u003e, incorporating imagery from the film’s destructive winter motor chase and its principal characters. This mixture of painting, photography and enormous Japanese lettering is characteristic of the best Japanese poster design of the period, but the scale of the STB makes the effect particularly dramatic.\u003c\/p\u003e\n\u003cp\u003eThe result is far more than an enlarged B2. It is a \u003cstrong\u003epurpose-built Japanese composition\u003c\/strong\u003e, nearly five feet tall, in which typography, character artwork and action are orchestrated vertically. Once framed, it makes an extraordinary centrepiece.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCultural impact\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOn Her Majesty’s Secret Service\u003c\/em\u003e occupies a unique position within James Bond history. It was the \u003cstrong\u003esixth Eon Productions Bond film\u003c\/strong\u003e and the first following Sean Connery’s initial departure from the role. Australian model George Lazenby, despite having virtually no acting experience, was selected as the new James Bond and would ultimately play the character only once, making original campaign material from the film inseparable from one of the franchise’s most fascinating transitions.\u003c\/p\u003e\n\u003cp\u003eOpposite him was \u003cstrong\u003eDiana Rigg\u003c\/strong\u003e, already internationally famous as Emma Peel in \u003cem\u003eThe Avengers\u003c\/em\u003e. Her Contessa Teresa “Tracy” di Vicenzo is one of the series’ most important female characters: intelligent, independent and ultimately the woman \u003cstrong\u003eJames Bond marries\u003c\/strong\u003e. Their relationship gives the film an emotional seriousness almost unprecedented in the early series, culminating in one of Bond cinema’s most famous and tragic endings.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTelly Savalas\u003c\/strong\u003e plays Ernst Stavro Blofeld, operating from the spectacular mountaintop Piz Gloria complex in Switzerland and threatening the world through biological warfare. The setting gave director \u003cstrong\u003ePeter R. Hunt\u003c\/strong\u003e the opportunity to stage some of the series’ most ambitious Alpine action: high-speed skiing, avalanches, cable cars, helicopters, winter motor racing and the climactic bobsleigh pursuit.\u003c\/p\u003e\n\u003cp\u003eHunt himself was central to the development of the Bond cinematic style. Having worked extensively on the earlier films as an editor and subsequently as an action \/ second-unit filmmaker, \u003cstrong\u003eOHMSS marked his sole Bond feature as director\u003c\/strong\u003e. His unusually fast cutting, physical action and more emotionally grounded approach give the film a character distinct from both the Connery films that preceded it and the Roger Moore era that followed.\u003c\/p\u003e\n\u003cp\u003eThe film also contains one of \u003cstrong\u003eJohn Barry’s most acclaimed Bond scores\u003c\/strong\u003e, including the propulsive instrumental \u003cem\u003eOn Her Majesty’s Secret Service\u003c\/em\u003e theme and \u003cstrong\u003eLouis Armstrong’s “We Have All the Time in the World,”\u003c\/strong\u003e whose melody becomes inseparable from Bond and Tracy’s relationship. Armstrong is prominently credited on the Japanese poster itself, demonstrating the importance of the song to the contemporary campaign.\u003c\/p\u003e\n\u003cp\u003eInitially overshadowed in popular memory by Connery’s Bond films, \u003cem\u003eOn Her Majesty’s Secret Service\u003c\/em\u003e has undergone an extraordinary reassessment. It is now \u003cstrong\u003ewidely regarded by Bond enthusiasts and many critics as one of the finest films in the entire series\u003c\/strong\u003e, praised particularly for its Alpine photography, action filmmaking, Fleming-faithful story and emotional depth. That reassessment has naturally increased interest in original first-release material—especially exceptional international formats such as this Japanese STB.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eVery Good+ to Excellent.\u003c\/strong\u003e This is an authentic \u003cstrong\u003etheatre-used example\u003c\/strong\u003e, and it retains remarkably strong visual presentation for a large-format Japanese cinema poster from 1969.\u003c\/p\u003e\n\u003cp\u003eThe colours remain exceptionally vibrant and well saturated. The \u003cstrong\u003edeep blues and greens of the Alpine sequences, brilliant white snow, violet of Tracy’s ski outfit and powerful red Japanese typography\u003c\/strong\u003e remain fresh, with no significant fading apparent. Viewed as a complete poster, it presents extremely well.\u003c\/p\u003e\n\u003cp\u003eAs expected from an STB that was actually used for theatrical display, there is \u003cstrong\u003esome minor localized paper loss, small tears, tiny pinholes \/ mounting points, edge wear and handling creasing\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp\u003eThe poster was manufactured in \u003cstrong\u003etwo separate sections\u003c\/strong\u003e, which are joined across the horizontal overlap as intended. Some light wear is visible around the joining area, entirely consistent with the way STB posters were originally assembled for display.\u003c\/p\u003e\n\u003cp\u003eImportantly, these defects are \u003cstrong\u003elocalized rather than visually dominant\u003c\/strong\u003e. There is no major loss to the principal portraits, title or overall composition, and the strength of the colour means that the poster remains exceptionally impressive when viewed normally.\u003c\/p\u003e\n\u003cp\u003eThe reverse shows light age toning, handling marks and \u003cstrong\u003eperiod handwritten Japanese notation\u003c\/strong\u003e, consistent with the poster having passed through a working cinema \/ theatrical distribution environment. Rather than detracting from the object, this surviving operational evidence forms part of its history as an original 1969 advertising piece.\u003c\/p\u003e\n\u003cp\u003eThe poster remains \u003cstrong\u003eunbacked and in its original theatre-used state\u003c\/strong\u003e. Given the rarity of complete STBs for important Bond titles, its survival in this condition is significant. We have, however, \u003cstrong\u003efully taken the minor paper loss, tears, pinholes and other evidence of previous display into account when pricing this example\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePlease review the photographs carefully, as they show the exact poster offered for sale.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eGuaranteed original; first-release Japanese STB \/ tatekan produced for the film’s 1969 Japanese theatrical release. Not a reproduction or later reissue.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod identifiers include the original \u003cstrong\u003eUnited Artists markings, Japanese first-release typography and credits, Technicolor \/ Panavision notation, McGinnis and McCarthy campaign artwork\u003c\/strong\u003e, two-section STB construction and contemporary cinema-use characteristics.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout STB (Tatekan) posters\u003c\/strong\u003e\u003cbr\u003eJapanese STB \/ tatekan posters were large \u003cstrong\u003estanding-board theatrical advertisements\u003c\/strong\u003e, normally produced as two separate sheets designed to be joined vertically. A completed example measures approximately \u003cstrong\u003e51 × 145 cm—around 20 × 57 inches—almost five feet tall and essentially equivalent to two Japanese B2 posters placed one above the other.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThey were intended for major promotional positions outside cinemas and in entrance halls rather than for distribution to the public. Only a limited number were required for each theatre, meaning \u003cstrong\u003eprint runs were substantially smaller than for ordinary B2 posters\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eTheir survival rate is lower still. STBs were routinely pasted onto wooden or board supports and frequently damaged during installation or removal. Once a film completed its engagement, the advertisements had little practical value and were normally discarded. Consequently, surviving examples often show considerable adhesive damage, paper loss, trimming or heavy restoration, while some titles simply do not appear on the market for years.\u003c\/p\u003e\n\u003cp\u003eFor important 1960s Bond films, this disparity becomes especially pronounced. \u003cstrong\u003eA Japanese first-release B2 is rare; a complete first-release STB is substantially rarer.\u003c\/strong\u003e A theatre-used example such as this retains the physical evidence of exactly what these posters were created to do: advertise James Bond on an enormous scale at a Japanese cinema in 1969.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn exceptionally rare, spectacular piece of original James Bond history and one of the great Japanese large-format poster designs of the 1960s.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57244935192954,"sku":null,"price":1750.0,"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_46.jpg?v=1788854095","url":"https:\/\/japanposter.co.uk\/products\/on-her-majesty-s-secret-service-%e5%a5%b3%e7%8e%8b%e9%99%9b%e4%b8%8b%e3%81%ae007-original-release-japanese-movie-poster-1969-james-bond-007-b2-size-51-73-cm-g174-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}