Hubert François Gravelot, Second Day, Second Story: Rinaldo d'Asti and the Widow, c. 1757, pen and gray ink with brown wash over traces of red chalk on laid paper, laid down, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1878

Henri Auguste, Design for a Cruet Frame, 1759, Pen and brown ink, brush and gray and gray-green wash, traces of graphite underdrawing, with framing lines in pen and brown ink, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334789

Charles-Nicolas Cochin II, Eighth Day, First Story, Madonna Ambruogia Gives Her Husband the Two Hundred Florins She Was Given by Gulfardo in Payment for Her Favors, c. 1757, graphite on wove(?) paper with a border line in pen and brown ink, laid down, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1921

Jean Robert Ango, The Infant Moses before Pharaoh, after Giovanni Battista Ruggieri, 1759, Black chalk; framing lines in pen and brown ink, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334766

Hubert François Gravelot, Second Day, Seventh Story: The Duke of Athens Contemplating the Sleeping Princess Alatiel, c. 1757, pen and black ink with brown wash over traces of red chalk on laid paper, laid down, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1883

Hubert François Gravelot, Tenth Day, Ninth Story: Saladin Bestows Rich Gifts on the Sleeping Torello, c. 1757, pen and black ink with brown wash over touches of red chalk on laid paper, laid down, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1941

Henri Auguste, Design for a Covered Tureen on a Footed Stand, 1759, Pen and brown ink, brush and gray-brown wash; double framing lines in pen and brown ink, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334790

Jean Robert Ango, Scene of Martyrdom, after Giovanni Angelo Canini, 1759, Red chalk, over traces of black chalk, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334765

Claude Louis D'Aviler, Design for an Altar and Choir Grill, Abbey at Rebais, 1750, Pen and black ink, with brush and black and rose wash over graphite underdrawing, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334792

Canaletto, Capriccio: A Palace with a Courtyard by the Lagoon, c. 1750–55, pen and brown ink and brush and gray and black washes over traces of graphite (?); framing lines in pen and brown and black ink, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/111702

Guercino (Giovanni Francesco Barbieri), Landscape with Six Figures, 1750–80, Pen and brown ink and brush and dark brown ink, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334788

Jean Etienne Liotard, Portrait of a Man Holding a Book, Turned to the Right, 1758/62, Black and white chalk, with traces of red chalk, on blue laid paper, rubbed on the verso with vermillion and traced with a stylus, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/213969

Louis de Carmontelle, Portrait of the Chevalier de Lézay, 1756, Red and black chalk on cream laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/213968

Jakob Philipp Hackert, View of Svenarum in the Province of Småland, Sweden, c. 1764, Brush and gray and brown wash, over faint indications in black chalk; framing lines in pen and black ink, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334881