{"product_id":"pinocchio-ピノキオ-original-japanese-first-release-movie-poster-1952-ultra-rare-b2-size-51-5-72-8-cm-approx-51-73-cm-gallery","title":"“Pinocchio” (ピノキオ), Original Japanese First-Release Movie Poster 1952, Ultra Rare, B2 Size (51.5 × 72.8 cm \/ approx. 51 × 73 cm) - Gallery","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eA landmark \u003cstrong\u003e1952 Japanese first-release B2\u003c\/strong\u003e for Walt Disney’s \u003cem\u003ePinocchio\u003c\/em\u003e—the spectacular orange-red \u003cstrong\u003e“walking Pinocchio” character-montage design\u003c\/strong\u003e, distinct from the separately documented white-ground B2 also produced for the film’s original Japanese campaign.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProduced by Walt Disney Productions and originally premiered in New York on \u003cstrong\u003e7 February 1940\u003c\/strong\u003e, \u003cem\u003ePinocchio\u003c\/em\u003e was Disney’s \u003cstrong\u003esecond full-length animated feature\u003c\/strong\u003e, following \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e. The film did not receive its first Japanese theatrical release until \u003cstrong\u003e17 May 1952\u003c\/strong\u003e, when it was distributed by the Japanese branch of \u003cstrong\u003eRKO Radio Pictures\u003c\/strong\u003e, as confirmed both by Japanese film records and by the period distribution credit printed across the foot of this poster. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor collectors, this is a true \u003cstrong\u003epost-war Japanese Disney rarity\u003c\/strong\u003e. The design is dominated by an enormous full-length Pinocchio striding cheerfully towards the viewer, accompanied by \u003cstrong\u003eFigaro and Jiminy Cricket\u003c\/strong\u003e, while a remarkable gallery of the story’s principal characters crowds into the upper-left corner. A vivid coral, vermilion and orange ground is balanced against a cream title panel, monumental red \u003cstrong\u003eピノキオ\u003c\/strong\u003e typography, rich teal-blue accents and the unmistakable period \u003cstrong\u003eRKO Radio Pictures\u003c\/strong\u003e emblem.\u003c\/p\u003e\n\u003cp\u003eThe lower-right margin bears the original printer’s credit:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e大日本印刷株式会社印刷\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePrinted by Dai Nippon Printing Co., Ltd.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe survival of this large, commercially displayed paper sheet in \u003cstrong\u003eunrestored, unbacked and excellent condition\u003c\/strong\u003e is exceptional. The colours remain remarkably rich and the complete design—including the RKO emblem, Japanese distribution line and printer’s imprint—is fully preserved. In our experience, original 1952 Japanese \u003cem\u003ePinocchio\u003c\/em\u003e B2s are exceptionally difficult to source, and this vibrant character-montage variant is among the rarest early Disney posters we have handled.\u003c\/p\u003e\n\u003ch3\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003ePinocchio\u003c\/em\u003e was completed and first released in the United States in \u003cstrong\u003e1940\u003c\/strong\u003e, but the timing of the Second World War and the disruption of international film distribution meant that Japanese audiences had to wait more than twelve years for its official domestic release.\u003c\/p\u003e\n\u003cp\u003eAuthoritative Japanese film records give the first Japanese theatrical opening as:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e17 May 1952 — distributed by RKO’s Japanese branch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKinenote records the film as a colour, 35 mm production with an 88-minute running time, produced by Walt Disney and distributed in Japan by \u003cstrong\u003eRKO日本支社\u003c\/strong\u003e. The National Film Archive of Japan likewise catalogues \u003cem\u003ePinocchio\u003c\/em\u003e as a 1940 film with its Japanese release occurring in \u003cstrong\u003e1952\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe date is reinforced by the poster itself. Its footer reads:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e日本RKOラヂオ映画　配給\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe use of \u003cstrong\u003eラヂオ\u003c\/strong\u003e, an older Japanese rendering of “radio,” and the accompanying triangular RKO emblem are unmistakable period identifiers from the final years of Disney’s distribution relationship with RKO.\u003c\/p\u003e\n\u003cp\u003eThe poster’s principal promotional copy deliberately refers to Disney’s two major features already familiar to post-war Japanese audiences:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e「白雪姫」「バンビ」の感激も新たに\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis was historically precise marketing. The National Film Archive of Japan dates the first Japanese release of \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e to \u003cstrong\u003e1950\u003c\/strong\u003e, \u003cem\u003eBambi\u003c\/em\u003e to \u003cstrong\u003e1951\u003c\/strong\u003e, and \u003cem\u003ePinocchio\u003c\/em\u003e to \u003cstrong\u003e1952\u003c\/strong\u003e. The slogan therefore positioned \u003cem\u003ePinocchio\u003c\/em\u003e as the next major Disney event, promising Japanese audiences a renewal of the emotion generated by those earlier releases. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJapanese voice-cast histories place the first theatrical Japanese-language dub in \u003cstrong\u003e1959\u003c\/strong\u003e. The 1952 RKO engagement represented the earlier version of the film, generally documented as having been presented with the original soundtrack and Japanese subtitles. The present poster contains no 日本語版 or “Japanese-language version” notation, consistent with that chronology. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eThe Film \u0026amp; Its Place in Disney’s Legacy\u003c\/h3\u003e\n\u003cp\u003eBased on Carlo Collodi’s 19th-century story \u003cem\u003eThe Adventures of Pinocchio\u003c\/em\u003e, Disney’s film follows a wooden puppet brought to life by the Blue Fairy. Guided by Jiminy Cricket as his appointed conscience, Pinocchio must learn courage, honesty and selflessness before he can become a real boy.\u003c\/p\u003e\n\u003cp\u003eThe production was supervised by \u003cstrong\u003eBen Sharpsteen and Hamilton Luske\u003c\/strong\u003e, with individual sequences directed by Bill Roberts, Norman Ferguson, Jack Kinney, Wilfred Jackson and T. Hee. Its voice cast included \u003cstrong\u003eDickie Jones as Pinocchio\u003c\/strong\u003e, \u003cstrong\u003eCliff Edwards as Jiminy Cricket\u003c\/strong\u003e, Christian Rub as Geppetto and Evelyn Venable as the Blue Fairy. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIts institutional recognition is definitive:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAcademy Award — Music, Original Score:\u003c\/strong\u003e Leigh Harline, Paul J. Smith and Ned Washington\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAcademy Award — Music, Original Song:\u003c\/strong\u003e “When You Wish Upon a Star,” music by Leigh Harline and lyrics by Ned Washington\u003c\/li\u003e\n\u003cli\u003eSelected for the \u003cstrong\u003eUnited States National Film Registry in 1994\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eRanked \u003cstrong\u003eNo. 2\u003c\/strong\u003e on the American Film Institute’s list of the ten greatest American animated films, immediately after \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe two Academy Awards were especially significant: \u003cem\u003ePinocchio\u003c\/em\u003e became the first animated feature to win a competitive Oscar, receiving awards in both music categories. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“When You Wish Upon a Star,” performed in the film by Cliff Edwards as Jiminy Cricket, subsequently became inseparable from Disney’s public identity. Yet the film’s achievement extends far beyond its music. Its sophisticated character animation, multiplane camera work, effects animation, elaborate European-inspired backgrounds and shifts between warmth, comedy and genuine darkness established a technical and emotional benchmark for feature animation.\u003c\/p\u003e\n\u003cp\u003eFor Japanese collectors, this poster captures something particularly important: \u003cstrong\u003ethe precise moment at which one of Disney’s foundational masterpieces entered Japan’s theatrical culture\u003c\/strong\u003e. It is not a later revival, home-video promotion or commemorative reprint, but an original cinema advertising sheet created for audiences encountering the film nationally for the first time.\u003c\/p\u003e\n\u003ch3\u003eDesign Notes\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThe orange-red character-montage design:\u003c\/strong\u003e\u003cbr\u003eThis is a completely different composition from the white-ground, seated-Pinocchio B2 sometimes associated with the same 1952 Japanese campaign. Here, almost the entire sheet is flooded with graduating tones of coral, vermilion, salmon and warm orange. The unusually warm palette gives the poster an immediate visual intensity while allowing Pinocchio’s yellow hat, turquoise bow, green eyes and pink-red clothing to stand out with extraordinary clarity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA monumental, full-length Pinocchio:\u003c\/strong\u003e\u003cbr\u003ePinocchio advances diagonally across the sheet in a theatrical walking pose, his left foot enlarged by dramatic perspective and his gloved hand extending towards the title. This sense of forward movement makes the character appear to step out of the poster. His face is softly modelled with airbrush-like tonal transitions, subtle highlights and delicately blushed cheeks, contrasting with the stronger graphic outlines used elsewhere.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe cast assembled as a narrative chorus:\u003c\/strong\u003e\u003cbr\u003eThe upper-left corner contains a remarkable group of character portraits. The top-hatted fox is \u003cstrong\u003eHonest John\u003c\/strong\u003e, accompanied by his feline partner \u003cstrong\u003eGideon\u003c\/strong\u003e. Above and beside them appear the round-faced \u003cstrong\u003eCoachman\u003c\/strong\u003e, the heavily bearded puppeteer \u003cstrong\u003eStromboli\u003c\/strong\u003e, Pinocchio’s father \u003cstrong\u003eGeppetto\u003c\/strong\u003e, and the cigar-smoking \u003cstrong\u003eLampwick\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eRather than rendering these characters in the same fully modelled colour treatment as Pinocchio, the designer presents them primarily in orange and dark blue linework. The result is almost like a sequence of animation model drawings or dramatic memories emerging from the fiery background. Their expressions communicate the range of danger, humour, affection and temptation awaiting the central character.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJiminy Cricket and Figaro:\u003c\/strong\u003e\u003cbr\u003eAt lower right, \u003cstrong\u003eJiminy Cricket\u003c\/strong\u003e dances forward, raising his top hat in greeting. His compact black, red, yellow and turquoise figure provides an animated counterpoint to Pinocchio’s enormous stride. As the film’s narrator, moral guide and performer of “When You Wish Upon a Star,” his prominent inclusion carries significance far beyond that of a minor supporting character.\u003c\/p\u003e\n\u003cp\u003eAt lower left, \u003cstrong\u003eFigaro\u003c\/strong\u003e runs alongside Pinocchio, his black-and-white colouring producing one of the sharpest tonal contrasts in the design. Figaro’s playful pose helps soften the more threatening gallery of characters above and strengthens the poster’s appeal to family audiences.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilingual title architecture:\u003c\/strong\u003e\u003cbr\u003eThe upper-right cream cartouche contains the English wording \u003cstrong\u003e“Walt Disney’s Pinocchio”\u003c\/strong\u003e, framed by an irregular hand-drawn pink border. Within and beside it, the immense vertical Japanese title \u003cstrong\u003eピノキオ\u003c\/strong\u003e is rendered in brilliant red with dark offset shadows, giving the characters an almost sculptural dimension.\u003c\/p\u003e\n\u003cp\u003eThe English title establishes the internationally recognised Disney identity, while the oversized Japanese typography ensures immediate visibility from across a cinema lobby or street. The mixture of English lettering, katakana, traditional Japanese vertical copy and the American RKO emblem is a particularly strong example of early post-war cross-cultural graphic design.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeriod printing and colour:\u003c\/strong\u003e\u003cbr\u003eThe close photographs reveal the fine commercial print texture and controlled tonal screening associated with high-quality early-1950s colour poster production. The design combines areas of flat graphic colour with surprisingly subtle gradation in Pinocchio’s face, hat, bow, gloves and shoes.\u003c\/p\u003e\n\u003cp\u003eThe colour registration remains strong. The dark outlines around the figures are crisp, while the salmon, red, pink, yellow, turquoise, green and deep blue passages retain excellent separation. The paper is a relatively light, matte, uncoated stock, and the reverse exhibits pronounced but natural image show-through—an expected characteristic of this type of period theatrical sheet.\u003c\/p\u003e\n\u003ch3\u003eText Translations — Including the Small-Print Line\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eピノキオ\u003c\/strong\u003e — “Pinocchio”\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e長篇色彩絵物語\u003c\/strong\u003e — “Feature-length colour picture story” or “Feature-length colour illustrated story.”\u003cbr\u003eThis is a deliberately prestigious period expression. \u003cstrong\u003e長篇\u003c\/strong\u003e is the older written form of the modern \u003cstrong\u003e長編\u003c\/strong\u003e, while \u003cstrong\u003e絵物語\u003c\/strong\u003e evokes an illustrated or pictorial narrative rather than using the now-standard term “animated film.”\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eウォルト・ディズニー作品\u003c\/strong\u003e — “A Walt Disney production” \/ “A work by Walt Disney”\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e「白雪姫」「バンビ」の感激も新たに、映画史上燦として輝く不朽の名作!!\u003c\/strong\u003e —\u003cbr\u003e“Renewing the emotion of \u003cem\u003eSnow White\u003c\/em\u003e and \u003cem\u003eBambi\u003c\/em\u003e—an immortal masterpiece shining brilliantly in the history of cinema!!”\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e日本RKOラヂオ映画　配給\u003c\/strong\u003e — “Distributed by Japan RKO Radio Pictures”\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRKO RADIO PICTURES\u003c\/strong\u003e — The period RKO distributor’s emblem\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e大日本印刷株式会社印刷\u003c\/strong\u003e — “Printed by Dai Nippon Printing Co., Ltd.”\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe wording is important because it differs from the copy used on the separate white-ground first-release design. The present poster does \u003cstrong\u003enot\u003c\/strong\u003e carry the “overflowing poetry and joyful dreams” slogan associated with that variant; its own campaign copy specifically invokes the recent Japanese reception of \u003cem\u003eSnow White\u003c\/em\u003e and \u003cem\u003eBambi\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3\u003eDisney, RKO, and Japan’s Post-War Reception\u003c\/h3\u003e\n\u003cp\u003eThe RKO identity on this poster is more than a studio logo. It places the sheet within a finite and historically important period of Disney distribution.\u003c\/p\u003e\n\u003cp\u003eRKO Radio Pictures began distributing Disney’s feature films with \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e and handled such Golden Age productions as \u003cem\u003ePinocchio\u003c\/em\u003e, \u003cem\u003eFantasia\u003c\/em\u003e and \u003cem\u003eBambi\u003c\/em\u003e. Disney continued working through RKO into the early 1950s before forming its own distribution company, \u003cstrong\u003eBuena Vista\u003c\/strong\u003e, in 1953. The present poster therefore comes from the closing phase of Disney’s long RKO era. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn Japan, the immediate post-war years brought a concentrated sequence of Disney feature releases that had either been delayed or unavailable during the war. \u003cem\u003eSnow White\u003c\/em\u003e arrived in 1950, \u003cem\u003eBambi\u003c\/em\u003e in 1951, and \u003cem\u003ePinocchio\u003c\/em\u003e and \u003cem\u003eCinderella\u003c\/em\u003e in 1952. Japanese audiences were not simply seeing routine revivals; they were encountering films that had already transformed international animation but remained new to the domestic theatrical market. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe poster’s direct reference to \u003cem\u003eSnow White\u003c\/em\u003e and \u003cem\u003eBambi\u003c\/em\u003e reflects that chronology. It assumes that audiences remembered the emotional impact of those recent releases and presents \u003cem\u003ePinocchio\u003c\/em\u003e as another work of comparable stature—an “immortal masterpiece” already recognised as part of cinema history.\u003c\/p\u003e\n\u003cp\u003eThe institutional importance of the Japanese campaign is also documented. In 2025, the \u003cstrong\u003eNational Film Archive of Japan\u003c\/strong\u003e included a 1952 Japanese B2 for \u003cem\u003ePinocchio\u003c\/em\u003e in its exhibition \u003cem\u003eFilm History in Posters Part 5: Animated Films\u003c\/em\u003e. The exhibition traced the history of animation through approximately 130 posters and related objects, and the \u003cem\u003ePinocchio\u003c\/em\u003e sheet was listed as an item from the Archive’s own collection. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eCondition Report\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eOverall condition: Excellent for an original 1952 Japanese B2; unrestored, unbacked and without conventional fold lines.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the exact poster shown in the accompanying photographs. It remains on its original paper and has not been linen-backed or mounted onto a modern support.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColour and image:\u003c\/strong\u003e\u003cbr\u003eThe colours remain \u003cstrong\u003eexceptionally rich and vibrant\u003c\/strong\u003e. The coral-red upper field, warm orange lower ground, turquoise bow and hatband, pink title lettering, red Japanese typography and deep blue-black outlines retain excellent saturation and contrast.\u003c\/p\u003e\n\u003cp\u003ePinocchio’s facial tones remain especially attractive, preserving subtle gradations across his cheeks, nose, eyes and hair. Figaro’s black and cream colouring remains strong, while Jiminy Cricket’s red, yellow, blue-green and black costume is unusually fresh. There is no significant fading, large abrasion or distracting loss within the principal character artwork.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper and surface:\u003c\/strong\u003e\u003cbr\u003eThe poster is printed on a relatively light, matte paper stock. It displays \u003cstrong\u003efine, shallow age-related surface creasing and gentle cockling\u003c\/strong\u003e, most readily visible under raking light in the cream title panel and upper background. These are soft handling or storage undulations rather than hard theatrical fold lines and do not materially interrupt the printed image.\u003c\/p\u003e\n\u003cp\u003eThe reverse shows even, warm age-toning and clear natural show-through from the front printing. This transparency is consistent with the original sheet’s weight and ink coverage and should not be mistaken for staining or modern alteration.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdges and corners:\u003c\/strong\u003e\u003cbr\u003eThere are a few \u003cstrong\u003eminute edge nicks, tiny short edge splits and very small corner or margin punctures\u003c\/strong\u003e consistent with original cinema display and more than seventy years of storage. Minor wear is visible along portions of the top and side edges, together with a small notch or chip at the extreme lower-right edge near—but not affecting—the printer’s credit.\u003c\/p\u003e\n\u003cp\u003eThese imperfections are confined overwhelmingly to the perimeter and are unobtrusive when the poster is viewed as a whole. The Japanese title, English title, characters, RKO logo, distribution credit and Dai Nippon Printing imprint are all complete.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFolds and restoration:\u003c\/strong\u003e\u003cbr\u003eNo horizontal or vertical fold lines are visible. The poster appears to have been preserved rolled or flat rather than folded.\u003c\/p\u003e\n\u003cp\u003eThere is \u003cstrong\u003eno linen backing, no paper backing, no pressure-sensitive tape and no extensive restoration\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotographic note:\u003c\/strong\u003e\u003cbr\u003eThe circular objects visible around the perimeter in several photographs are removable magnets used to hold the poster safely for photography. They are not part of the poster and should not be confused with holes or repairs.\u003c\/p\u003e\n\u003cp\u003eConsidering the ephemeral working purpose of an early post-war cinema poster, its vulnerable unbacked paper and its age of more than seventy years, the preservation of this example is outstanding. It remains a \u003cstrong\u003ebright, complete and extremely impressive original first-release sheet\u003c\/strong\u003e, suitable for immediate archival framing behind UV-filtering acrylic.\u003c\/p\u003e\n\u003cp\u003eA genuinely exceptional opportunity to acquire an \u003cstrong\u003eultra-rare 1952 Japanese first-release Disney poster\u003c\/strong\u003e, combining one of animation’s foundational masterpieces, the historic RKO distribution identity, striking Japan-specific graphic design and an unusually complete, richly coloured state of preservation.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57221163581818,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-09-0102_45_48PM.jpg?v=1788299631","url":"https:\/\/japanposter.co.uk\/products\/pinocchio-%e3%83%94%e3%83%8e%e3%82%ad%e3%82%aa-original-japanese-first-release-movie-poster-1952-ultra-rare-b2-size-51-5-72-8-cm-approx-51-73-cm-gallery","provider":"Japan Poster Shop","version":"1.0","type":"link"}