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| Giuseppe Macpherson Posthumous Portrait of Agostino Carracci 18th century Royal Collection, Great Britain |
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| Agostino Carracci Andromeda and the sea monster ca. 1590-95 engraving Ashmolean Museum, Oxford |
English aristocrats of the 19th century collecting Italian art of the 16th century tended to favor "optimistic" attributions. Sooner or later many of these collections were donated or sold to public museums. Curators and other scholars then began the process of undoing many of the hopeful attributions and reassigning works away from some famous name to "follower of" some famous name or "circle of" or "copy after." At the Ashmolean Museum relatively few of the drawings and prints associated with the Carracci family are still assigned directly to its leading members, Agostino (1557-1602) or Annibale (1560-1609).
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| style of Agostino Carracci Study of a man's head late 16th century drawing Ashmolean Museum, Oxford |
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| follower of Agostino Carracci Studies late 16th century drawing Ashmolean Museum, Oxford |
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| Agostino Carracci Cupid with the sword of Mars late 16th century drawing Ashmolean Museum, Oxford |
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| Agostino Carracci Omnia vincit Amor ca. 1590-95 engraving Ashmolean Museum, Oxford |
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| Giuseppe Macpherson Posthumous Portrait of Annibale Carracci 18th century Royal Collection, Great Britain |
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| Annibale Carracci Draped boy late 16th century drawing Ashmolean Museum, Oxford |
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| Annibale Carracci Pastoral landscape late 16th century drawing Ashmolean Museum, Oxford |
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| copy after Annibale Carracci Diana & Callisto drawing late 16th century Ashmolean Museum, Oxford |
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| Annibale Carracci Figure study, back view late 16th century drawing Ashmolean Museum, Oxford |
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| Annibale Carracci Draped figure late 16th century drawing Ashmolean Museum, Oxford |
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| Lodovico Carracci Figure study late 16th century drawing Ashmolean Museum, Oxford |
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| attributed to Francesco Carracci Statue among trees 17th century drawing Ashmolean Museum, Oxford |