Mid-Georgian Portraits Catalogue
Angelica Kauffmann (1741-1807), Painter
- Gallery portraits
- All known portraits
- Biography and References
Self Portraits
c.1753
Painting, aged thirteen, half length as a singer. Tiroler Landesmuseum, Innsbruck (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 226).
c.1757-59
Painting, three-quarter length seated in Bregenz peasant costume. Uffizi Gallery, Florence (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 227). Copy in Vorarlberger Landesmuseum, Bregenz (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 328, fig.125).
1762-66
Drawing, half-length oval, wearing a lace cap. Victoria and Albert Museum (Vallardi sketchbook, E.398.1927; illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 197).
c.1763-64
Painting, half-length oval. Pennsylvania Academy of Arts, Philadelphia (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 22; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 103, fig.18). There was also an etched self portrait of 1764 (listed B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 436).
c.1765-70
Painting, three-quarter length seated, wearing a turban, playing a viol. Saltram. In poor condition, but the eighteenth-century inscription of sitter and artist provides serious evidence.
c.1770-75
Painting, see NPG 430.
1771
Drawing, half length, porte-crayon in her left hand (a mirror image). Yale Center for British Art (B1977.14.5552; illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 239; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 315, fig.116).
1773
Painting, half length, wearing a red Grison costume, brushes and palette in her left hand. Private collection (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 229). Copy sold Christie’s, 25 March 1966, lot 25.
1775-80
Painting, half-length painted oval, wearing a turban, a porte-crayon and case in her right hand. Sotheby’s, 14 June 2001, lot 2 (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 325, fig.122). The pose closely resembles NPG 430. A copy is in the Museum of Fine Arts, Montreal (140.1996; illus. Collage, Montreal, Spring 1998, p 13).
c.1780
Painting, three-quarter length seated, wearing a fur-trimmed red cloak, a portfolio in her left hand, porte-crayon in her right, a bust of Minerva at her side. Bündner Kunstmuseum, Chur.
Painting, half length, porte-crayon in right hand, wearing a rose-coloured dress, with white front trimmed with gold. Formerly Holland House (cat., 1904, no.116). Exhibited, Self Portraits, Arts Council, 1962 (48). Miniature copy in the Bowes Museum, Barnard Castle.
1781
Painting, bust-length in Bregenz peasant costume, black hat and a black fur-trimmed cape. Tiroler Landesmuseum, Innsbruck (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 232; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 326, fig.123). Engraved A. Testa.
1782
Painting, oval, whole-length seated, as Design, listening to the inspiration of Poetry. Kenwood (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 242; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 331, fig.128). Engraved T. Burke 1787.
1783
Miniature, three-quarter length seated, holding a drawing, inscribed Kaufman Angelica à son amie Adelina Rosalba. For ever, Bologne. 1783. Exhibited Burlington Fine Arts Club 1889 (X 29; illus. pl.XXIV) lent J. Whitehead.
1784
Painting, half length, wearing a white turban, her right hand holding a porte-crayon. Neue Pinakothek, Munich (1056); painted for Count Firmian. Drawing by Hermann Römer, Sotheby’s, Munich, 18 May 1988, lot 3. Poor miniature copy by Joseph Pastorini (illus. G. C. Williamson & Lady Victoria Manners, Angelika Kauffman, R.A., her life and works, 1924, f.p.2).
1787
Painting, three-quarter length, a portfolio in her left hand and porte-crayon in her right, the belt of her white dress bearing two cameo plaques of Minerva. Uffizi Gallery, Florence (1928). Engraved P. Audouin. Miniature copy Leopoldi Galli (half-length oval), sold Christie’s, 25 September 1997, lot 130. Versions with Leger 1929; in the Globe Theatre, London; Hatchlands (Cobbe Collection), and Christie’s, 26 April 1985, lot 98.
1792
Painting, standing three-quarter length, hesitating between female figures emblematic of music and painting. Pushkin Museum, Moscow (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 234), painted for Princess Holstein-Beck of Russia. Replica at Nostell Priory dated 1794 (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 340, fig.136).
1802
Drawing, bust length with a white turban. Private collection (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 225).
By other Artists
c.1764
Painting by Nathaniel Dance, half length, wearing a bonnet and holding an upright portfolio. Burghley House.
c.1766-67
Drawing by Nathaniel Dance, whole-length seated, with her brushes, mahlstick and palette in her left hand, her right on her heart, turning to Joshua Reynolds who sits at her side. Harewood (illus. Reynolds, RA, 1986, no.170; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 193, fig.49). A separate drawing of Kauffmann alone is in the British Museum (1898.07.12.72; illus. D. Goodreau, Nathaniel Dance, exhibition catalogue, Kenwood, 1977, no.14d).
Drawing attributed to Nathaniel Dance, seated wearing a bonnet, a small Belvedere torso on the table before her. National Gallery of Scotland (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 18). Mischievously parodied by Robert Dighton 1772 as The Paintress (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 19; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 210, fig.52).
1772
Painting by Johann Zoffany, The Academicians of the Royal Academy, see NPG 1437.
c.1777-78
Painting by Joshua Reynolds, half length, a lock of hair over her right shoulder. Private collection, formerly at Althorp (D. Mannings, Sir Joshua Reynolds, I, 2000, no.1026). Left by Kauffmann in her will to her cousin Johann Kauffmann, a bequest apparently confused with the earlier history of NPG 430. Engraved (as an oval) F. Bartolozzi 1780; E. Morace. A copy by Kauffmann 1794 is in an Austrian private collection (illus., B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 190). Versions include those at the Lady Lever Art Gallery, Port Sunlight; in the Accademia di S. Luca, Rome, and in a private collection (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 185, fig.44).
1778
Painting by Richard Samuel, Portraits in the characters of the Muses, see NPG 4905.
1789
Watercolour by J. G. Schütz, Kauffmann in the gardens of the Villa d’Este in a group which includes Goethe, Herder, and the Duchess Anna Amalia of Saxe-Weimar. Goethe-Nationalmuseum, Weimar. Copy in Goethe Museum, Düsseldorf (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 342).
1794
Wax medallion by F. Möglich, engraved J. F. Bause 1794, and Rauch.
1795
Painting by Henry Singleton, President and Members of the Royal Academy.
1796
Silhouette by C. H. Tatham, profile bust. Sotheby’s, Monaco, 5 December 1992, lot 203. Another, differing principally in the hair ribbon, private collection, Rome (illus. G. C. Williamson & Lady Victoria Manners, Angelika Kauuffmann, R.A., her life and works, 1924, f.p.183, and B. Riccio ed., Mary Berry un'inglese in India, diari e corrispondenza dal 1783 al 1823, 2000, p 45 mistakenly attributed to Joseph Bonomi).
Marble bust by Christopher Hewetson. Parish church of Schwarzenberg (illus. O. Sandner, Hommage an Kauffmann, exhibition catalogue, Liechtenstein, Milan, 1992, pp 107, 257; and see B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 106).
c.1804
Silhouette by C. L. Duttenhofer, whole-length seated at her easel with a bust of Minerva. Schiller Museum, Marbach (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 343).
1809
Bust by (her cousin) J. P. Kauffmann. Protomoteca Capitolina, Rome (illus. D. M. Mayer, Kauffmann, 1972, no.4).
Doubtful Portraits
Self portraits provisionally identified by A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, figs.17 (miniature), 61, 119, 120, 130, and pl.7 (cf. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 224n3); a slight so-called self portrait drawing exhibited English Drawings, Colnaghi 1964 (24).
Painting by Daniel Gardner, Government Art Collection (Sotheby’s, 24 November 1999, lot 51), engraved R. Josey c.1870 (illus. Connoisseur, CXVIII, 1946, p 24), a version at Southside House, Wimbledon.
Miniature by John Smart, signed and dated 1764, listed in D. Foskett, John Smart, 1964, p 69, as called Kauffman - but the date is impossible.
Drawings by Richard Cosway (Cosway Foundation, Lodi; illus. Gipponi, Cosway, 1998, p 13) and Francesco Bartolozzi (Lempertz, Cologne, 15 May 1999, lot 1243); attributed to John Hoppner (with Zeitlin & Ver Brugge, Los Angeles CA, 1977), and by Benjamin West c.1763 (Friends Historical Library of Swarthmore College, Swarthmore, Pa.; illus. American Art Jnl., XII, 2, 1980, p 9).
Engravings by W. Ridley 1809 (European Mag.) and, reversed, by T. Woolnoth 1821; by T. Burke (illus. Connoisseur, LX, 1921, p 206).
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.
c.1753
Painting, aged thirteen, half length as a singer. Tiroler Landesmuseum, Innsbruck (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 226).
c.1757-59
Painting, three-quarter length seated in Bregenz peasant costume. Uffizi Gallery, Florence (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 227). Copy in Vorarlberger Landesmuseum, Bregenz (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 328, fig.125).
1762-66
Drawing, half-length oval, wearing a lace cap. Victoria and Albert Museum (Vallardi sketchbook, E.398.1927; illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 197).
c.1763-64
Painting, half-length oval. Pennsylvania Academy of Arts, Philadelphia (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 22; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 103, fig.18). There was also an etched self portrait of 1764 (listed B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 436).
c.1765-70
Painting, three-quarter length seated, wearing a turban, playing a viol. Saltram. In poor condition, but the eighteenth-century inscription of sitter and artist provides serious evidence.
c.1770-75
Painting, see NPG 430.
1771
Drawing, half length, porte-crayon in her left hand (a mirror image). Yale Center for British Art (B1977.14.5552; illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 239; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 315, fig.116).
1773
Painting, half length, wearing a red Grison costume, brushes and palette in her left hand. Private collection (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 229). Copy sold Christie’s, 25 March 1966, lot 25.
1775-80
Painting, half-length painted oval, wearing a turban, a porte-crayon and case in her right hand. Sotheby’s, 14 June 2001, lot 2 (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 325, fig.122). The pose closely resembles NPG 430. A copy is in the Museum of Fine Arts, Montreal (140.1996; illus. Collage, Montreal, Spring 1998, p 13).
c.1780
Painting, three-quarter length seated, wearing a fur-trimmed red cloak, a portfolio in her left hand, porte-crayon in her right, a bust of Minerva at her side. Bündner Kunstmuseum, Chur.
Painting, half length, porte-crayon in right hand, wearing a rose-coloured dress, with white front trimmed with gold. Formerly Holland House (cat., 1904, no.116). Exhibited, Self Portraits, Arts Council, 1962 (48). Miniature copy in the Bowes Museum, Barnard Castle.
1781
Painting, bust-length in Bregenz peasant costume, black hat and a black fur-trimmed cape. Tiroler Landesmuseum, Innsbruck (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 232; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 326, fig.123). Engraved A. Testa.
1782
Painting, oval, whole-length seated, as Design, listening to the inspiration of Poetry. Kenwood (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 242; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 331, fig.128). Engraved T. Burke 1787.
1783
Miniature, three-quarter length seated, holding a drawing, inscribed Kaufman Angelica à son amie Adelina Rosalba. For ever, Bologne. 1783. Exhibited Burlington Fine Arts Club 1889 (X 29; illus. pl.XXIV) lent J. Whitehead.
1784
Painting, half length, wearing a white turban, her right hand holding a porte-crayon. Neue Pinakothek, Munich (1056); painted for Count Firmian. Drawing by Hermann Römer, Sotheby’s, Munich, 18 May 1988, lot 3. Poor miniature copy by Joseph Pastorini (illus. G. C. Williamson & Lady Victoria Manners, Angelika Kauffman, R.A., her life and works, 1924, f.p.2).
1787
Painting, three-quarter length, a portfolio in her left hand and porte-crayon in her right, the belt of her white dress bearing two cameo plaques of Minerva. Uffizi Gallery, Florence (1928). Engraved P. Audouin. Miniature copy Leopoldi Galli (half-length oval), sold Christie’s, 25 September 1997, lot 130. Versions with Leger 1929; in the Globe Theatre, London; Hatchlands (Cobbe Collection), and Christie’s, 26 April 1985, lot 98.
1792
Painting, standing three-quarter length, hesitating between female figures emblematic of music and painting. Pushkin Museum, Moscow (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 234), painted for Princess Holstein-Beck of Russia. Replica at Nostell Priory dated 1794 (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 340, fig.136).
1802
Drawing, bust length with a white turban. Private collection (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 225).
By other Artists
c.1764
Painting by Nathaniel Dance, half length, wearing a bonnet and holding an upright portfolio. Burghley House.
c.1766-67
Drawing by Nathaniel Dance, whole-length seated, with her brushes, mahlstick and palette in her left hand, her right on her heart, turning to Joshua Reynolds who sits at her side. Harewood (illus. Reynolds, RA, 1986, no.170; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 193, fig.49). A separate drawing of Kauffmann alone is in the British Museum (1898.07.12.72; illus. D. Goodreau, Nathaniel Dance, exhibition catalogue, Kenwood, 1977, no.14d).
Drawing attributed to Nathaniel Dance, seated wearing a bonnet, a small Belvedere torso on the table before her. National Gallery of Scotland (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 18). Mischievously parodied by Robert Dighton 1772 as The Paintress (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 19; A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 210, fig.52).
1772
Painting by Johann Zoffany, The Academicians of the Royal Academy, see NPG 1437.
c.1777-78
Painting by Joshua Reynolds, half length, a lock of hair over her right shoulder. Private collection, formerly at Althorp (D. Mannings, Sir Joshua Reynolds, I, 2000, no.1026). Left by Kauffmann in her will to her cousin Johann Kauffmann, a bequest apparently confused with the earlier history of NPG 430. Engraved (as an oval) F. Bartolozzi 1780; E. Morace. A copy by Kauffmann 1794 is in an Austrian private collection (illus., B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 190). Versions include those at the Lady Lever Art Gallery, Port Sunlight; in the Accademia di S. Luca, Rome, and in a private collection (illus. A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, p 185, fig.44).
1778
Painting by Richard Samuel, Portraits in the characters of the Muses, see NPG 4905.
1789
Watercolour by J. G. Schütz, Kauffmann in the gardens of the Villa d’Este in a group which includes Goethe, Herder, and the Duchess Anna Amalia of Saxe-Weimar. Goethe-Nationalmuseum, Weimar. Copy in Goethe Museum, Düsseldorf (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 342).
1794
Wax medallion by F. Möglich, engraved J. F. Bause 1794, and Rauch.
1795
Painting by Henry Singleton, President and Members of the Royal Academy.
1796
Silhouette by C. H. Tatham, profile bust. Sotheby’s, Monaco, 5 December 1992, lot 203. Another, differing principally in the hair ribbon, private collection, Rome (illus. G. C. Williamson & Lady Victoria Manners, Angelika Kauuffmann, R.A., her life and works, 1924, f.p.183, and B. Riccio ed., Mary Berry un'inglese in India, diari e corrispondenza dal 1783 al 1823, 2000, p 45 mistakenly attributed to Joseph Bonomi).
Marble bust by Christopher Hewetson. Parish church of Schwarzenberg (illus. O. Sandner, Hommage an Kauffmann, exhibition catalogue, Liechtenstein, Milan, 1992, pp 107, 257; and see B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 106).
c.1804
Silhouette by C. L. Duttenhofer, whole-length seated at her easel with a bust of Minerva. Schiller Museum, Marbach (illus. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 343).
1809
Bust by (her cousin) J. P. Kauffmann. Protomoteca Capitolina, Rome (illus. D. M. Mayer, Kauffmann, 1972, no.4).
Doubtful Portraits
Self portraits provisionally identified by A. Rosenthal, Angelika Kauffmann, Bildnismaleriei im 18, Jahrhundert, 1996, figs.17 (miniature), 61, 119, 120, 130, and pl.7 (cf. B. Baumgärtel et al. Angelika Kauffmann Retrospektive, exhibition catalogue, Dusseldorf, Munich, Chur, 1998, p 224n3); a slight so-called self portrait drawing exhibited English Drawings, Colnaghi 1964 (24).
Painting by Daniel Gardner, Government Art Collection (Sotheby’s, 24 November 1999, lot 51), engraved R. Josey c.1870 (illus. Connoisseur, CXVIII, 1946, p 24), a version at Southside House, Wimbledon.
Miniature by John Smart, signed and dated 1764, listed in D. Foskett, John Smart, 1964, p 69, as called Kauffman - but the date is impossible.
Drawings by Richard Cosway (Cosway Foundation, Lodi; illus. Gipponi, Cosway, 1998, p 13) and Francesco Bartolozzi (Lempertz, Cologne, 15 May 1999, lot 1243); attributed to John Hoppner (with Zeitlin & Ver Brugge, Los Angeles CA, 1977), and by Benjamin West c.1763 (Friends Historical Library of Swarthmore College, Swarthmore, Pa.; illus. American Art Jnl., XII, 2, 1980, p 9).
Engravings by W. Ridley 1809 (European Mag.) and, reversed, by T. Woolnoth 1821; by T. Burke (illus. Connoisseur, LX, 1921, p 206).
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.