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| Agostino Carracci Preparation for the Flight into Egypt ca. 1579-83 engraving British Museum |
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| Agostino Carracci Christ and the Samaritan woman 1580 engraving British Museum |
"The Christ and the Samaritan of 1580 is unusual in the context of Agostino's production of narrative subject prints because it was a rather isolated experiment in the production of a subject print after his own invention. Agostino explicitly stated that he both invented the composition and engraved it. The composition is evidently a development from Cort's engraving of the same subject, dated 1568. To Agostino is in fact attributed an enlarged copy of Cort's print. Bellori, writing of the 1580s, lamented the fact that Agostino withdrew from painting and took up printmaking, making himself dependent on the inventions of others rather than developing his own ideas. Bellori suggested that it was the result of a conscious choice: the decision was made at a time when neither his own nor his brother's work was bringing in very much money. This print shows that Agostino could have used his own invention had he so wished."
– Michael Bury, The Print in Italy, 1550-1620 (British Museum Press, 2001)
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| Agostino Carracci Pastoral scene with Shepherd Published in Bologna - letterpress title-page - De Laudibus Vitae Rusticae, Horace 1586 engraving British Museum |
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| Agostino Carracci Coat of arms of Giacomo Boncampagni, Marchese of Vignola, flanked by winged Putti ca. 1582-85 engraving British Museum |
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| Agostino Carracci Coat of arms of the Duke of Mantua, flanked by figures of Abundance and Peace ca. 1590-95 engraving British Museum |
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| attributed to Agostino Carracci Coat of arms of Cardinal Rilippo Sega, flanked by Harpies and supported by Putti 1592 engraving British Museum |
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| attributed to Agostino Carracci Coat of arms of Cardinal Lorenzo Bianchetti, flanked by figures of Religion and Prudence ca. 1592-95 engraving British Museum |
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| Agostino Carracci Coat of arms of Cardinal Cinzio Aldobrandini, flanked by grotesque masks, cornucopiae, fruit and flowers ca. 1593-95 engraving British Museum |
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| Agostino Carracci Template for Coat of arms of a Bishop, supported by winged Putti ca. 1594-96 engraving British Museum |
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| Agostino Carracci Portrait of Cosimo I de' Medici, Grand Duke of Tuscany 1586 engraving British Museum |
"Both Bartsch and Bohlin note the clear technical and stylistic disparity between the portrait [above] and the surrounding cartouche: Bartsch attributed the cartouche to Agostino but not the portrait at centre. Bohlin believes the portrait to be by an earlier artist working in a northern ambience, such as Martin Rota, which was left unfinished and was later passed to Agostino to complete."
– curator's notes from the British Museum
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| Agostino Carracci Portrait of Ferdinand I de' Medici, Grand Duke of Tuscany ca. 1589 engraving British Museum |
The pair of portraits above and below were "probably made in commemoration of the wedding" of the two subjects in 1589.
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| Agostino Carracci Portrait of Christina of Lorraine, Grand Duchess of Tuscany ca. 1589 engraving British Museum |
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| Agostino Carracci Portrait of Pietro Antonio Tolentino ca. 1585-90 engraving British Museum |
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| Agostino Carracci Portrait of scientist and author Ulisse Aldovrandi 1596 engraving British Museum |
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| Agostino Carracci St Jerome ca. 1600-1602 engraving British Museum |
"One of Agostino's most documented and best-known works, this print was published shortly after his death in an unfinished state, later being completed and reissued by Francesco Brizio. This second state lacks the saint's left leg, his cardinal's hat, left hand except for the third finger, and the lion is half-finished. There are six preparatory drawings for this print, which is thought to be Agostino's last before his death."
– curator's notes from the British Museum