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| Nicolò dell'Abate The Story of Aeneas Laocoön and his Sons ca. 1540 detached fresco Galleria Estense, Modena |
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| Nicolò dell'Abate The Story of Aeneas Escape from Troy with Anchises and Ascanius ca. 1540 detached fresco Galleria Estense, Modena |
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| Nicolò dell'Abate Marriage of a Patrician Couple ca. 1540-45 oil on paper (grisaille) Getty Museum, Los Angeles |
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| Nicolò dell'Abate Battle Scene 1546 detached fresco Galleria Estense, Modena |
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| Nicolò dell'Abate Portrait of a Man with a Falcon ca. 1548 oil on canvas Art Gallery of New South Wales, Sydney |
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| Nicolò dell'Abate Portrait of a Young Man before 1571 oil on canvas private collection |
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| Nicolò dell'Abate Passion of Christ Cycle The Flagellation and the Crowning with Thorns ca. 1560 fresco Château de Villesavin, Val de Loire |
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| attributed to Nicolò dell'Abate Pandora ca. 1555 oil on canvas Musée du Louvre |
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| Nicolò dell'Abate The Continence of Scipio ca. 1555 oil on canvas Musée du Louvre |
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| Nicolò dell'Abate Cupid and Psyche ca. 1550-70 oil on canvas Detroit Institute of Arts |
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| Nicolò dell'Abate Faun and Nymph ca. 1550-70 oil on canvas Nasjonalmuseet, Oslo |
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| Nicolò dell'Abate Venus before 1571 oil on panel Christ Church, University of Oxford |
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| Nicolò dell'Abate The Finding of Moses ca. 1560 oil on canvas Musée du Louvre |
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| Nicolò dell'Abate Orpheus and Eurydice ca. 1552-71 oil on canvas National Gallery, London |
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| Nicolò dell'Abate Abduction of Proserpine ca. 1570 oil on canvas Musée du Louvre |
"Nicolò dell'Abate belongs to the generation of Vasari and Salviati. Like Primaticcio, he was to conclude his career in France, but not until he had worked (mostly as a fresco decorator) until just past the mid century in the neighbourhood of his native town of Modena and then in Bologna. . . . The Bologna into which Nicolò had come was no longer the enclave of retardataire Raphaelism it had been; it was now effectively a centre of the new Maniera, proselytized by Vasari, Salviati, and the effect – finally fully realized in Bologna – of Parmigianino's art. In this climate Nicolò's last Italian works became what they previously had not quite been: explicit examples of Maniera style. But the last edge to his new sophistication, and his highest accomplishment in this style, were yet to come, after Primaticcio's tutelage at Fontainebleau. The last two, and the finest, decades of his career belong to the history of the school in France."
– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)