Tobias Vernon knows a thing or two about interesting objects. As the founder of gallery and design studio, 8 Holland Street, which since its launch in 2018 has grown to encompass three outposts - the original shop in Kensington, another much larger space in St James’s Park and a further gallery and guest house in Bath - he is an expert at sourcing beautiful things, as well as curation and interior design. “We showcase a mix of mainly British and European twentieth century pieces, plus modern and contemporary artworks, ceramics, rare textiles and lighting, and from day one, the ethos was to have a space that wasn't hierarchical, as some galleries are,” he explains. “We have fine collectibles alongside found objects and completely random pieces. I always think that juxtaposition makes everything more approachable.”
A busy schedule means that Tobias divides his time between his London flat and a tiny cottage in Mells, a village just south of Bath. “I discovered it one weekend when I was cycling down an old railway and just fell in love,” he says. “There’s a real sense of community and although it’s incredibly beautiful, it's not too swanky, which was a draw for me.” The property, which has been his haven for the last five years, is a two up, two down workers cottage that was once a bit of a wreck. “The outside is pretty, but the inside was like a dungeon,” he laughs. “I didn't have lots of time to spend on it, so I just painted out the Magnolia, covered the faux vinyl in the kitchen with green rubber flooring, stuck some coir down in the other rooms, then painted the kitchen orange. Even though it was minimal effort, I'm not usually that motivated but I knew it was an amazing escape where I could create some headspace.”
Because of the cottage’s diminutive size, it was, he says, easy to fill and he discovered one of his most cherished objects at the flea market in nearby Shepton Mallet. “I found this collection of fruit - a carrot, an aubergine and I think it’s a lemon - but then there was this bunch of bananas,” he muses. “They're possibly 1950s, probably English or French, and I don't actually like the others that much, but I had to buy the lot. I kept the rest as I couldn't throw them out, but they're not as successful as the bananas, which take pride of place. Now, without them the space would be so lacking. I think it's because they’re so jolly – they really make me smile.”
Beyond the kitchen, more posters, prints and artworks jostle for space on every wall. “I have so many that I'd never framed, so I got them done and in less than three hours, shoved them up,” says Tobias. Some are propped up casually, including a painting by British artist Steven Chambers which sits on the frame of his bed. “I bought it about a year ago at auction having discovered his work through a family friend,” he says. “It’s called That Hideous Sleep and the colours aren’t a palette I’d usually enjoy, but I'm drawn to the emerald green, the orangey red and the harlequin bedspread, which is the only pattern in what’s quite a pared down painting. I love the weird symbols: the man asleep in this peculiar room, his shoes, socks and top on the floor, so it looks like he's may have gone to bed quite quickly. Then there’s the slightly sinister knife, and the table is empty – it all really intrigues me.” Originally destined for London, the piece ended up in the cottage and has been there ever since. “You can see a little sliver of an etching by another artist I love called Ian McKeever, which hangs just behind. I enjoy them together, so they’ll stay a few more years.”
In comparison to the sizeable painting, the next object that Tobias holds dear is a small vessel, bought from Francis Gallery in Bath. “Rosa Park is the co-founder of Cereal magazine, and also the gallery director,” he explains. “She's been such an avid fan of 8 Holland Street and when we opened in Bath, she would always come in on a Saturday.” It was in her minimal space that he discovered the little bowl, turned from a single piece of brass. “It's incredibly heavy and has an exquisite little rim. I don't like new brass, but this has a perfect patina and it sits in your palm. I’m usually attracted to massive, impractical objects so this is probably the smallest thing I'd like in my home - any smaller, and it shifts from object to trinket. But this still has presence, so it definitely struck a chord.”
Another treasured piece is an 1980s gouache painting of Porthmeor Beach in St Ives, by Rachel Nicholson, the daughter of artists Ben Nicholson and Barbara Hepworth. “I grew up around there, so there are many memories, and as kids, we’d always hang out at the beach,” he recalls. “It's recognisable, but I think there's creative license. Lots of people don’t like blue and green, but I do and I love the sea because I know it’s only really like that for two days of the year. The rugged fields, the coastline, the perfect beach and the washiness of the sky - it's beautifully harmonious. This actually sits on the windowsill in my kitchen and hides an old BT socket,” he laughs, “But nevertheless it means a lot to me.”
Continuing the blue theme, a TOAST earthenware plate, hand-thrown by artisans at Poterie Barbotine in Aubagne in southern France is an object that also caught Tobias’s eye. “It’s generous, so it feels more like a charger and I was pulled in by the intensity of the blue. It’s not a colour I have a lot of in my house, and in comparison to most of my ceramics which are quite rustic and beaten up, this feels glazed and ‘complete’. In the winter, if it was miserable outside, I feel it would thwart the grey. It’s not like anything else in my cottage, and that’s exactly why I love it.”
Tobias wears the TOAST Arlo Garment Dyed Herringbone Jacket and Theo Organic Cotton Short Sleeve Tee. The Poterie Barbotine Marbled Plate also features.
Words by Claudia Baillie.
Photography by India Hobson.
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