ABSTRACT
One of the mysteries surrounding the influence of Dante Gabriel Rossetti's art on the continent from the 1870s on, is how artists obtained access to his work. Rossetti never exhibited his paintings or drawings on the continent, nor did continental collections have any examples of his work. Unlike fellow Pre-Raphaelite artists John Everett Millais and William Holman Hunt, he did not allow his works to be reproduced in engravings or woodcuts, even though the sale of these rights of reproduction could often be more lucrative for the artist than the sale of the painting itself. Also, unlike Hunt, Millais, Ford Madox Brown, and Edward Coley Burne-Jones, he did not exhibit paintings or drawings in any of the International Expositions from 1855 on. The only illustrations Rossetti did, that might have influenced continental artists, were early works in publications: "The Maids of Elfen-mere" from William Allingham's The Music Master of 1855, five illustrations from the Moxon Tennyson of 1857, and a few illustrations for his sister Christina's poems, Goblin Market and The Prince's Progress published in the 1860s; but it was his later work that influenced artists abroad rather than these earlier endeavors. H o w then did they learn of and see his art?
