{"product_id":"roman-holiday-ローマの休日-original-japanese-first-release-movie-poster-1954-rare-illustrated-design-with-original-cinema-snipe-b2-size-c-51-73-cm-gallery","title":"“Roman Holiday” (ローマの休日), Original Japanese First-Release Movie Poster 1954, Rare Illustrated Design with Original Cinema Snipe, B2 Size (c. 51 × 73 cm) - Gallery","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003e“Roman Holiday” (ローマの休日), Original Japanese First-Release Movie Poster 1954, Illustrated Design with Attached Period Theatre Snipe\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese title: \u003cstrong\u003e「ローマの休日」\u003c\/strong\u003e (\u003cem\u003eRōma no Kyūjitsu\u003c\/em\u003e — “Roman Holiday”)\u003cbr\u003ePoster country \/ studio: \u003cstrong\u003eJapan \/ Paramount Pictures\u003c\/strong\u003e\u003cbr\u003eOriginal film: \u003cstrong\u003eUnited States, 1953\u003c\/strong\u003e\u003cbr\u003eJapanese first-release campaign: \u003cstrong\u003e1954\u003c\/strong\u003e\u003cbr\u003eDesign: \u003cstrong\u003eIllustrated first-release composition\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003eB2 main poster, with an additional theatre-advertising strip attached below\u003c\/strong\u003e\u003cbr\u003eMain poster size: Approximately \u003cstrong\u003e51.5 × 72.8 cm \/ 20.3 × 28.7 inches\u003c\/strong\u003e, excluding the snipe\u003cbr\u003eDirector and producer: \u003cstrong\u003eWilliam Wyler\u003c\/strong\u003e\u003cbr\u003eStarring: \u003cstrong\u003eAudrey Hepburn, Gregory Peck and Eddie Albert\u003c\/strong\u003e\u003cbr\u003eIndividual exhibition feature: \u003cstrong\u003eS.Y. 文化 cinema snipe, advertising a 22nd–31st engagement and Meiji Butter Caramel\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eOriginal cinema-displayed condition, with pronounced light fading, historical folds and handling wear; priced accordingly\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eWhy this is an important collector’s example\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA rare original Japanese first-release poster for \u003cem\u003e\u003cstrong\u003eRoman Holiday\u003c\/strong\u003e\u003c\/em\u003e, distinguished by its celebrated illustrated composition and the survival of an attached \u003cstrong\u003eperiod cinema-advertising snipe\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOf the two principal Japanese B2 designs produced for the first release, the illustrated version presented here is the particularly desirable collector’s composition. Its appeal is readily apparent: an expansive portrait of the film’s radiant leading lady, an elegant Roman architectural setting, a smaller romantic scene and beautifully integrated Japanese and English typography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis particular sheet offers something beyond the design alone. It was \u003cstrong\u003eactually displayed during its early theatrical life\u003c\/strong\u003e, and that use remains visible in its faded printing, folds and attached local advertising. It has not survived as a pristine, unused stock copy. Instead, it preserves the character of an advertisement that performed its original purpose.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe fading is substantial and has been taken fully into account in the price. Nevertheless, the essential image remains beautifully legible, and the theatre snipe gives the poster a distinctive historical identity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eIts attraction lies in the conjunction of a highly desirable first-release design and tangible evidence of its working life in a Japanese cinema.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eOriginal film and first Japanese release\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWilliam Wyler’s \u003cem\u003eRoman Holiday\u003c\/em\u003e was released in \u003cstrong\u003e1953\u003c\/strong\u003e, with its first Japanese theatrical release following in \u003cstrong\u003e1954\u003c\/strong\u003e. The distinction matters when cataloguing original Japanese publicity: this is a \u003cstrong\u003e1954 Japanese first-release poster for the 1953 film\u003c\/strong\u003e, rather than a Japanese poster printed in the American release year. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe sheet prominently retains the Paramount emblem and the Japanese promotional line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eパラマウント超特作\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“A Paramount prestige production.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWyler receives unusually conspicuous billing in blue:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e名匠ウィリアム ワイラー 製作監督\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Produced and directed by master filmmaker William Wyler.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe campaign therefore presents three attractions simultaneously: \u003cstrong\u003ea major Paramount production, an established director and an exciting new star\u003c\/strong\u003e. That last element is especially significant. This poster belongs to the moment when Audrey Hepburn was being introduced through the performance that established her international stardom—not to a later retrospective celebrating an already completed career.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe desirable illustrated design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition is dominated by a large, informal seated portrait, with the flowing folds of pale clothing extending almost the full height of the main sheet. Its scale is exceptional: rather than confining the star image to a framed head-and-shoulders portrait, the designer allows it to become the principal structure around which the other elements are arranged.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe expression is open and animated. Short hair, an unguarded smile and relaxed clothing create a sense of spontaneity quite different from conventional ceremonial glamour.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat informality is balanced by the small rectangular photographic scene at upper left. Here, a formal gathering, elaborate dress and an ordered assembly of attendants evoke the public world of royal obligation. The contrast is central to the poster’s interpretation of the film: \u003cstrong\u003eceremony in the inset, freedom in the dominant illustration\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt right, the romantic couple descend Rome’s grand stepped architecture beneath a twin-towered church. The staircase supplies depth and movement, while the figures’ joined hands establish the emotional subject with remarkable economy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe illustration thus brings together three aspects of the story: the princess’s public role, her private personality and the brief possibility of an ordinary romance. These are not presented as separate narrative summaries. They are woven into a single, generous composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the middle, the English title \u003cstrong\u003eRoman Holiday\u003c\/strong\u003e rises diagonally in gold-toned lettering with a dark shadow. Below it, the Japanese star billing leads into the enormous red title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eローマの休日\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe original red has softened unevenly through exposure, but the scale and outline of the lettering still anchor the lower composition. Green promotional text, blue production credits and the pale upper-right slogan provide additional layers of colour and visual rhythm. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAudrey Hepburn announced as a discovery\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOne of the most evocative features is the green Japanese introduction at upper left:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eハリウッド最大の発見といわれる\u003cbr\u003e清純の魅力もつ新星\u003cbr\u003eオードリイ・ヘップバーン\u003cbr\u003eの輝しきデビウ作品!!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA natural translation is:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“The brilliant debut of rising star Audrey Hepburn, whose fresh, innocent charm has been hailed as Hollywood’s greatest discovery!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is the language of contemporary discovery rather than retrospective admiration. The poster does not assume that everyone already knows Hepburn. It introduces her, explains her appeal and invites its audience to witness the arrival of a new star. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe “debut” wording should be understood as publicity for her breakthrough Hollywood starring role, rather than a literal assertion that she had never appeared on screen before. Paramount itself identifies \u003cem\u003eRoman Holiday\u003c\/em\u003e as her first starring role. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor a Hepburn collector, this is a particularly meaningful feature: \u003cstrong\u003ean original advertisement from the beginning of the phenomenon, still speaking in the language of introduction and anticipation\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe original cinema snipe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAttached beneath the main poster is a separate, full-width yellow advertising strip, commonly described by collectors as a \u003cstrong\u003esnipe\u003c\/strong\u003e: a supplementary piece of publicity added to give a general film poster information relevant to a particular engagement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example is unusually prominent. Its strong yellow ground, large blue cinema name, black date numerals and red confectionery advertisement create a second graphic composition beneath the film artwork.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe strip extends the object beyond its standard B2 proportions. \u003cstrong\u003eThe main film poster is B2-sized; the complete poster-and-snipe assembly is taller and requires additional framing space.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts printed content comprises three distinct elements.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「22日 ↓ 31日」 — “From the 22nd to the 31st”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt left, large black numerals are arranged vertically, joined by a downward blue arrow:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e22日\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e↓\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e31日\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis advertises an engagement running \u003cstrong\u003efrom the 22nd through the 31st\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eImportantly, \u003cstrong\u003eno month or year is printed on the snipe\u003c\/strong\u003e. These are the advertised local engagement dates, not a complete calendar date and not the date of the film’s national Japanese premiere. A particular month should therefore not be assigned to this strip without additional documentation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe principal blue lettering names the venue as:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eS.Y 文化\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRendered in English as \u003cstrong\u003e“S.Y. Bunka.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe sheer size of this lettering is telling. Paramount’s poster supplies the film, stars and imagery; the cinema’s addition tells the local audience \u003cstrong\u003ewhere and when to see it\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「明治バターキャラメル」 — “Meiji Butter Caramel”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlong the bottom, red lettering enclosed within an elongated, rounded border advertises:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e明治バターキャラメル\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Meiji Butter Caramel.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is a separate confectionery advertisement, not part of the film title or an admission price. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts survival places the poster within a wider commercial setting. The object advertises not only a Hollywood romance and its local screening, but also a familiar consumer product. International cinema, neighbourhood exhibition and everyday Japanese advertising occupy the same piece of paper. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA film poster with an individual exhibition history\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe snipe materially changes how this example can be appreciated.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWithout it, the sheet is an important first-release Japanese design. With it, the poster becomes an advertisement prepared for a particular audience and a particular run of performances.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt no longer speaks only in general terms about \u003cem\u003eRoman Holiday\u003c\/em\u003e. It tells someone to attend \u003cstrong\u003eS.Y. Bunka between the 22nd and the 31st\u003c\/strong\u003e, while a Meiji advertisement competes for a small share of their attention.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat specificity is what makes surviving cinema additions so engaging. A pristine stock copy preserves the design as supplied. This example preserves something of the way that design was adapted and encountered in use.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eIts historical interest does not make the fading disappear; it gives the surviving object a different collecting character.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor those who value exhibition history alongside artwork, the attached strip is not an inconvenient extra. It is an important part of the object.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe character of the light-faded image\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe main sheet has \u003cstrong\u003every noticeable colour fading associated with its history of display and light exposure\u003c\/strong\u003e. This is particularly apparent in the pale upper-right lettering, the pictorial background and the reduced strength of several printed colours.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe present appearance should not be mistaken for the design’s original colour intensity. The softened tones are the result of age and exposure, not a deliberately muted modern interpretation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eNevertheless, the illustration retains considerable beauty. The strong drawing, expressive central portrait, architectural detail and large title continue to organise the image effectively. Even where colour has weakened, the composition remains readable.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe yellow-and-blue snipe is comparatively forceful, producing a striking contrast with the more subdued main image. Together, they preserve two different visual registers: the faded romance of the film artwork and the direct, practical voice of the local advertisement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an example to appreciate \u003cstrong\u003efor its image, survival and history\u003c\/strong\u003e, rather than as an exercise in perfect colour preservation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe film: a day of freedom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDirected and produced by \u003cstrong\u003eWilliam Wyler\u003c\/strong\u003e, \u003cem\u003eRoman Holiday\u003c\/em\u003e stars \u003cstrong\u003eAudrey Hepburn\u003c\/strong\u003e as a young princess who escapes her tightly controlled official life to explore Rome. \u003cstrong\u003eGregory Peck\u003c\/strong\u003e plays the American reporter who recognises an opportunity for an exclusive story, while \u003cstrong\u003eEddie Albert\u003c\/strong\u003e supplies the photographer whose involvement complicates the adventure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhat begins as an encounter between concealed identity and journalistic ambition develops into a romance in which each participant must reconsider what matters. The film’s charm depends on the pleasures of temporary freedom, but its emotional weight comes from recognising that freedom cannot necessarily become a permanent arrangement. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster captures that balance particularly well. Its dominant image is youthful and immediate, while the courtly inset quietly reminds the viewer that another life remains waiting.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than advertising a grand, uninterrupted love affair, the composition offers the promise of an interval: a brief escape, a shared city and a memory that will outlast the day itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAudrey Hepburn and the film’s enduring legacy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eRoman Holiday\u003c\/em\u003e received \u003cstrong\u003eten Academy Award nominations and won three\u003c\/strong\u003e: \u003cstrong\u003eBest Actress for Audrey Hepburn\u003c\/strong\u003e, \u003cstrong\u003eCostume Design, Black-and-White, for Edith Head\u003c\/strong\u003e, and \u003cstrong\u003eMotion Picture Story\u003c\/strong\u003e, now officially credited to \u003cstrong\u003eDalton Trumbo\u003c\/strong\u003e. Wyler was nominated for directing, and the film was nominated for Best Motion Picture. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat recognition forms an important part of the poster’s appeal. This is original publicity for the performance that made Hepburn an Academy Award-winning leading actress, not merely an attractive image attached to a lesser-known title.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film also has an unusually durable Japanese exhibition history. Its original 1954 release was followed by repeated revivals, including anniversary restorations many decades later. The first-release poster therefore occupies the beginning of a long relationship between \u003cem\u003eRoman Holiday\u003c\/em\u003e and its Japanese audience. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors, the illustrated B2 combines that historical position with an image capable of standing independently as graphic art. It is recognisably a film advertisement, but also an accomplished romantic composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eRarity and collector significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis illustrated first-release design belongs among the most desirable Japanese posters associated with Audrey Hepburn.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts attraction is not limited to a single collecting category. It brings together \u003cstrong\u003eHepburn, Gregory Peck, William Wyler, classic Hollywood romance, Japanese illustrated publicity and the visual mythology of Rome\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe present example adds a further distinction through its surviving theatre snipe. Another copy of the underlying design would not necessarily retain the same cinema name, dates or confectionery advertisement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor the collector seeking an immaculate example, the fading will be an important consideration. For someone drawn to original objects with visible exhibition history, it offers a different opportunity: \u003cstrong\u003ea scarce, highly desirable design retaining the marks and additions of its original commercial life\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe asking price reflects that distinction. \u003cstrong\u003eIt has been priced as a visibly used and light-faded example, not as a pristine, unfaded copy.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eOriginal cinema-displayed condition, with pronounced light fading and historical wear.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe main poster retains its complete overall composition, including the dominant illustration, photographic inset, Roman architectural scene, Japanese and English titles, star billing and Paramount emblem.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe principal condition issue is \u003cstrong\u003esubstantial and uneven fading of the printed colours\u003c\/strong\u003e. Several areas have become noticeably pale, particularly the upper-right promotional wording and portions of the illustration. This is a significant condition characteristic and is fully reflected in the price.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse shows the fold structure, general paper ageing, incidental marks and the attachment area of the lower snipe. Both the front and reverse are shown in the accompanying photographs. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster survives \u003cstrong\u003eunbacked, with the separate cinema snipe still attached\u003c\/strong\u003e. It is not presented as an unused or near-mint example.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDespite the fading, the strong illustration and substantial surviving detail give it considerable display presence. Its worn appearance is visible and honestly represented, rather than concealed by selective photography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition has been taken into consideration when pricing. Please examine all photographs carefully, as they show the exact poster offered.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFraming and presentation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere are two possible approaches to presentation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDisplaying the \u003cstrong\u003ecomplete poster with its snipe visible\u003c\/strong\u003e preserves the full historical arrangement. The elongated format gives the yellow advertising strip room to function as part of the composition and keeps the cinema name, screening dates and Meiji advertisement on view.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor a more conventional B2 presentation, a conservation-minded framer may be able to \u003cstrong\u003eretain the attached snipe discreetly behind the main sheet\u003c\/strong\u003e, using the existing attachment or fold arrangement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA surviving \u003cstrong\u003eJapanese cinema-displayed example\u003c\/strong\u003e, retaining a period advertising extension naming \u003cstrong\u003eS.Y. Bunka\u003c\/strong\u003e and announcing an engagement from the \u003cstrong\u003e22nd to the 31st\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe original snipe is the most specific surviving evidence of its exhibition context. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eGuaranteed original; an authentic \u003cstrong\u003e1954 Japanese first-release B2 for William Wyler’s \u003cem\u003eRoman Holiday\u003c\/em\u003e\u003c\/strong\u003e, in the desirable illustrated design, with an attached period cinema-advertising snipe.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is \u003cstrong\u003enot a modern reproduction, commemorative print or later anniversary poster\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe main B2 and the supplementary theatre strip should be understood as separate components of one surviving exhibition object: \u003cstrong\u003eParamount’s film publicity above, locally specific screening and commercial information below\u003c\/strong\u003e.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA rare and deeply evocative first-release Japanese \u003cem\u003eRoman Holiday\u003c\/em\u003e: the desirable illustrated composition, a surviving local cinema snipe, and more than seven decades of visible history.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57288882684282,"sku":null,"price":2950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wwwwww.jpg?v=1789972785","url":"https:\/\/japanposter.co.uk\/products\/roman-holiday-%e3%83%ad%e3%83%bc%e3%83%9e%e3%81%ae%e4%bc%91%e6%97%a5-original-japanese-first-release-movie-poster-1954-rare-illustrated-design-with-original-cinema-snipe-b2-size-c-51-73-cm-gallery","provider":"Japan Poster Shop","version":"1.0","type":"link"}