by well-known promoters of modernism such as Roger Fry. Most notable in his collection was Kandinsky's abstract painting Fragment for Composition VII, of 1912, which was in Leeds and on display at the Leeds Arts Club in 1913. He also owned Paul Gauguin's celebrated work "The Vision After the Sermon". According to Patrick Heron, Kandinsky even visited the Arts Club in Leeds before the First World War. Rutter initially had plans to create a modern art collection at the Leeds City Art Gallery, but had been frustrated in this aim by "boorish" local councillors. He co-founded the Leeds Art Collections Fund with Sadler, to help acquisitions and shows, among them, the seminal show in June 1913 of Post-Impressionism held at the Arts Club, with works by Cézanne, Gauguin, Serusier, Kandinsky, Picasso, Van Gogh, Pissarro, Anne Estelle Rice, Ethel Wright and others, lent by Sadler, Rutter and A. M. Daniel, the Lord Mayor of Scarborough. The discussions there about contemporary art, and the presence of Rutter, had a significant influence on the thinking of Herbert Read (1893–1968), who turned 20 in December 1913. Legacy The influence of art the Arts Club extended into later institutions in London. When Alfred Orage and Holbrook Jackson left Leeds in 1906 they moved to London and began editing the weekly cultural and political journal The New Age. As Tom Steele has argued, this was a self-conscious attempt to expand the reach of the philosophy developed at the Leeds Arts Club to a national audience. Under Orage and Jackson The New Age became, in Steele's words, 'the most influential journal of literature and politics in the country, with regular articles from established writers like G.K. Chesterton, George Bernard Shaw, Hilaire Belloc and Arnold Bennett, reviewing from Ezra Pound and Herbert Read, art criticism and theory from T.E. Hulme and illustrations from Wyndham Lewis, Jacob Epstein and others. It was the cradle of the modern avant-garde in Britain.' A number of these writers had given lectures at the Leeds Arts Club previously – or, like Read, were members – and Steele's argument is that the lively cultural debates that took place at the Leeds Arts Club under Orage and Jackson were effectively continued in the pages of The New Age. The Leeds Arts Club also became the model for Alfred Orage to establish a new arts club in 1906, this time in London, under the name of