Philippe Hiquily


Heir of Gonzales and of “direct metal” technique, of primitive arts and surrealist experimentations, connoisseur of Calder’s mobiles and of Duchamp’s ready-mades, Hiquily was not predestined to be the furniture designer he’s known for today. Paradoxically, he owes his renown as one of the most acclaimed sculptors of the 20th century mostly to his pieces of furniture. The recent acquisition of a 1976 pedestal table by the Musée des Arts Décoratifs of Paris, as well as the high scores his works receive at auction sales contribute to his success. 


Hiquily’s pieces of furniture find their expression through three trends : design, artist’s furniture and decorative arts. 


From 1976 onward, Hilquily’s furniture becomes truly an artist’s furniture, truly part of Hilquily’s personal world where woman and erotism play a paramount role. 

But the most original aspect of Hiquily’s furniture is most certainly his experience with the decorative arts. As Pierre Cabane wrote, Hiquily doesn’t think of furniture as a “twisted version” of his work as a sculptor – even though he claims he is first and foremost a sculptor, not a furniture designer. Hiquily doesn’t transpose his sculptures into furniture, but develops a unique formal vocabulary with abstract and sensual shapes and volumes, without ever having recourse to bodily portrayal. 


From 1966, the famous interior designer Henri Samuel commissioned many pieces to Hiquily for his most prestigious collectors (Marie-Laure de Noailles, the Van Zuylen’s, Bobby Hass, the Rothschild’s, Louise de Vilmorin, Jacqueline Delubac...) and contributed to the success of Hiquily’s furniture. Those original and emblematic pieces have been chosen by Hiquily to create unique prints, presented now at the Galerie Yves Gastou.