the 1900 World's Fair (Exposition Universelle) in Paris, he received requests to make busts of prominent people internationally, while his assistants at the atelier produced duplicates of his works. His income from portrait commissions alone totaled probably 200,000 francs a year. As Rodin's fame grew, he attracted many followers, including the German poet Rainer Maria Rilke, and authors Octave Mirbeau, Joris-Karl Huysmans, and Oscar Wilde. Rilke stayed with Rodin in 1905 and 1906, and did administrative work for him; he would later write a laudatory monograph on the sculptor. Rodin and Beuret's modest country estate in Meudon, purchased in 1897, was a host to such guests as King Edward, dancer Isadora Duncan, and harpsichordist Wanda Landowska. A British journalist who visited the property noted in 1902 that in its complete isolation, there was "a striking analogy between its situation and the personality of the man who lives in it". Rodin moved to the city in 1908, renting the main floor of the Hôtel Biron, an 18th-century townhouse. He left Beuret in Meudon, and began an affair with the American-born Duchesse de Choiseul. From 1910, he mentored the Russian sculptor, Moissey Kogan. United States While Rodin was beginning to be accepted in France by the time of The Burghers of Calais, he had not yet conquered the American market. Because of his technique and the frankness of some of his work, he did not have an easy time selling his work to American industrialists. However, he came to know Sarah Tyson Hallowell (1846–1924), a curator from Chicago who visited Paris to arrange exhibitions at the large Interstate Expositions of the 1870s and 1880s. Hallowell was not only a curator but an adviser and a facilitator who was trusted by a number of prominent American collectors to suggest works for their collections, the most prominent of these being the Chicago hotelier Potter Palmer and his wife, Bertha Palmer (1849–1918). The next opportunity for Rodin in America was the 1893 Chicago World's Fair. Hallowell wanted to help promote Rodin's work and he suggested a solo exhibition, which she wrote him was beaucoup moins beau que l'original but impossible, outside the rules. Instead, she suggested he send a number of works for her loan exhibition of French art from American collections and she told him she would list them as being part of an American collection. Rodin sent Hallowell three works, Cupid and Psyche,