Imre Jakabffy (szerk.): Ars Decorativa 1. (Budapest, 1973)
KOÓS, Judith: Walter Crane and Hungary
applied art, too, were displayed, thus, for example "dishes with red, blue and yellow metallic lustre, made on basis of the artist's designs by Maw & Co. Benthall Works, Jackfield R. S." as well as a "copper plate with beaten adornment" by which the following remark can be found: "made by the artist himself". Among the objects on view, those being in connection with the English Labour Movement and the socialistic ideas may have attracted special attention. Such were, e.g. No. 256. "First of May" lead drawing; No. 301. "The Triumph of Labour" original drawing, 4,800 crowns; Nos. 313—4. Details of a frieze: "Railwaymen" 2 pes, 120 crowns each; No. 400. "First of May" original lead drawings, 47 pes, 120 crowns each, altogether 6,000 crowns; No. 483. drawing made for the "Cause" (socialism). Under No. 488 and No. 490 the words "see No. 483" can be read, so here, too, drawings on the above topic were exhibited. Some outstanding artists of the Pre-Raphaelite circle were also represented at the exhibition. Works made following the désignes of William Morris and Burne Jones, too, were on the display under Nos. 220—25, titled "Embroideries", in the execution of William Morris's wife. , The attention is drawn to the detail of a frieze exhibited under the No. 308, by its peculiar subject: "Electricity Unites the Five Continents" ; coloured pastell, 600 crowns. The emblem of the English Art Workers' Guild could be seen under No. 328. Several pieces cast light on the fact that, besides the tasks of major importance, Walter Crane undertook the timely artistic commissions, touching upon the daily life, too. Such works are e.g. the design of the tickets issued on the occasion of Queen Victoria's diamond jubilee, No. 465, or the advertisement of the "Sun" life insurance company, just like the sketch of the poster for the Covent Garden Concert, No. 481, water-colour, 48 crowns. It is clear from the aboves that Crane followed all the artistic and social events of his age with attention, and his artistic designs, prepared on the most different occassions, represented the early types of high-level applied graphics. There were on view a lot of Christmas cards (No. 552—5) as well as the portrait of the artist's sister Lucy Crane (No. 539). For us, in addition to all these, the works that can be found in the collection of the Museum of Applied Arts are, beyond doubt, of special significance. Three of them we are presenting as under: Catalogue number 216. Jacket for the child's book "Little Pig", water-colour (Fig. 5). The illustration painted in white against a brick-red background tells us the plot of a tale in four lines of three pictures each. The motif of the sailing boat crops up in every line the middle and at the two edges alternately, while in the other pictures the different adventures of the central character of the tale are represented. The individual depictions are separated from each other with festooned tree motifs. On the back of the sheet Crane's autograph in blue pencil: "Walter Crane London. Lining Paper The Little Pig picture Book", and the inscription: "96 korona" also in pencil, can be seen. 1 ' 1 Under item No. 273 of the catalogue the illustrations drawn for the "Book of Christmas Verse" figure (1200 crowns). One of the scenes in this series bears the lettering "On the Morning of Christ's Nativity" (Fig. 6). The tint-drawing designed in the form of a standing rectangle and touched here and there with white body colour represents the morning of Christ's birth. On the left of the foreground the coherent group of the three shepherds, composed in a triangle, is visible. The 160
