Written by Rebecca Higgins, Curatorial Researcher for the Herbert Read Project within the Leeds University Library Galleries.

Sir Herbert Read (1893-1968) is widely recognised as one of the leading advocates and interpreters of modern art in twentieth-century Britain.

His influential writing, including Art Now (1933), popularised new artistic movements from across Europe, such as Abstraction and Expressionism. He also helped to organise the London International Surrealist Exhibition in 1936, co-founded the Institute of Contemporary Arts in 1947 and served as a Trustee of the Tate Gallery from 1965.

Whilst Read’s academic legacy has been extensively studied, yet to be explored is how his position as champion of some of the most important artists of the last century led him to ‘accidentally’ acquire an enviable collection of approximately two hundred works of art.

Read maintained close friendships with artists including Barbara Hepworth, Henry Moore and Ben Nicholson and received numerous gifts and tokens of appreciation for supporting them through his writing. The result was a collection as impressive and multi-faceted as the man himself: spanning genres, techniques and artists from Pablo Picasso to a chimpanzee!

An image of nineteen small white typescript and handwritten labels for artworks. They read from left to right, downwards from the top of the image “Victor Pasmore – Construction”, “Barbara Hepworth, drawing”, “Max Ernst – Forest (1927)”, “Harold Liversidge – Composition”, “Harry Thubron”, “Naum Gabo”, “Stieger – Drawing”, “Paul Nash – A Café Scene”, “Alexander Calder”, “Maillol – Nude”, “Congden – Piazza San Marco”, “Bakic – Torso”, “Horseman”, “Alexander Calder – Mobile”, “J. Ridgewell”, “The Garden”, “Seaton Delaval” and “from Haiti”. One label is blank.
Artwork labels from a public display at Stonegrave House. Image credit: Leeds University Library.

Over the last ten months, I have been working on a funded project to research Herbert Read’s art collection. The Leeds University Libraries are in a unique position to study this subject: not only does Special Collections hold Herbert Read’s archive and personal library, but in 2017 the Galleries were presented with a bequest of 108 artworks by Read’s son, Benedict. It represents the largest portion of Read’s collection held in a public institution, and my role has involved delving into archival material to uncover the fascinating stories behind its creation.

Two major sources in this research have been Read’s own compilations of his collection. In 1963, he created for his insurers a catalogue of artworks held at his North Yorkshire home of Stonegrave. It details eighty-eight works by artists that read like a ‘Who’s Who’ of modern art: Pablo Picasso, Ben Nicholson, Paul Nash, Joan Miró, Henry Moore, Kurt Schwitters, Ruth Francken, Max Ernst, Patrick Heron, Barbara Hepworth, Naum Gabo and many more. Typed file cards of his collection supplement this catalogue – although confusion has sometimes been caused by the fact that Read liked to create his own names for the artworks!

title page of catalogue, blue pen and ink on white paper
Inside cover page of Herbert Read’s Catalogue of Paintings, Sculpture & Drawings, Stonegrave House, 1963. Image credit: Leeds University Library.
An image of pages 25 and 26 of Herbert Read’s catalogue of the artworks in his collection. Six artworks are handwritten into the notebook, in blue and black ink with pencil annotations. They are mostly written in the same format, with each entry depicting the artist, title, medium, date, measurements and inscriptions of the artworks. The left-hand page reads: “Barbara Hepworth, 70, Theatre sister (alternate title ‘Bust (Nurse)’ crossed out), Blue chalk and pencil drawing, 1948, 13 ¼ x 9 ½in, 75. 69, Concourse (in the Operating-theatre), pencil and oil, 1948, 14 x 10in, 100. 68, Drawing (abstract), Pencil and red gouache, 1941, 11 ½ x 9in, 75. The right-hand page reads: “Barbara Hepworth, 66, Single form, 1937, H: 31 ¼in, Holly wood, 200. 67, Pierced ironstone (mother and child), 1934, H: 4 ¼in (with base, 6 ½in), 50. Amulot, 1962, Bronze s&d, no 4/9, h 12 ins.
Pages 25 and 26 of Herbert Read’s Catalogue of Paintings, Sculpture & Drawings, Stonegrave House, showing the works Read owned by Barbara Hepworth, 1963. Image credit: Leeds University Library.

Correspondence from institutions around the world have also illuminated the high regard that numerous artists held Herbert Read in for his writing and support, which directly led to artworks entering his collection. Examples include: letters from Read to Jacob Kramer and Willi Baumeister thanking them for sending him drawings; letters to Read from Joan Miró and Hans Erni noting that they are sending him works in gratitude for texts Read wrote on them; and extensive correspondence between Read, Ben Nicholson, Paul Nash, Barbara Hepworth and Naum Gabo discussing the sending of artworks to Read as Christmas or birthday gifts.

The correspondence, and Herbert Read’s art collection as a whole, adds a new dimension to our understanding of the extensive international cultural network that Read created during his lifetime and that continues to the present day. This project has led me to archives in the UK, Germany, the USA and Canada and artworks previously in Read’s collection can be found everywhere from Leeds to London, Japan to New Zealand.

Herbert Read’s art collection was a unique and personal reflection of a man at the very heart of modern art: the man behind the Moderns.

To learn more about the stories behind Herbert Read’s art collection, you can visit the digital exhibition ‘Man Behind the Moderns: the Art Collection of Herbert Read’ here.