To view works by Anne Vallayer-Coster, you can visit several museums. In France, the Musée du Louvre in Paris holds pieces by the artist. Other French^[2] museums with her work include the Musée des Beaux-Arts in Nantes, and the Musée Fabre in Montpellier. Outside France, collections can be found at the Art Gallery of New South Wales in Sydney, and the Musées Royaux des Beaux-Arts de Belgique in Brussels. In the United States, Vallayer-Coster's paintings are held in the collections of the National Gallery of Art in Washington, DC, and the Metropolitan Museum of Art in New York. These institutions provide opportunities to study her still lifes and other works.

Information regarding Anne Vallayer-Coster's prints is scarce. Printmaking of the 18th century served to disseminate images and information to a broader public, and was often a collaborative process. For instance, the brothers Jan and Egidius Sadeler produced prints of Jacopo Bassano's paintings, such as Annunciation to the Shepherds, increasing the painting's exposure. Similarly, Wallerant Vaillant created a mezzotint of Judith, after Guido Reni, around 1672. Prints were sometimes made after an artist's drawings, as well as paintings. Two volumes published in 1726 and 1728 contain prints of drawings by Watteau. These prints provide a record of Watteau's drawings, including those now lost. Some collectors altered drawings in their possession. Camille Groult, for example, was known to 'embellish' works.

Anne Vallayer-Coster's artistic practice involved the careful selection and application of materials to achieve specific visual effects. Like many artists of her time, she would have been concerned with the formal qualities of her chosen media. Vallayer-Coster worked primarily with oil paints, a medium that allowed for a wide range of effects through varied application. The choice of oil paint itself influenced the character of her work, as the qualities of oil affect how colours appear. The same pigment will present differently depending on whether it is used in watercolour or oil. Artists of the period often sought to emulate the techniques of earlier masters, but the precise duplication of their methods was difficult because of subtle differences in materials available. The artist's individual touch also played a significant role, as no two artists use colour material in exactly the same manner. The very choice of material is conditioned by the effect the artist intends to achieve.

It is difficult to identify direct artistic descendants of Anne Vallayer-Coster. Art-historical studies tend to focus on the influence of seventeenth-century Dutch painters such as Hals, Vermeer, Ruisdael, and Rembrandt. According to Harold Bloom's "anxiety of influence" theory, artists respond to the art of their forerunners through a process of appropriation. Some scholars have noted similarities between Vallayer-Coster and later artists. For example, the still lifes of Anne Bremer, a San Francisco artist, have been compared to those of Henri Fantin-Latour, as well as John La Farge and J. Alden Weir. Fantin-Latour is also seen as transposing Vermeer's "Lacemaker" in his work. Additionally, the interiors of Danish artists Carl Holsøe and Vilhelm Hammershøi evoke Vermeer, with their simple compositions and silvery light. These artists, along with Christoffer Wilhelm Eckersberg and Whistler, created quiet domestic scenes that suggest reflection and repose.

It is difficult to name one single work as Anne Vallayer-Coster's 'most famous', as her notability rests on her collective artistic output and skill, particularly within the genre of still life^[2]. She gained recognition in the late 18th century for her exceptional ability to depict a variety of objects, from flowers and fruit to musical instruments and scientific tools. Vallayer-Coster's paintings often feature complex arrangements, careful attention to detail, and a mastery of colour and texture. These qualities made her popular among collectors and at the French^[2] Royal court. Rather than one specific piece, it is her innovative approach to still life, elevating it to a higher status, that defines her contribution to art history.

Anne Vallayer-Coster is known for her still lifes, which feature precisely observed surfaces of vegetables, flowers, game, and musical instruments. Her attention to material properties in these works led to comparisons with Jean-Baptiste-Siméon Chardin.