The actors Otani Tomoemon II (right) and Arashi Kitsusaburo II as Miura Matazo

This 1825 Osaka kamigata-e [yakusha-e](/glossary/yakusha-e) by Gigadō Ashiyuki, held by the Art Institute of Chicago (accession 1925.3252) within the museum's Clarence Buckingham Collection, depicts the actors Ōtani Tomoemon II on the right and Arashi Kitsusaburō II as Miura Matazō. The double-portrait format places the two actors side by side in confrontation, each tightly framed in the vertical ōban format and each clearly identified by inscription, a documentary practice that anchored Osaka yakusha-e to the specific production captured in the design. Ōtani Tomoemon II was a touring Edo actor whose Osaka appearances gave Ashiyuki the chance to record cross-traffic between the two kabuki centers, while Arashi Kitsusaburō II was a leading Osaka tachiyaku building on the reputation of his father Kitsusaburō I. The print measures approximately 37.2 by 25.8 centimeters as a color woodblock print on paper, dimensions consistent with the standard ōban format Ashiyuki used throughout his career. The Art Institute of Chicago's Clarence Buckingham Collection is one of the major American holdings of Japanese woodblock prints, and the small cluster of Osaka kamigata-e within it provides a working sample of Bunsei-era yakusha-e alongside the better-known Edo materials. Ashiyuki's composition demonstrates the mature style he had developed by the mid-1820s: a confident half-length pairing, attention to facial expression as the carrier of character, and restrained color treatment in keeping with the Osaka preference for psychological intensity over Edo-style decorative spectacle.