ACKNOWLEDGEMENT

A lot of people have helped and encouraged me in the preparation of this dissertation.
Among others, I am grateful to the following: my supervisor Gordon Lang, and Dr. Megan Aldrich of Sotheby's Institute; everybody in Japanese Department of Sotheby's, London, especially to Max Rutherston and Suzannah Yip; Greg Irvine of Far Eastern Department of Victoria & Albert Museum; Steve Holmes in Los Angeles; Karina H. Corrigan of Asian Export Art Department of Peabody and Essex Museum in Salem; Nico Veenman of Chinese en Japanse Kunst en Antiek in Amsterdam; Dr. Ann Friedman of Meadow Brook Hall in Rochester; Kiyoshi Yamanaka of Yamanaka & Co. in Osaka; Noboru Honma of the Honma Museum in Hakone; Masahiro Hirano of Yokohama Archives of History; Dr. Oliver Impey of Department of Eastern Art of Ashmolean Museum; Malcolm Fairley of Asian Art Gallery; the staff of Shreve, Crump & Low in Boston; Kazuko Koizumi, a scholar in Tokyo; my friends Masanori Tatsui, Katherina Rugamer, and Max Donnelly; and my mother.

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Contents
Chapter I - Introduction
Chapter II - Pre-Meiji Export Furniture
Chapter III - Social Context in the Meiji Era
Chapter IV - Meiji Export Furniture
Chapter V - Conclusions
Appendix - Footnotes
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