the aid of a Dr. Llewelyn Williams and two others, Howell accomplished this in October 1869. Dr. Williams subsequently disinfected the book. Rossetti then published the contents in Poems (1870). These became part of Rossetti's sonnet sequence entitled The House of Life. This sequence contained the poem "Without Her", a reflection on life once love has departed. Legacy Their home at 14 Chatham Place was demolished and is now covered by Blackfriars Station. Exhibitions and collections The first solo exhibition of Siddal's work was curated by Jan Marsh in 1991 at the Ruskin Gallery in Sheffield. Rosalie Glynn Grylls and Geoffrey Mander paid a record sum for her work in the 1960s and donated the art to the National Trust. A 2018 exhibition, "Beyond Ophelia", curated by National Trust Assistant Curator Hannah Squire, ran at Wightwick Manor for nine months and featured twelve artworks by Siddal and owned by the National Trust. Only the second solo exhibition of her work, the exhibition examined Siddal's career, artistic style, subject matter, and the prejudice she faced as a female artist, whilst also exploring the Manders of Wightwick as pioneering collectors. The oil painting Self Portrait (1853–54) and watercolour Lady Clare (1857) are currently in private collections. Lady Affixing a Pennant to a Knight’s Spear (1856), Sir Patrick Spens (1856), and The Quest of the Holy Grail(1855) have all been exhibited in the Tate Gallery in London. The finished drawings The Lady of Shalott and Pippa Passes (1854) are respectively displayed in the J.S. Maas Collection and the Ashmolean Museum in Oxford. Siddal’s paintings also include Clerk Saunders (1857), The Haunted Wood, and Madonna and Child with an Angel (c. 1856). Works inspired by Siddal Literature In the literature and memoirs during the 1880s and 90s, Elizabeth Siddal was depicted as "a fantasy sex" object in a manner of curious cult. Her admirers include the poet Swinburne and Oscar Wilde. The artist and aesthete Charles Ricketts confessed that "Oh, we have all, when young, been in love with Miss Siddal." While in the 1920s and 30s, because of the prevalent paradigms of contemporary psychology and "sexology", the picture of Siddal in fiction and poems began to change by this re-establishment of sexuality environment. She was thus regarded as "a morbid, hysterical, suicidal woman clinging to her virginity and angrily jealous of her rivals." Mollie Hardwick (author of Upstairs, Downstairs) wrote a mystery novel