• San'enzan Zōjō-ji Temple (<i>San'enzan Zōjō-ji zu</i> - 三園山増上寺図) from the series <i>The Eastern Capital</i> (Tōto - 東都)
  • Arashi Rikan II (嵐璃寛) as Kowari Dennai (小割伝内) / Miyamoto Musashi in the play 'Honobonoto Ura no Asagiri' (Daybreak hidden on the bay by morning fog) - [仏暁浦朝霧]
  • Li Kui, the Black Whirlwind, also called Iron Ox (Kokusenpū Riki - 黒旋風李逵), from the series <i>The Hundred and Eight Heroes of the Popular Suikoden</i> (<i>Tsūzoku Suikoden gōketsu hyakuhachinin no hitori</i> - 通俗水滸伝豪傑百八人之一個)
  • Kohina (小雛) of the Ōmiya (あみや) from the series <i>Votive Hand Towels</i> (<i>Hōnō tenugui</i> - 奉納手拭)
  • Nakamura Utaemon III (中村歌右衛門) as the fencing master Kyōguku no Takumi (京極内匠) in the play <i>Hikosan Gongen Chikai no Sukedachi</i> (彦山権現誓助剣) - from the series 'Hits of a Lifetime of Kyōgen' (<i>Issei ichidai atari kyōgen</i> - 一世一代当狂言)
  • At Hell Valley on Mount Tate in Etchū Province, Nikushi Dōjin demonstrates a battle of frogs and teaches magic to the two comrades Yoshikado and Iga Ju (<i>Etchū Tateyama no Jigokudani ni Nikushi Dōjin kawazu kassen no ki o arawashi Yoshikado Iga Ju no ryōyū</i>)
  • Arashi Rikan II (嵐璃寛) on the right as Hachiman Tarō (八幡太郎)  and Nakamura Utaemon III (中村歌右衛門) as Abe no Sadatō (安部貞任) in <i>Adachi Moor in Ōshū Province</i> - probably a <i>mitate</i>
  • Arashi Rikan II (嵐璃寛) as the <i>umakata</i> (packhorse driver - 馬方) Hachizō (八蔵) in the play <i>Keisei Somewake Tazuna</i> (けいせい染分總) or 'A Courtesan's Reins Dyed in Different Colors'
  • Riding in a covered pleasure boat on the First Day of the Cock (<i>Hatsutori no yanebune</i> - 初酉の屋根ふね) - from the series 浮世三奥

Welcome to The Lyon Collection!

Ukiyo-e Prints in the Mike Lyon Collection

Mike Lyon (artist b. 1951) was fortunate to have grown up familiar with Japanese prints. In his youth Lyon’s parents and grandparents displayed examples that certainly inspired his own artistic development. He began acquiring Japanese color woodcuts early in his career as an artist. The types of prints that feature most prominently among the many hundreds in Lyon's collection reflect the artist’s deep appreciation of the human figure and the expressive facial portrait. The vast majority of Japanese prints in the Lyon collection represent views of actors yakusha-e) and beautiful women (bijin-ga), and in particular the close-up, bust-length portraits of the same (okubi-e).

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