Sponsors

Our corporate sponsors help us to mount ambitious exhibitions and to sustain and develop our programmes. Over the last two years we have continued to enjoy invaluable long-term associations while attracting companies new to Tate to work with us on a wide range of projects.

A highlight of 2002 was Ernst & Young's sponsorship of Matisse Picasso. We are grateful to them and to many others who have sponsored exhibitions, including Aviva for Constantin Brancusi; The British Land Company PLC for Gainsborough; UBS Warburg, sponsors of Lucian Freud and Cruel and Tender; and Barclays PLC, who supported Turner and Venice. In 2003, we marked the twentieth anniversary of the Turner Prize, and we are indebted to Channel 4, sponsor of the Prize since 19911.

In February 2004, Unilever and Tate won the Arts & Business Champion of the Year award for The Unilever Series. These major sculpture commissions for the Turbine Hall at Tate Modern would not have been possible without this partnership. Meanwhile, BT's commitment to Tate Online has helped achieve a string of prestigious awards for Tate's website.

We are delighted that in 2003-04, BP, a company with whom Tate has enjoyed a long and fruitful relationship, renewed their sponsorship of displays at Tate Britain. In Liverpool, the law firm DLA has sponsored displays, while Volkswagen UK has supported exhibitions and collaborative programmes. Our partnership with Egg for Tate & Egg Live in 2002 produced exciting experiments in performance at Tate Britain and Tate Modern.

We much appreciate our sponsors' backing of our education and community programmes. Tate & Lyle, Lloyd's of London and ICAP plc in London, and Rolls-Royce in Liverpool are among those who have helped us. Ernst & Young's sponsorship of Art of the Garden, just after the period covered by this report, linked us with the children's charity NCH, enabling a group of young people to produce an interactive animation for Tate Britain. Increasingly our sponsors enable us to serve a broad community in new and exciting ways.

Alongside our many sponsors, we enjoy the significant contribution of more than forty Corporate Members in London and Liverpool.

Donors

The Art Fund has in the last two years enabled us to purchase two paintings by Sir Anthony van Dyck, as well as major works by Georges Braque, Paula Rego and Rachel Whiteread. We are also grateful to The Henry Moore Foundation for their substantial support of Tate exhibitions and, in particular, of the sculpture programme at St Ives2.

Our donors support a wide range of activities at Tate. In 2003, for the first time, the Heritage Lottery Fund supported a significant purchase for the Tate Archive, enabling us to acquire the papers of John and Myfanwy Piper. We are grateful to The Paul Hamlyn Foundation for their generous contribution to our education programmes and to the Foyle Foundation for funding initiatives that widen access to the gallery in Liverpool. We are the only organisation outside the USA to be supported by the Henry Luce Foundation, which funds scholarship and the study of American art, and funded Barnett Newman at Tate Modern.

Legacies, bequests and gifts are important to Tate. Among those acquisitions entering the Collection partly or wholly through the generosity of individuals over the last two years are works by Georges Braque, Lucian Freud, Barbara Hepworth, Man Ray, Ben Nicholson and William Roberts.

In addition, a wide range of organised donors' groups supports both acquisitions and exhibitions. In 2003, several new groups of individuals supported Tate. These included the Frieze Art Fund, which enables Tate to buy works at the Frieze Art Fair in London, and the Film & Video Fund, which focuses on buying new works in this field. Over the past two years, Tate's International Council has supported Tate Britain's Wolfgang Tillmans exhibition and the purchase of a major sculpture by Rachel Whiteread. The American Fund for the Tate Gallery and individuals from the American Patrons of Tate have also contributed generously, bringing into the Tate Collection significant works by Carl Andre, Janet Cardiff, Roni Horn and the influential Mexican painter David Alfaro Siqueiros, among others. The new Latin American Acquisition Committee has supported the purchase of works by Sebastian Diaz Morales, Eugenio Dittborn and Gabriel Orozco.

Patrons

In January 2004, a major change in the structure of our Patrons schemes brought about the amalgamation of four groups - the Patrons Circle, the Patrons of New Art, the Patrons of British Art and the Associate Patrons - into a single body, the Tate Patrons. As we move into an exciting new era for our Patrons, Tate would like to acknowledge the many key works that the individual groups added to the Collection, and the impetus that they lent to initiatives such as the Turner Prize. Over the period covered by this report, we are indebted to the Patrons of New Art and the Patrons of New Art Special Purchase Fund for works by Phil Collins, Dan Hayes, Pierre Huyghe, Shirin Neshat, Pipilotti Rist, George Shaw and Gary Webb, and to the Patrons of British Art for works by Kenneth Armitage, Ben Nicholson and Ruskin Spear, and for their contribution to our purchase of Sir Anthony van Dyck's Portrait of Sir William Killigrew 1638.

Members

In the last two years we have worked hard to grow Tate Membership and numbers have increased from 43,000 to 54,000. This has been achieved through more effective recruitment techniques, combined with a successful drive to convert Members to Direct Debit, in order to reduce attrition. By the end of the period seventy percent of Members were paying for their membership by Direct Debit.

The growth in numbers, combined with a subscription increase in April 2002, resulted in a significant rise in income, enabling Members to commit over £1 million to Tate for the first time in 2002-03.

This money was put towards a range of acquisitions and projects. In 2003, Members purchased Evoë 3, the work that marked the climax of the Bridget Riley exhibition, which they also sponsored. They supported Eva Hesse at Tate Modern, followed in spring 2004 by Donald Judd. In Liverpool, Members sponsored the highly successful exhibition Shopping and, at Tate St Ives, the Barbara Hepworth Centenary exhibition, together with projects supported by local Members. Other significant acquisitions supported by Members included Georges Braque's The Billiard Table 1945, and Sir Anthony van Dyck's Portrait of Mary Hill, Lady Killigrew 1638.

Tate Enterprises Ltd

Tate Enterprises is a wholly owned trading subsidiary of Tate, and covenants all its profits each year to the Trustees. It has two divisions, Catering and Enterprises, which includes retail, publishing, product development, external sales and licensing. The combined net profit was £5.1 million in 2002-03 and £3.8 million in 2003-04.

TATE Enterprises

The partnership between publishing, product and retail within the company continues to be very successful. Tate shops receive tailor-made catalogues and products for every exhibition, and Tate books reach a wide and appreciative audience. Exhibiting artists are often involved in making products or prints, and Olafur Eliasson's raindrop caught in a transparent cube was especially successful at Tate Modern over Christmas 2003. Tate's retailers and product developers work with curators and designers to refocus the shops for new exhibitions, so that repeat visitors find something fresh. For first-time visitors there is a range of introductory books and stylish merchandise designed for each gallery.

Tate Publishing operates as a trade publishing house and distributes its books all over the world. Almost half its income in 2003-04 came from external sales, with a growing market in the Far East and a new distributor tripling sales in USA. When Tate exhibitions travel, an excellent market for books and products is created alongside, while online sales reach individuals from Seoul to Reykjavik. In 2002, Tate Publishing was the first winner of the Art Newspaper/AXA Art Exhibition Catalogue Award, for American Sublime.

The Tate brand is occasionally licensed to appropriate partners on a royalty basis. Between 2002 and 2004 the successful B&Q paints licence was extended to include wallpaper and frames, with Tate posters also sold directly to B&Q. This licence has brought income to Tate and helps raise awareness of the gallery among a wider public.

Tate Catering

Tate is exceptional among museums in running catering as part of its trading subsidiary rather than through a franchise. The busiest ever year was 2002, thanks to some very popular exhibitions, and more than one million people visited our restaurants, cafés and coffee bars in 2003.

In 2002, Tate Catering's remit was extended, and it now operates at all four galleries. It has also built a successful special events catering company, Catered by Tate, which has managed hundreds of non-Tate events at the galleries and beyond.

Footnotes

1. Details of all exhibitions may be found in the Tate Britain, Tate Modern, Tate Liverpool and Tate St Ives sections of this report.
2. Details of acquisitions may be found in the Collection section of this report