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| Nicolas de Largillière Portrait of a man ca. 1714-16 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Nicolas de Largillière Portrait of an officer ca. 1714-15 oil on canvas Art Gallery of New South Wales, Sydney |
"Some months ago, my friend Sir Roger, being in the country, enclosed a letter to me, directed to a certain lady whom I shall here call by the name of Leonora, and as it contained matters of consequence, desired me to deliver it to her with my own hand. Accordingly I waited upon her ladyship pretty early in the morning, and was desired by her woman to walk into her lady's library, till such time as she was in readiness to receive me. The very sound of a lady's library gave me a great curiosity to see it; and as it was some time before the lady came to me, I had an opportunity of turning over a great many of her books, which were ranged together in a very beautiful order. At the end of the folios (which were finely bound and gilt) were great jars of China placed one above another in a very noble piece of architecture. The quartos were separated from the octavos by a pile of smaller vessels, which rose in a delightful pyramid. The octavos were bounded by tea-dishes of all shapes, colours, and sizes, which were so disposed on a wooden frame, that they looked like one continued pillar indented with the finest strokes of sculpture, and stained with the greatest variety of dyes. That part of the library which was designed for the reception of plays and pamphlets, and other loose papers, was enclosed in a kind of square, consisting of one of the prettiest grotesque works that ever I saw, and made up of scaramouches, lions, monkeys, mandarines, trees, shells, and a thousand other odd figures in China ware. In the midst of the room was a little Japan table, with a quire of gilt paper upon it, and on the paper a silver snuff-box made in the shape of a little book. I found there were several other counterfeit books upon the upper shelves, which were carved in wood, and served only to fill up the numbers, like fagots in the muster of a regiment. I was wonderfully pleased with such a mixt kind of furniture, as seemed very suitable for both the lady and the scholar, and did not know at first whether I should fancy myself in a grotto, or in a library."
– Joseph Addison in The Spectator (April 12, 1711)
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| Godfrey Kneller Portrait of a woman as St Agnes ca. 1705-1710 oil on canvas Yale Center for British Art |
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| Godfrey Kneller Portrait of Henry Portman Seymour in armor 1714 oil on canvas Yale Center for British Art |
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| Godfrey Kneller Portrait known as Lady Mary Wortley Montagu ca. 1715-20 oil on canvas Yale Center for British Art |
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| Godfrey Kneller Portrait of Alexander Pope crowned with ivy ca. 1721 oil on canvas Yale Center for British Art |
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| Godfrey Kneller Portrait of Lady Henrietta Crofts, Duchess of Bolton ca. 1715 oil on canvas Art Gallery of South Australia, Adelaide |
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| Rosalba Carriera Portrait of a gentleman ca. 1730-40 pastel Museo Poldi Pezzoli, Milan |
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| Rosalba Carriera Portrait of Pisana Mocenigo née Corner of Venice ca. 1735-45 pastel Gemäldegalerie Alte Meister, Dresden |
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| Rosalba Carriera Portrait of Crown Prince Friedrich Christian of Saxony 1739 pastel Gemäldegalerie Alte Meister, Dresden |
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| Rosalba Carriera Portrait of Sir James Gray ca. 1744-45 pastel Getty Museum, Los Angeles |
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| Jonathan Richardson, Senior Portrait of Nathaniel Seymour ca. 1730-35 oil on canvas Yale Center for British Art |
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| Jonathan Richardson, Senior Portrait of Alexander Pope 1738 oil on canvas Yale Center for British Art |
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| Joseph Highmore The Harlowe Family from Samuel Richardson's Clarissa ca. 1745-47 oil on canvas Yale Center for British Art |