1901–1910 With this appreciation of Japan came an influx of interest also in the appreciation of Japanese Garden design. The first acclaimed Japanese garden is often cited as having popularised the style was Leopold de Rothschild Japanese bamboo garden opened at Gunnersby Estate in West London in 1901. In 1903 Reginald Farrer popularised the rock gardening style affiliated by English gardeners with Zen gardens further in his writings. In 1908 this was furthered by the Scottish design proffered by Taki Handa. The Japanese garden at Tatton Park is an example of Anglo-Japanese gardening style. Common elements include 'stone lanterns, the use of large rocks and pebbles, stone bowls of water, and decorative shrubs and flowers like acers, azaleas and lilies' and 'red painted bridges'. The 1910 Floating Isle Garden particularly reinforced these elements in the style. Although elements of traditional Japanese garden design was incorporated, many English garden elements flowed into the overall appearance as well. By 1910 the Japanese garden had become a popular fixture such as at Hascombe Court by Percy Cane and Christopher Tunnard. Bilateral Artisanal Exchange; 1901–1923 The 1902 Japanese Whitechapel Exhibition was favourably reviewed by Charles Lewis Hind, however Laurence Binyon noted the exhibition was lacking and that 'some day a loan exhibition may be formed which shall at least adumbrate the range and history of that [Japanese] art'. Charles Ricketts and Charles Haslewood Shannon donate their Japanese collection of Harunobu, Utagawa and Hokusai woodblock prints to the British Museum in this period. The Burlington Magazine was established in 1903 and with Charles Holmes editing the magazine, a number of articles on Japanese art were being published in the periodical, as well as in English Illustrated Magazine in 1904. In 1905, Kokka began to be published in English. In 1906, Sidney Sime produced a number of illustrated works for Edward Plunkett, 18th Baron of Dunsany the Time and the Gods (1906). Dunsany was familiar with Japanese theatre and introduced Sime to a number of the conventions, which can be seen evident particularly in these illustrations, such as the stooping postures and placement of figures, and fore and backgrounds application of stippling combined with wave forms commonly seen in 19th century Japanese kimono for example. Eric Slater, taught by Fletcher and inspired by Arthur Rigden Read began to make Japanese woodcut prints as well. In particular, painting and illustration were further elaborated on at this time.