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Approx.1,880.34USD (This reference price on May 14, 2026 was 1yen = 0.0063$. The price varies depending on the exchange rate.)
In the event of delivery overseas, all shipping and handling fees will be paid by Shueisha. However, duty charges, taxes, and customs fees are to be paid by the customer. You will be asked to pay all such fees in entirety to the courier company when receiving your delivery. Please be aware of this cost when applying for the lottery. Click here for details.
For deliveries within Japan, the displayed total amount includes consumption tax. Both shipping and handling fees will be paid by Shueisha.
*Please refer to the Guide to learn about the entire process.
*Color renderings vary depending on digital devices and their settings. Please note that the color of the artworks may appear different on your screen when compared to the actual work.
*The box and certificate of sale are in the process of being calibrated. They may be subject to change.
PICK UP YOUR SPEED
A duck boat races across the water, kicking up huge sprays of water.
To be precise, you might say it’s a boat that’s attached to a duck.
A yellow belt straps the duck to the hull, but in the back, we also see what appears to be a rocket nozzle.
Seated on a purple saddle, Luffy wraps his left arm tightly around the duck’s neck.
Behind him, we see his fellow crew members, as well as a turtle and its child swimming alongside the boat.
Zoro enjoys the pleasant breeze, while Chopper looks concerned about the baby turtle on the hull. Usopp is having a blast with his hands in the air, and Nami is feeding one baby turtle what appears to be a piece of candy.
Franky has his arms wrapped around Brook and Robin as the wind blows directly in his face.
Gripping the helm at the center of the boat is Sanji, the only one leaning forward.
Does the rudder work on this boat, or is the duck making all the decisions?
This exhilarating summer illustration is vibrant and full of dynamism.
・The work is made up of a set of 2prints
・Signature on prints (seal)
In 1992, Oda received the Weekly Shonen Jump Tezuka Award for Wanted! Serialization of ONE PIECE began five years later in 1997. In the same year, the first tankobon (individual) volume of the series was released. In 1999, the title was made into an animated series. The first ONE PIECE exhibition was held in 2012.
In 1992, Oda received the 2nd place prize in the 44th Tezuka Award for Wanted! (under the pseudonym "Tsuki Himizu Kikondo"). In 1993, Oda was selected for the 104th Hop Step Award for Ikki Yako. In 2006, ONE PIECE chosen in the Japanese Media Arts Festival 100 Manga Selection. In 2012, Oda received first prize in the 41st Japan Cartoonists Association Award for ONE PIECE. In 2018, Oda received the Kumamoto Prefecture Honorary Award.
The magazine carrying the series was Weekly Shonen Jump, The year the series started was 1997. A heroic pirate adventure story revolving around a treasure known as "One Piece." In this adventure, Monkey D. Luffy sets out to become the King of the Pirates. The work was made into an animated television series in 1999. On June 15, 2015, One Piece attained the Guinness World Record for most copies published for the same comic book series by a single author. The total worldwide circulation exceeds 500 million copies as of August 2022.
アーカイヴァル インクジェット プリント
Shueisha Manga-Art Heritage has entered into a business partnership with Epson, entrusting them with color management support and printing. The pigment inks used in the company’s inkjet printers are lightfast, preserving the original colors even under lighting that would cause the dye-based color inks used in the original artwork to fade.
Inkjet printing is a printing technology in which minute ink particles are ejected directly onto media such as paper and fixed in place. There are two main methods of carrying out this process: the thermal method and the piezo method. In the thermal method, ink is heated to create bubbles, which are then used to eject the ink. In the piezo method, ink is ejected by the force of a piezoelectric element, a material that deforms when a voltage is applied. Epson has adopted and further developed the piezoelectric method, establishing it as its proprietary Micro Piezo technology.
One of the advantages of the piezo method is its greater compatibility with a wide range of ink compositions. Since the ink is not heated, the method can accommodate components that are resistant to boiling, including oil-based pigments. For this reason, Epson has sought to develop prints that are more lightfast and weather-resistant. In particular, prints made with pigment inks are excellent for preservation.
*Please note that we cannot guarantee light resistance under strong ultraviolet rays or durability in environments with high temperature and humidity. We recommend using an acrylic frame with UV protection for display purposes.
On the other hand, original manga artwork is highly prone to fading, especially when it comes to color illustrations created using dye-based markers. Illustrations created for the covers of manga magazines, frontispieces, and comic book covers were not originally intended to be displayed or appreciated as works of art. They were designed to be printed and viewed by readers in magazines and comic books. Illustrations were often colored over copied line art, and in some cases, the characters and backgrounds were cut out and pasted in separately. To transform such illustrations into manga-art, they need to be retouched, such as by correcting discolored areas.
Since 2008, Shueisha has been working to digitally archive manga. Initially, we captured color originals using the EverSmart Supreme II, a high-precision scanner, and in 2015, we began using the Phase One IQ180, a high-resolution digital camera. Since 2020, we have been using Phase One iXH, Cultural Heritage series. This has allowed us to capture and preserve colors beyond the reproducible range of commercial printing, while also retaining the texture of the paper on which the illustrations were created.
Using this digitally archived data and imaging equipment, we retouch the artwork, restoring the original colors as they were when the illustrations were created. To produce the final print, color is carefully managed at each stage, from the original artwork to the captured data and printing.
For illustrations that were created digitally, we perform color management and printing in the wider-gamut Adobe RGB color space, instead of the sRGB space typically used in commercial printing, resulting in deeper and more vibrant colors.
