A new, purpose-built museum, the 1000-strong Bermudiana Collection of repatriated Bermuda art by such internationally artists as Winslow Homer, Georgia O'Keefe, Albert Gleizes and George Ault; the Eliot O'Hara Collection; established programmes such as 'Artists in the Gardens' and artist-in-residence; calendars; the hogge and onion projects, a CD; the beautiful 'The Masterworks Bermudiana Collection' book by Patricia Calnan; special edition china; capital projects and imaginative fund-raisers, and even a commemorative wine label.

These are just some of the many highlights in the proud, 20-year history of the Masterworks Foundation — and certainly cause for celebration, for what started out as nothing more than a concept in director Tom Butterfield's head has now become a Royally-recognised entity which has successfully raised millions of dollars to repatriate and acquire its still-growing collection of Bermuda-related art for the enjoyment of present and future generations.

Public appreciation of the Foundation's aims and objectives, however, took time, as Mr. Butterfield admits.

"Twenty years ago when we repatriated our first 12 works and put them on a wall, questions were asked, so we had to set about encouraging the general public's participation. You can't just hang a painting on a wall and hope that people will come. You have to generate some enthusiasm and interest in the process," he says.

Thus began what could be termed 'a voyage of limitless imagination' to do just that, and today the director believes the mission has been successful, with turnout at exhibitions, workshops and more, as well as financial backing and support, showing no signs of slowing down, and increasingly reflecting a complete cross section of the community.

"Through the art, and the understanding of our environment, we are able to open different receptors a little bit better, and be more welcoming to others, and at the same time be better world travellers when visiting other cultures. It is a wonderful symbiosis," Mr. Butterfield says.

As with any art collection, the Foundation has always faced the issue of quantity versus quality with every purchase it has made, but the director credits his mother with steering him right at the outset.

"In 1987 we had a choice. We had borrowed some money to acquire either one of Georgia O'Keefe's pieces, or 12 works by mostly known artists which covered a fuller spectrum — oils, watercolours, pencil drawings — spanning 70 years of artists who had visited Bermuda," Mr. Butterfield recalls. "I was wrestling with the idea of buying one piece by a well known individual and hanging my reputation on that, but my mother said, 'You have to have a broader impression'. It was good advice."

And also fortuitous, for among those 12 works was a pencil drawing by George Ault. Last year, thanks to a generous Bermudian donor, the Foundation was able to purchase the large oil painting for which the sketch was made.

"However, the painting is not just a large oil. It is also the finest example of Precisionism of Bermuda available that we will ever be able to find. It is a true masterpiece," Mr. Butterfield says.

Art finds its way into the Masterworks Foundation Collection via several routes, all of it vetted by a Collections committee, which then makes recommendations to the Board. The routes include: a gift from an estate; individual donation; group donation; gift of the artist, particularly an artist-in-residence; matching donations, where the Foundation raises half the cost and the artist donates the other half; donated gifts of collections. Of the latter, Mr. Butterfield mentions the Eliot O'Hara Trust which so approved of what the Foundation was doing that in 1990 its trustees decided the organisation was the correct repository for seven of the artist's ten Bermuda paintings.

Like all registered charities, funding for everything from administration, to maintenance, building and purchases of art is an ever-present concern, and while Masterworks has done well to go beyond merely staying afloat to make its dream reality, fund-raising in today's world is a constant challenge — particularly in a small island like Bermuda, where competition for the donor dollar is getting stiffer, and capital campaigns are on the increase.

No longer can an organisation afford to be complacent, or assume that the one-time donor will become a "regular". Some, of course, will question the importance of supporting art versus a multitude of worthy health and social causes, and even among art supporters there are those who prefer donating to bricks and mortar rather than to art itself.

"It is important to understand, and what is somewhat misunderstood by many of us, including myself until recently, is that the Museum has had four to five campaigns going simultaneously, and we have to accept that the individual has the opportunity to choose the campaign to which he or she wants to donate: Is it education? Bricks and mortar? The collection? Administration? A new campaign? These are all facets required to run a museum, but it is the individual who decides to which area he or she is most comfortable making a donation."

Certainly, no one could accuse the Foundation, and particularly Mr. Butterfield, of a lack of imagination, initiative or entrepreneurship in devising new ways to attract present and future donors to its cause.

Everything from gala dinners to the director personally running first marathons and now cycling thousands of sponsored miles, have become part of the yearly calendar.

Special events which had modest beginnings, like Art in the Gardens (formerly Artists Up... Front Street) have blossomed.

Exhibitions, competitions, art camps, workshops, auctions, including the hugely popular hand-decorated fibreglass hogges and Bermuda onions, calendars, 'Art Smart'- a book for schools — and cruises are just a few of the fun ways participants of all ages and from all walks of life have contributed financially and benefitted educationally.

Then there are the corporate Then there are the corporate sponsors, like the Bank of Butterfield, with whom the Foundation has joined forces on various art-related projects, and whose support has been consistent and invaluable.

Making all of this tick, of course, involves a great deal of unglamorous backroom work performed by a dedicated and loyal staff (Elizabeth Walker-Sobhani, Yvona Vujacic, Kate Waters, Barbara Imboden, Judy Howells, Julie Butler and Carrie Zenti) who have also "caught the vision", and for whom Mr. Butterfield and assistant to the director Elise Outerbridge, who first joined Masterworks as a volunteer in 1987 before signing on permanently in 1990, have the highest praise.

From its initial, nomadic existence to its permanent home in the Botanical Gardens, Masterworks has hewn an inspiring path through dogged persistence, patience and passion against sometimes difficult odds and the inevitable naysayers, which is why there is such joy surrounding the 20-year milestone.

"Make no mistake, it has taken a lot of hard work, and a lot of ridicule, but despite the criticism and being called 'neophytes', the most gratifying thing is that we have stuck to our mission and our guns," Mrs. Outerbridge says.

"Believing so strongly that what we are doing will eventually be a legacy for all of Bermuda is what allows us to continue."

Of course, the 'Big Present' marking two decades of progress will be the opening next March of the Museum of Bermuda Art, a purpose-built gallery adjoining the present space in the historic old Arrowroot Factory.

Designed by The Studio, it is being constructed to the highest standards, with special, state-of-the-art lighting, temperature control and storage facilities.

The building will also include a members' lounge, classroom, bathrooms, a kitchen, library and more. It will also incorporate a large, preserved former water tank whose graceful internal arches are an intriguing feature, and which will doubtless be the scene of interesting uses and events.

"Whether you have a museum, a gallery or a theatre, you are in the hospitality business," Mr. Butterfield says.

"Some have a high-end accent, while others are to enthrall. Our ambition for the new museum is to be all of that. We will have some unbelievable exhibitions, and continue our 'Art in the Gardens' series in the Richard Faries Gallery."

Asked what he felt were the Foundation's most outstanding achievements in a long history of experiment, innovation and success, the director did not hesitate.

"The willingness to risk, and the sense that future generations will have something to look forward to, that they can identify with and inherit. That refreshes the spirit."