TLDR; I don't think there is one. As others have already said, you can probably theoretically justify borrowing1 just about any chord.
Let's start by constructing a table of the modes and the 4 note chords that would be built from each scale degree. I'm using all caps roman numerals throughout, even though the case usually indicates chord quality, but it is much simpler if we just stick with the caps, and I didn't want to use numerals for the scale degree to help separate the scale degree from the chord qualities.
There are four types of chord: 7, -7, △ and the half diminished (-7b5 or ø7), and each of the twelve tones is used at least once as a chord root. I did this in Excel, which makes it really easy to generate another chart that will reduce this to a list of which chord types appear in the modes for each scale degree. Although the IV in Lydian is the #IV I am including only the enharmonic bV in this chart.
So, for I we encounter all four chord types, and for bII only the △, and so forth. I'm going to remove all of the non-scale tones (bII, bIII, etc) in a new chart, just to make it easier to point out something:
There are 28 combinations of scale degree and chord type, and about three quarters of them appear somewhere in a mode.
But notice that III7 doesn't appear in this chart. While I suppose it is technically true that E7 doesn't appear in any of the parallel modes in C*, it is arguably one of the most famous borrowed chords of all time. It's also a very legit sub for V7.
There are some other noticeable exclusions. bII7 isn't represented in the chords borrowed from modes, but is a common sub for V7 (which is), as in ii7-bII7-I instead of ii7-V7-I. IVø7 isn't in this chart, but is both quite groovy and also a fine sub for bII7 (which also isn't) or iiø7 (which is), and I commonly use IVø7-V7 as a more harmonically complex (and pleasing to me) alternative to V7sus-V7-I.
VII7 doesn't appear, and how many times have you heard B7-Em in key of C? III△ doesn't show up, but I'm pretty sure I could make that work (depending on context) for C+ or Cm/maj7.
I guess what I'm getting at is that if you are only looking at modes for borrowed chords, you're leaving out some other substitutions that are very common (probably more important than anything you'll get at this way), and if you start including chords that are borrowed with other methods, then you get into a situation where you can theoretically justify any chord whatsoever, and the more you do that, the more you reduce the utility of the cheat sheet (or mnemonic technique, or rule, or whatever you are creating).
And that's the thing. You can try out a chord indicated to you by some theoretical method, but they are all context dependent, some to a greater degree than others, and the theory of how they work isn't necessarily that indicative of whether or not you can pull them off in a practical setting, so there's really not that much point in trying to memorize all the possible permutations. A cheat sheet or such might not be feasible for practical application, especially if you expand it to cover all possibilities, but it is just fine for practice sessions, which is where you'll mostly be working through these ideas, anyway.
All that being said, here is a list of all of the chords used by scale degree in all of the modes. Whether or not you can pull off something like #IVø7 in place of the four chord3 is going to be up to your ears:
1 "borrowed" refers only to chords that appear in a parallel mode, if I remember correctly from my theory days. However, it seems to me that the term is used much more loosely in practice, for instance V/V relationships or in other cases where you appropriated a chord from a more (or less) related key
* I'm not sure if the source is V/vi or the V from the harmonic minor, or if this is even a settled question, or matters. Theory is kind of made up after the fact to explain things that were already happening
3 The two chords are almost identical: F-A-C-E vs F#-A-C-E. But if you were to substitute that into a I-IV-V in C, would the ear interpret that as an alteration of IV or as a V/V (C-D7-G7)? Same question if you borrow the II7 from Lydian. Will the ear interpret this as an altered II, or hear the V/V relationship, or some other possibility? It is all highly contextual.