Self-portrait (pastel, private collection): the earliest surviving work — the painter at about sixteen, in her father's medium, a round-faced girl in a white cap looking levelly out; the Souvenirs say she 'drew heads in pastel' from the age of seven, and this is the first that survives. The catalogue's beginning.

Jean-Baptiste Coulon, seigneur de la Grange (pastel, private collection): a magistrate's head in pastel, of the year of the Saint-Luc membership — the kind of bourgeois portrait in her father's medium that was the painter's first trade before oil and the court.

Innocence Taking Refuge in the Arms of Justice (pastel, Musée des Beaux-Arts, Angers): the painter's largest pastel — an allegory of a young girl in white sheltering under the arm of Justice with her scales, shown at the Salon de la Correspondance of 1779 and the first of the allegories that the 1783 reception piece would continue; Angers's picture is the best evidence of the painter as a pastellist at scale.

Louis-Philippe d'Orléans (pastel, Louvre, Département des Arts graphiques): the Duc de Chartres, the future Philippe-Égalité (1747–1793), in pastel — the husband of the painter's Duchesse, whom she painted in oil three times and whom she describes as 'a prince of much wit and little principle'; the Louvre's pastel is the one portrait of him in the œuvre.

Adélaïde-Edmée Prévost, Madame de La Briche (1755–1844) (pastel, Château de Barante): the salonnière of the Marais — the hostess who would receive Stendhal and Madame de Staël's circle — in pastel at twenty-five; Barante, the Prosper de Barante family's château in the Auvergne, keeps it with the family's literary relics.

Study of a Nude, her Right Arm Raised (pastel, private collection): a rare life study — a woman's torso with the arm raised, in pastel — the only surviving nude study by the painter, who could not draw in the Académie's life class and worked, as this sheet shows, from a female model in her own studio; a document of the question the essay discusses.

Marie Antoinette in a Park (drawing, Metropolitan Museum of Art): a black-chalk and wash study of the Queen walking in a park in a muslin dress with a hat — related to the preparatory work for the Queen and her Children and the Trianon portraits of the mid-1780s; the Met's drawing is one of very few surviving studies by the painter, who drew little on paper.

Alexandrine-Charlotte de Rohan-Chabot, Duchesse de La Rochefoucauld (pastel, private collection): the duchess (1769–1803) in pastel at twenty — a large sheet of the last Paris year; the Duc de La Rochefoucauld, the liberal, was murdered at Gisors in September 1792.

Portrait of a Woman (pastel, National Museum, Warsaw): a small pastel head of the Italian years — the painter returned to pastel on the road, for speed; the Warsaw museum's sheet is untitled on the record.

Monsieur Delille (print, Boyer collection): an engraving after the painter's portrait of the Abbé Jacques Delille (1738–1813), the poet of Les Jardins and the painter's friend — the 'Mr Delille' of the Boyer print collection's record; the painted portrait is untraced, and the print is its record. The Abbé, the painter's companion in Switzerland and the Greek supper's guest, appears throughout the Souvenirs.

Moriz de Fries (pastel, Louvre, Département des Arts graphiques): the young Viennese banker Count Moriz von Fries (1777–1826), Beethoven's patron and the dedicatee of the Seventh Symphony, at nineteen, in pastel — the brother of the Sophia Fries as Sappho; the Louvre's pastel is the painter's Vienna in a sheet.

Madame Élisabeth, Princess of France (National Trust): a version of the painter's Madame Élisabeth type recorded by the Trust as 'manner of' — a copy of the kind made for the princess's household and the Restoration's cult of the King's sister.

Portrait of a Young Woman (Museum of Fine Arts, Ghent): a young woman in a white dress with a fichu, recorded by the Ghent museum as 'circle of Vigée Le Brun' — a portrait in the painter's manner by a Paris contemporary, of the kind the 1780s produced in quantity; the catalogue keeps it among the doubtful works.

Presumed portrait of Marie-Élisabeth Gabiou (private collection): a small half-length of a young woman, recorded as 'attributed to' — a picture in the manner of the 1780s whose attribution Baillio's catalogue does not confirm; placed here with the caveat.