Rating and value of Henryk Kossowski's sculptures, bronzes and marbles

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Rating and value of the artist Henri Kossowski

Considered one of the masters of Polish animal sculpture, Henryk II Kossowski was recognized during his lifetime. He followed in the artistic vein of 19th-century animal sculptors. His legacy therefore consists mainly of sculptures made from several types of material, especially bronze.

At present, the prices of his works are rising recurrently at auctioneers' gavels. His sculptures are prized above all by Polish and French buyers, and the price at which they sell on the art market ranges from €200 to €14,400, a considerable delta, which nevertheless speaks volumes about the value that can be attributed to Henri Kossowski's works.

One of his bronze sculptures, Figure of a Girl feeding Chickens, dating from 1900, sold for €14,400 while it was estimated at €12,800 to €16,000.

Order of value from a simple work to the most prestigious

Style and technique of the artist Henri Kossowski

Henri II Kossowski (1855 - 1921) was a sculptor of Polish origin, active in France at the end of the 19th century and specializing in decorative and religious sculpture. He worked with a variety of materials, including marble for busts and official portraits, as well as bronze for statuettes, often distributed in editions by Parisian foundrymen.

He also used terracotta and plaster for preparatory models and certain decorative pieces. He uses polychromy on plaster and terracotta, which reinforces the naturalistic effect.

The modeling is highly detailed, with great attention paid to textures (hair, drapery, flesh). He takes particular care in rendering psychological expressions and attitudes. The finish is polished and smooth in marble and bronze, contrasting with more vibrant parts (hair, accessories).

We see the imprint of late 19th-century naturalistic realism, close to Carpeaux and Dalou. His portraits are often busts of politicians, religious figures and patrons of the arts. His religious subjects are statues and reliefs for churches and chapels (saints, Virgins, Christian allegories).

His allegorical and figurative subjects are idealized female figures, often associated with literary or poetic themes. His compositions are often balanced and often frontal, adapted to academic and official taste. He often uses hieratic postures for religious figures.

For busts, his treatment is classical, with truncated shoulders, and an emphasis on the head and gaze. His work bears witness to a strong interest in sculptural narrative, expressed through gestures, drapery and the treatment of accessories.

He is heir to the French academic tradition of the 19th century, marked by the demand for modelling and likeness. He is also close to naturalism, with its anatomical precision and attention to realistic detail.

He is influenced by the eclecticism of the late 19th century, oscillating between expressive realism and allegorical idealization. He frequently makes models in plaster or terracotta before moving on to marble or bronze.

He works with a fine chisel and gradine for marble, leaving polished surfaces and others more textured. He collaborates with foundrymen for bronze prints, according to Parisian Belle Époque standards.

The life of Henri II Kossowski   

Henri II Kossowski was born in Warsaw, Poland, then under Russian rule. He trained in the same city, before moving to Paris to perfect his skills. He entered the École des Beaux-Arts de Paris, where he was trained in the French academic tradition.

He was heir to a line of artists, since his father, Henri I Kossowski, was also a sculptor, which explains his precociousness and technical mastery. He settled in Paris in the 1870s and 1880s.

Kossowski made a name for himself at the Paris Salons, where he exhibited regularly. His first successes were naturalistic busts and statuettes, combining psychological realism with academic elegance.

He won several religious commissions for churches and institutions, confirming his reputation in this field. He also worked for a private clientele, producing bourgeois portraits and female allegories in marble and bronze.

His works were published by Parisian foundrymen, ensuring their distribution to collectors. He took an active part in the Universal Exhibitions of the late 19th century.

He favored the themes of virgins, saints and Christian allegories, which were destined for church decor. For portraits, he favored busts of notables, political figures and patrons.

For his decorative and allegorical sculptures, he featured idealized female figures, often imbued with Symbolist influences. He follows in the tradition of French naturalist academism, close to Carpeaux and Dalou.

He combines expressive realism (faces, anatomy) and decorative idealism with drapery and allegories. Kossowski belongs to the eclectic movement of the Belle Époque, between religious art, official portraiture and decorative sculpture.

He continued to exhibit and paint until the early 20th century. His work was marked by a fidelity to academic codes, while the avant-garde turned to Rodin and modernity. He died in Paris in 1921, leaving behind an important body of religious sculptures and portraits.

Market segmentation and artist rating

Edited bronzes are the most frequent segment at public sales. Subjects such as allegorical busts, idealized female figures and small religious scenes are common.

The range is between €1,500 and €6,000, depending on size, patina, founder and state of preservation. Editions by recognized founders (Susse, Siot-Decauville, etc.) add considerable value.

Original marbles are rarer and more sought-after, with commissioned busts or religious figures. Auctions are possible between €8,000 and €20,000, with higher peaks for monumental pieces or prestigious provenance.

As for terracottas and plasters, these are often preparatory models or decorative pieces. The lowest price range is between €800 and €3,000, depending on size and refinement of execution.

Collectors are increasingly interested in signed and dated terracottas. Monumental religious works, on the other hand, are rarely seen on the market, and often remain in churches or institutions. When they do appear, their value depends on format and the possibility of reinstallation.

The market segment is limited, but attractive to museums and specialized collectors. The artist's market value remains moderate, but consistent with that of all 19th-century academic sculptors.

The distribution of bronzes ensures a regular presence at sales, but limits their rarity, thus curbing price surges. Collectors are mainly interested in allegorical female busts and religious figures.

His market is comparable to that of other academic sculptors of the Belle Époque, such as Prosper d'Epinay, Jean Gautherin or Emmanuel Vallanis. The artist's works have a certain potential through the gradual rediscovery in sales specialized in 19th century sculpture and religious art.

Recognizing Henryk Kossowski's signature   

The artist signs " Kossowski " on his sculptures, most of the time. Copies do exist, however, which is why expertise is important. 

Knowing the value of a work 

If you happen to own a work by or after Henryk Kossowski, don't hesitate to request a free valuation using our form on our website.

A member of our team of experts and certified auctioneers will contact you promptly to provide you with an estimate of the market value of your work, as well as ad hoc information about it.

If you are considering selling your work, you will also be accompanied by our specialists in order to benefit from alternatives for selling it at the best possible price, taking into account market inclinations.