Although Arthur Morrison (1863-1945) was primarily a writer and novelist, his collection of Japanese art would go on to form one of the core collections of Japanese prints and paintings at the British Museum. This essay details his career as a writer and connoisseur of Japanese art.

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)

The subject of this essay is Basil William Robinson, who became an expert on Japanese swords and helped to inspire interest in the Japanese sword and associated art and crafts.

Carmen Blacker (1924-2009) became one of Britain's most original and perceptive scholars of Japan, and this account charts the development of her love for the country and the impact this had upon her choice and pursuit of a career in academia.

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 chapter details the life of Charles Wirgman (1835-1891) and his journalistic career in Japan, including as correspondant for the Illustrated London News and the founding of his satirical review the Japan Punch in Yokohoma. Wirgman was a key observer of the opening of the country, having arrived in 1861.

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 essay details the military career of Francis Festing (1912-76), along with his hobby as a connoisseur of Japanese swords and acts of reconcilliation.

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 essay provides an account of Japanese tattooists interactions with the British Royal Family during 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.

This essay recounts Marcus Bourne Huish's (1843-1921) important role in the development of Anglo-Japanese relations, especially through his efforts to introduce Japanese art to British people.

This portrait provides an account of the exchange of skills in the world of ceramics and pottery between Japan and Britain through Matsubayashi Tsurunosuke (1894-1932) and his visit to Britain from 1922-1924, as well as his wider introduction of Japanese culture to Britain.

A display at the Museum of the Imperial Collections (Tokyo) was about three Minton dessert stands (tableware and ceramics produced in Stoke-on-Trent, specific for their western-style 1870s-1880s designs) kept by the Meiji Emperor.

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 portait outlines the major figures of Japanese garden design in Britain, their separate contributions to the medium, and their impact upon the understanding of other aspects of Japanese culture in Britain. Includes thoughts from Eida Saburo, Suzuki Jiju, Honda Taki, and Kusumoto Seyemon.

A reassessment of the career of Sir Rutherford Alcock (1809-1897), the first British Minister to Japan from 1859-64.

This essay details Britain's changing attitudes towards Japanese Architecture between 1862 and 1919, including thoughts from Rutherford Alcock, James Jackson Jarves, E.W. Godwin, Josiah Conder, Christopher Dresser, Edward S. Morse, Charles Rennie Mackintosh and William Morris.

The Great Japan Exhibition (1981-82) opened many eyes to some of the great achievements of Japanese art and culture. This essay details what at the time was the most comprehensive exhibition ever devoted to its subject, even in Japan itself.

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.

This essay considers the friendship between Bernard Leach and Yanagi Sōetsu (1889-1961), as well as their relationship to the Minegi movement.

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.

Tomimoto Kenkichi (1886-1963) was one of Japan's leading artists of the twentieth century. This portrait examines both his skill with ceramics and friendship with the great British potter Bernard Leach.

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 makes the case for the influence of Japonisme in the writing career of Virginia Woolf (1892-1941).

Wells Coates (1895-1958) was an eminent figure in the British Modern Movement, and an avant-garde architect-designer who made frequent reference to his upbringing in Japan.

This portrait details William Anderson's (1842-1900) distinguished medical career in Japan and Britain, as well as his scholarly efforts as a collector and connoisseur of Japanese art.

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.