In this paper, the value of newspaper serial novel's illustrations as a source of data in an image database of fashion, dress, and behavior from 1868 to 1945 in Japan is discussed. First, the positioning of illustrators and the new technology of this time as a precondition for the evaluation are described. After 1900, European-style painters entered a world of illustrations occupied by Japanese-style painters. Moreover, new technology such as phototype process was added. All these contributed to changes to illustrations from around the turn of the century. Illustrations, which previously had only been drawn in the Japanese style, became more naturalistic, with shadows included, for example. The heroine of those novels was also released from the Ukiyo-e style, being depicted with much greater expression and in a more realistic fashion. Such illustrations, with high historical credibility, are essential to this database, and make up about 40% of the total images.

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In recent years, the linking of museum, library and archive data over computer networks has come under dispute. However the linking of such data is essential for the integration of catalog data in existing facilities. In order to do this it is necessary to understand the history of catalog format. Following the Meiji era, museums in particular have developed their own unique cataloging format under the influence of Europe and the US. For this reason, this study places a particular focus on expositions and project accomplished by Ryuichi Kuki in the Imperial museum to illustrate the history of catalog format of pre-war museums and prospect informanization of cultural resources in the future.

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The purpose of this paper is to deal with Yamanaka and Company, London branch as a case study, and to bring to light oriental art collections by the Victoria and Albert Museum. In this research, I investigated 'Yamanaka and Company, Registered File' collected by the V&A Archive minutely. This file consists of the correspondence between the V&A and the company's London branch from 1910 till 1932. This paper offers the key to an understanding how oriental art collections have been built up in public spaces such as museums, and points out the significance of archival documents for art research.

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