The resulting exhibition consisted of just over 100 images, of which one third had been newly printed up from the original negatives in the archive. The exhibition opened at the Royal Photographic Society's gallery in Bath on 19th May 1990, where it remained for seven weeks before moving on to the National Portrait Gallery in London on 20th July 1990, for a stay of ten weeks. In the following year, it spent six weeks at the Rochdale Art Gallery and a further six weeks at Bodelwyddan Castle in N. Wales, before finally coming to an end at the Art Gallery and Museum in Kelvingrove, Glasgow in January, 1992. The tour had been a great success, attracting large crowds and receiving excellent reviews wherever it appeared. Above all, it provided the Yevonde Portrait Archive with valuable experience of the museum and gallery world, and served as a springboard for later exhibitions.

Long before this tour came to an end the Yevonde Portrait Archive had already started planning its next move, and finally decided on a two-pronged exhibition strategy. Since Madame Yevonde was predominantly a portrait photographer and had made countless portraits of actors and actresses, revue artistes, dancers, musicians, novelists and playwrights, as well as sculptors and painters, the decision was taken to target arts festivals, where large crowds of cognoscenti gathered to pay homage to their favourite artists and performers, offering the perfect opportunity for displaying portraits of the very people they had come to celebrate. In this way, many thousands of visitors to the festivals in Cheltenham, Kings Lynn, Canterbury, Liverpool, Guildford and Southampton in particular became acquainted with Madame Yevonde's work. At the same time, a series of exhibitions staged in large public galleries in London, Birmingham, York, Durham, Liverpool, Swansea, Nottingham and Halifax, to mention but a few of the cities involved, gave thousands more people the opportunity to experience the full range of work produced by the artist. In all, more than 30 such exhibitions were held over a period of about six years, greatly swelling the number of people to whom Madame Yevonde was more than just a name on a poster.

By now, the Yevonde Portrait Archive had made considerable progress towards its stated objective of re-establishing Madame Yevonde's name in her home country, and in 1996, started to turn its attention to the Continent of Europe. Over the next couple of years, important exhibitions of Madame Yevonde's colour and b/w work were held in commercial galleries in Amsterdam and Nijmegen in Holland, at the Villa Ichon in Bremen, N. Germany, and at the International Month of Photography in Athens. Madame Yevonde's work was also shown at prestigious art fairs in Amsterdam and Basel, and at the Paris Photo. Further exhibitions on the Continent are planned for the future.