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| François Perrier Apollo Belvedere (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier The Arrotino (antique statue now in the Uffizi, Florence) 1638 etching Hamburger Kunsthalle |
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| François Perrier The Borghese Gladiator (antique statue now in the Louvre, Paris) 1638 etching Hamburger Kunsthalle |
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| François Perrier Commodus as Hercules (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier The Giustiniani Minerva (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier The Laocoön (antique statue group now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier The Ludovisi Mars (antique statue now in Museo delle Terme, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Equestrian Marcus Aurelius (antique statue now in the Capitoline Museum, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Meleager (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Niobid Group - Niobe with Daughter (from antique statue group now in the Uffizi, Florence) 1638 etching Hamburger Kunsthalle |
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| François Perrier Niobid Group - Daughter of Niobe (from antique statue group now in the Uffizi, Florence) 1638 etching Hamburger Kunsthalle |
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| François Perrier Niobid Group - Son of Niobe (from antique statue group now in the Uffizi, Florence) 1638 etching Philadelphia Museum of Art |
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| François Perrier Paetus and Arria (antique statue group now in Museo delle Terme, Rome) 1638 etching Hamburger-Kunsthalle |
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| François Perrier Papirius (antique statue group now in Museo delle Terme, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Standing Venus (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Venus Felix (antique statue now in the Vatican Museums, Rome) 1638 etching Hamburger Kunsthalle |
" . . . the earliest illustrated volume to be deliberately restricted to the finest antique sculpture was not published until 1638. This consisted of a hundred prints of fewer than a hundred statues, together with one modern one (Michelangelo's Moses) and was the work of the French artist François Perrier. It was a great success, and a companion volume of antique reliefs appeared in 1645. The idea was imitated by other artists and publishers later in the seventeenth century, most notably by Jan de Bisschop, Sandrart and Bartoli, and, in the late eighteenth century, by Francesco Piranesi; but Perrier's books were cheap, frequently reprinted and were probably more popular than these rival and superior volumes. As late as the 1820s Flaxman was referring his students at the Royal Academy to Perrier, and the presence of a statue in his anthology was likely to establish or confirm a reputation in a way that had not been possible in the earlier, less restrictive compilations."
– Francis Haskell and Nicholas Penny, Taste and the Antique: the Lure of Classical Sculpture (Yale University Press, 1981)