This study examines the Italian activity of Barthélemy Prieur (Berzieux, ca. 1536 – Paris, 1611), one of the most important French sculptors of the late 16th and early 17th century. In the service of Henry IV of Bourbon and best known for his small bronzes and various monuments in Paris, before returning to France in 1571 the artist was documented as living in Turin, where from October 1564 he worked as a sculptor to Emanuele Filiberto of Savoy. Information prior to this assignment is currently lacking. On the basis of a theory advanced by Anthony Radcliffe (1993), according to the most recent studies Prieur may be identified as a Roman companion of Ponce Jacquiot, the “Bartolomeo francese” mentioned by Giovanni Battista Armenini in his De' veri precetti della pittura (1587), although this hypothesis has not yet been corroborated by any archival or figurative evidence. Returning again to the bibliography and a more in-depth analysis of his works, this paper aims to assess the present state of research on the sculptor, with an overview of his artistic production and a more attentive examination of what has been neglected up until now. In the absence of any archival information or literary sources, stylistic analysis leads to the identification of a group of sculptures resembling his work distributed between Rome and Turin which, in addition to enriching the sculptor's oeuvre and possible relations with Italian artistic and cultural circles, represents an essential first step in shedding light on chronologies yet to be investigated.