The Masterworks Museum has as its collecting mandate, the acquisition of art about Bermuda. In its exhibition showing now, Multiplicity, Studies, Series and Prints in the Masterworks Collection, a selection from that collection is on show with all its multiplicity, meaning each individual artist is represented by more than a single work of art.

Indeed, some of the collection’s most illustrious artists are on show, each with multiple works. For example, Masterworks is showing three Winslow Homer (1836-1910) Bermuda watercolours and three Bermuda works by Georgia O’Keefe (1887-1986) as well.

There are 18 artists represented in the exhibition, each with 18 different personal styles from realism, to cubism, expressionism, abstraction, not to mention all its different technical aspects. All things considered and despite the variations, the show hangs together beautifully, indeed it is arranged with sensitivity and skill.

The exhibition is curated by Sara Thom, Masterworks’ curatorial researcher. The exhibition is generously supported by the Christian Humann Foundation.

Years ago, as an art student in New England and New York, I became aware that many American artists and even other nationals had travelled to Bermuda to make art. It crossed my mind that it would be a good thing if these works could be exhibited in Bermuda, but that wish was quickly dismissed as impossible. After all, there was at that time, no suitable art facility existing in Bermuda.

But Tom Butterfield, Masterworks’ founder, seemingly never learnt the word impossible. He is to be commended for achieving the impossible.

By the early 20th century, Bermuda had become a notable art colony, with several overseas artists becoming regular seasonal residents. Others came for several months on a fairly regular basis, and for a brief period in the 1920s they even became organised into what became known as the Calabash Club which was situated on Queen Street in a building that was only recently demolished.

I knew the Masterworks collection had several paintings by Albert Gleizes (1881-1953), nevertheless, I was surprised to see four small cubist paintings, all depicting Bermuda’s Government House.

It seems the Gleizes, during their 1917 visit, stayed in the Hamilton Hotel and these four paintings depict the view from their hotel window. Today, there is a similar view from the offices of the Bermuda National Gallery. City Hall is built on the site of that historic hotel.

Albert Gleizes, was an early French cubist who in 1912, along with Jean Metzinger, co-authored the first treaty on cubism. During the First World War, after national service, he spent four years in New York. During that time, he played an important role in making American artists aware of modern European art.

Beyond Gleizes, along the east wall, there is on exhibit paintings by three lesser known artists, including George Ault (1891-1948), Renyolds Beal (1866-1948), and Henry Webster Rice (1853-1934).

Ault was stylistically a Precisionist, meaning his paintings were characterised by hard edges and flat planes. He was working in Bermuda as early as 1922.

Reynolds Beal’s approach to painting has been described as Impressionist, which seems generally accurate; however his Bermuda paintings are more expressionist. He was here in 1940, during the Second World War, when Bermuda was deeply involved in the Battle of the Atlantic. He served in the 603 Engineering Corp of the US Army during that war and at that time he was described as an American Van Gogh.

Henry Webster Rice, artist and educator, was part of a circle of American artists devoted to plein air painting. He first visited Bermuda in 1911. Thereafter, he was a frequent visitor until his death in 1934.

Two large, abstract, highly complex prints by well-known New York artist Frank Stella (1936-2024) dominate the north wall of the Butterfield Gallery. Both are titled Bermuda Petrel. Being prints, they are essentially identical and intentionally multiple.

It seems that Stella never visited Bermuda, but he did create in the 1970s an abstract series of paintings and prints on multiple bird species, known as the Indian and Exotic Bird Series.

These two prints were produced by Tyler Graphics, the foremost printmaking studio, possibly in the world. It flourished from 1974 onwards. The studio is the inspiration of Kenneth Tyler, master printmaker. Tyler was no stranger to Bermuda. Indeed, he was heavily involved in Into Print, an original print exhibition at the Bermuda National Gallery in 1995.

Near by are two works by Jennifer Bartlett (1941-2022); a well-respected New York artist who visited Bermuda in 1998 and 1999. One work is in pastel, while the other is in watercolour. Both are in her ongoing house series. The pastels is a night scene, whereas the watercolour is bright, colourful, obviously a day scene.

The Masterworks’ Bartletts were made while visiting Bermuda The watercolour was purchased, while the pastel was gifted to Masterworks by Nancy and Dick Valentine.

Neighbouring Bartlett’s two houses are three works by Edwina Sandys (1938-), granddaughter of Winston Churchill. All three are on the theme of the Biblical story of Eve’s temptation and sinful fall. Ms Sandys exhibited previously at Masterworks in 1999.

Sandys has on show two collages that are influenced by ancient Minoan art from Crete. The third work is a maquette for a large sculpture that today is located in the Odette Sculpture Park in Windsor, Ontario.

Houghton Cranford Smith (1887-1983) was in Bermuda for several months in 1929. This was when his Bermuda Cottage series was painted. His work is colourful, clear-cut and with a Surreal quality of light.

Several works by Bermudians come next. First there are two small oils of horses and carriages by Otto Trott. What is striking about the two, is the character of the horses. He got the pose right, possibly with the help of pioneer photographer, Eadweard Muybridge, who was noted for his work on animal and human locomotion.

Vaughn Evans’s woodcuts come next. Note especially his self-portrait. Vaughn is noted especially for woodcuts, which in turn are influenced by German Expressionist woodcuts, in their characteristic rawness.

At this junction in the exhibit, there is a big jump back into the early 19th century with two hand-tinted lithographs by Thomas Driver, an Englishman who lived in Bermuda for many years beginning in 1814. The prints date from 1823. One print shows a view of the Naval hospital at Dockyard. the other is of Hamilton Harbour.

Lithography is that a chemically complex process was invented by Alois Senefelder, a German in 1796. Simply put, it is because oil and water do not mix, however, the process is not all that simple.

Considering works by Bermudians, please see the May Middleton watercolours exhibit, located on the Upper Mezzanine. These are Masterworks’ latest acquisitions. They are remarkably fresh and colourful, despite their age.

Next is a print by Sir Howard Hodgkin called Red Bermudas. It is based on Hodgkin seeing someone in New York’s Central Park wearing red Bermuda shorts. Hodgkin never visited Bermuda. This piece is an odd one out, in that Hodgkin is represented with only this single work.

The exhibition ends with a series of six photographs of Bermuda by Karl Struss. I understand that three have been more recently developed from original Struss negatives, but three are platinum prints made by Struss himself.

The platinum print is a process invented in 1873 and noted for being mat with a rich tonal range. It is notably stable, meaning it does not fade.

Struss first came to Bermuda in1912 and fall in love with its pictorial potential. By 1914, he was employed by the Bermuda Trade Development Board as a photographer in the production tourist guide books.

This is an important exhibition, in that it exhibits some of Masterworks’ biggest guns; works that only occasionally are available for viewing. This exhibit continues through October 18, 2025. It is highly recommended.