This essay compares and contrasts the parallel careers of two of the Victorian era's most influential collectors of Japanese art, Augustus Wollaston Franks (1826-97) and James Lord Bowes (1834-1899)

This essay offer an account of Charles Holme's (1848-1923) career as an art collecter and connoisseur of Japanese art, as well as his founding of The Studio - the first international arts magazine.

This portrait provides an account of the life of Ernest Hart (1835-1898), an ophthalmic surgeon, medical journalist, and avid connoisseur of Japanese art.

This portrait of Frank Brangwyn (1867-1956) details his artistic career and interactions with the Japan Society as well as Japanese art and culture as a whole.

George Henry (1854-1934) and E.A. Hornel (1864-1933) developed a deep appreciation for Japanese art and were heavily involved in its promotion within European artistic circles. This portrait provides an account of their careers within the context of Scotland's involvement in the modernisation of Japan.

This portrait assesses the success of the Japan-British Exhibition of 1910 from the perspective of the Japanese organizers.

Japanese art became fashionable in Britain in the second part of the 19th century, when Japanese native art dealers started to arrive in London. This chapter tells the story of these art dealers, mainly concentrating on the life of Katō Shōzō (1863-1930) and Tomita Kumasaku (1872-1953). 

Though he was initially an isolationist, the great artist Kawanabe Kyōsai (1832-89) had many dealings with Europeans such as Josiah Conder, and his work was much appreciated by British connoisseurs of Japanese art. This essay charts his life and tutelage of British artists in the Meiji period.

Lasenby Liberty (1843-1917) presided over his company at a time when Japanese luxury goods were hugely popular in Britain. This essay considers Liberty in relation to japonsime, as well as his visits to Japan to oversee business.

Matsukata Kōjirō (1865-1950) was a successful and innovative industrialist, but this portrait details his time in London, his career as an art collector and the establishment of the first museum of Western art in Japan.

Mortimer Menpes (1835-1938) was fully immersed in fin de siècle Japonisme and travelled to Japan twice. This portrait examines the influence of Japan on his artistic career.

Peter Swan went to Japan in 1953 to study Chinese painting, and during his time there covered many facets of Japanese art. Here he gives an account of his visit.

This volume was published on the occasion of the centenary of the Japan Society, and in this chapter Sir Hugh Cortazzi chronicles its hundred year history, from its founding at the 1891 Congress of Orientalists, via the two world wars and a number of royal visits, through to the 1991 Japan Festival and an assessment of the Society's then challenging state of affairs.

Sir Merton (1835-1921) and Lady Russell-Cotes (1835-1920) were passionate about Japan, bringing over a hundred cases of souvenirs back to England following their first visit to the country. This essay details their passion as it manifested itself in collecting Japanese objects and promoting Japanese culture.

This essay details Urushiba Mokuchū's (1889-1953) life and career in Britain as a print artist, including his close collaboration with Frank Brangwyn.

This essay analyses and details the significance and extent of the Sutherland collection of Japanese lacquer art.

Although Yamanaka and Company, run by Yamanaka Sadajirō (1866-1936), was only active in London for half a century, it served as a bridge between Japan and British communities, and contributed to the collecting and study of Japanese art in Britan.