Zsuzsa Gonda in her review of Crane’s visit to Hungary in 1900 says that it is one of the most extensively documented events in the artistic life of the country in that period. Despite Crane’s eminence in England, it does seem that he was more honoured abroad, which was flattering of course, and after being decorated by Victor Emmanuel III, he called himself Commendatore Crane at home.
The welcome extended to him in Hungary was not entirely personal, however: he was the representative of England, the bastion of liberty, the nation that sheltered Kossuth and took him to its heart. Crane the socialist could not fully understand why in Hungary the appreciation of traditional art marked one out as a nationalist.
Gonda’s article is principally about museum acquisitions of Crane’s work. The vase pictured above, with a design by Crane, was one of the items purchased by György Ráth, former director of the Museum Applied Art, from the 1900 exhibition. Crane very much appreciated the warmth of his reception and in his memoirs reproduced in full the address delivered to him by Gyula Wlasics, Hungarian minister of culture and religion; but he was disappointed by sales from the exhibition and was understandably annoyed that the magazine Új Idők did not pay a royalty for the reproduction of his Kalotaszeg drawings.