Pair of slim marble topped mahogany chests with original brass fittings.

Circa 1950.

H 119cm x W 49cm x D 33cm

Set of six Fonseca Teak Dining Chairs by John Herbert for Younger. Re-polished and upholstered in a textured cream fabric.

 U.K circa 1960.

H 75cm (SH 46cmx W 51cm x D 46cm

French marble top Bouillotte table on tapered legs with original brass gallery to the top.

 Circa 1920.

H 74cm x W 75/120cm x D 75cm

Pair of Tulip Candlesticks by Kronen, Denmark. Silver plated and in good condition.

 Circa 1970.

H 22cm x W 10cm x D 7cm

French farm table in cherrywood with single drawer on square legs.

 Circa 1900.

 H 76cm (AH 62.5cm) x W 301cm x D 98cm

French 19th century chaise lounge in original paint finish with carved decoration in the form of swan necks. Deconstructed ready for a choice of fabric.

 France circa 1880.

H 91cm (SH 43cm) x W 192cm x D 72cm

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