His process begins with Shou Sugi Ban, an ancient Japanese technique of charring wood. For Hendrik, this process is not a destructive force but a collaborative one that reveals the raw, primal texture of the material. The fire becomes a partner in creation, revealing a richness in the wood’s grain that was always there, waiting to be seen. Over this dark, scarred foundation, he lays delicate layers of Hanji paper, a material chosen for its history and remarkable resilience. The Hanji acts as a veil, softening the intensity and inviting a closer look. What the viewer sees is not just the paper, but the quiet, ghost-like impression of the burnt surface underneath. It’s a testament to the idea that our past, with all its imperfections, is always present and can be a source of unexpected beauty.

The recurring circles in Hendrik’s work are a personal symbol. They represent the endless cycles of life—the pain and the joy, the endings and the new beginnings. He believes true wholeness is not found in a perfect, linear path, but in our ability to embrace the full circle of our experience. Through this process, he hopes his pieces can offer a quiet space for contemplation, a reminder that even from chaos, something beautiful can emerge.

Size

300 × 200 × 30mm

His process begins with Shou Sugi Ban, an ancient Japanese technique of charring wood. For Hendrik, this process is not a destructive force but a collaborative one that reveals the raw, primal texture of the material. The fire becomes a partner in creation, revealing a richness in the wood’s grain that was always there, waiting to be seen. Over this dark, scarred foundation, he lays delicate layers of Hanji paper, a material chosen for its history and remarkable resilience. The Hanji acts as a veil, softening the intensity and inviting a closer look. What the viewer sees is not just the paper, but the quiet, ghost-like impression of the burnt surface underneath. It’s a testament to the idea that our past, with all its imperfections, is always present and can be a source of unexpected beauty.

The recurring circles in Hendrik’s work are a personal symbol. They represent the endless cycles of life—the pain and the joy, the endings and the new beginnings. He believes true wholeness is not found in a perfect, linear path, but in our ability to embrace the full circle of our experience. Through this process, he hopes his pieces can offer a quiet space for contemplation, a reminder that even from chaos, something beautiful can emerge.

Size
1685 × 1380 × 30mm

1930s Bauhaus desk in figured walnut attributed to Robert Slezak.

Chromed steel tube and walnut veneered wood.

Size

106cm L X 48cm d x 72cm high

A stunning Art Deco walnut occasional side table, made in England and dating from the 1930’s.

It is of superb quality with a stylish and useful design. The circular top is segmented into four figured walnut quarters, it has a thick edge and has four shelves that slide out from underneath. It stands on a thick column base that stands on a circular pedestal base and platform feet.

We have had this stripped and re-polished to a very high standard, the condition is superb throughout. The walnut grain patterns and colour tones are gorgeous.

Width – 61 cm , 24 inches

Depth – 61 cm , 24 inches

Height – 63 cm , 25 inches

SKU 12320

A magnificent pair of vintage leather and chrome ‘Kohinoor’ swivel armchairs by Howard Keith. They were made in England, and date from the 1960’s.

These are extremely comfortable, and are of exceptional quality. They are well padded and supportive, they swivel smoothly on beautiful splayed chrome bases.

An absolutely gorgeous antique Victorian carved walnut armchair, dating from around the 1860–1880 period.

This has a beautiful design with wonderful sweeping curves. It stands on a beautifully carved walnut base with porcelain casters. It has generous proportions beautifully scrolled arm rests and a well sprung frame that reclines back slightly. This was reupholstered fairly recently by the previous owners in a gorgeous gold damask fabric.

The condition is excellent for its age with only some extremely minor wear here and there. There is a little give in the sprung back rest, this could be tightened by an upholsterer if the fabric was stripped back, but it is comfortable and usable as it is.

Width – 30 inches , 76 cm
Depth – 38 inches, 97 cm
Height – 34 inches, 86 cm
Seat height – 16 inches , 41 cm

Mid-century floral still life oil on panel, signed and dated 1956 by Veronika Kerrdoja, Sweden, presented in its original Montparnasse frame.

Rare Louis Vuitton wardrobe hat trunk with original fitted interior, made in Paris, retailed in London’s Bond Street Maison featuring leather trim, brass hardware and rich patina.

61cm wide

53cm high

43cm deep

Modernist abstract still life by A. V. Arkel featuring geometric forms, layered colour and expressive brushwork, blending Cubist influence with depth.

42cm wide

34cm high

3cm deep

Atmospheric Neapolitan coastal scene depicting fishing boats on calm blue waters beneath sunlit cliffs, painted with fine detail and Mediterranean light.

45cm wide

39cm High

3.5cm deep