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| attributed to Giovanni Antonio Burrini Capturing a Dragon (or Salamander) with a Net before 1727 drawing British Museum |
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| attributed to Giovanni Antonio Burrini Study for a Papal Saint before 1727 drawing Art Institute of Chicago |
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| Giovanni Antonio Burrini Female Allegorical Figure in Clouds with Putti ca. 1695-1700 drawing Rijksmuseum, Amsterdam |
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| attributed to Giovanni Antonio Burrini Two Personifications ca. 1680-1700 drawing Royal Collection, Windsor |
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| attributed to Giovanni Antonio Burrini Allegory of Fortitude ca. 1700 drawing Royal Collection, Windsor |
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| Giovanni Antonio Burrini Head of a Monk before 1727 drawing Musée du Louvre |
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| attributed to Giovanni Antonio Burrini The Virgin presenting a Scapular to St Hyacinth before 1727 drawing Musée du Louvre |
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| Giovanni Antonio Burrini Madonna of the Immaculate Conception before 1727 drawing Scottish National Gallery, Edinburgh |
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| Giovanni Antonio Burrini The Resurrection before 1727 drawing British Museum |
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| Giovanni Antonio Burrini Stoning of Stephen before 1727 drawing Musée du Louvre |
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| Giovanni Antonio Burrini The Taking of Christ before 1727 drawing Rijksmuseum, Amsterdam |
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| attributed to Giovanni Antonio Burrini Descent from the Cross ca. 1720 drawing British Museum |
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| Giovanni Antonio Burrini Descent from the Cross ca. 1720 drawing Metropolitan Museum of Art, New York |
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| Giovanni Antonio Burrini Female Martyr in Clouds before 1727 drawing Museo del Prado, Madrid |
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| Giovanni Antonio Burrini A Disputation before 1727 drawing Philadelphia Museum of Art |
"[Lorenzo] Pasinelli had the good fortune to inherit, from [Domenico Maria] Canuti, an excellent master, a number of fine scholars, on the latter quitting Bologna. One of these was Gio. Antonio Burrini, who, while he retained his first master's manner, became attached, also, to the composition of Paolo, so much to the taste of Pasinelli. Indeed, he himself appeared naturally inclined to it, by the richness of his imagination, and his surprising eagerness and industry in his works. He devoted much time to Paolo Veronese, at Venice, often imitating him in those pictures which are referred to his first style. . . . Impelled at length by the cares of an increasing family to look for greater profits, he gave way by degrees to his facility of hand, and formed a second style, which, owing to the indolence of human nature, obtained more disciples than his first."
– Luigi Lanzi, The History of Painting in Italy, translated by Thomas Roscoe (London: Bohn, 1847)