Margaret’s association with Sweetacres confectionery began in 1918, when a proud father, engaged Clark was engaged to supervise the installation of machinery at a new factory at Rosebery, took a moment to share his daughter’s talents to owner James Stedman.  Margaret was promptly engaged to create decorative elements for their exclusive line of boxed chocolates —quite a coup for the 16-year-old aspiring artist! Sweetacres also sponsored Margaret to attend the prestigious Julian Ashton School of Art in Sydney for a term. The company took orders for Nursery drawings, to a theme, each of which was framed and ready to hang, all original works signed by Margaret.  

 

Margaret’s work was fresh and original, full of tiny embellishments and detailed whimsicalities. This versatility of style was distinctively her own which in time developed to her trademark Indian Ink background which added a 3D dimension to her subjects. Her infinite detail and imagery created charming pictorial stories which transport the viewers on a journey – this is the magic of Margaret Clark’s beautiful craft.

 

The facial expressions illuminated by her dainty pen work were considered genius. She had a pure natural aptitude for colour and never made the inartistic error of over-colouring. More remarkable still, as a child of nature, Margaret kept the colours in complete harmony. Her wonderful conceptions and imagery, drawn from her imagination are instantly identifiable as her own style. Many of her illustrations have the same title, but each is an individual illustration with unique and intricate details.

 

In 1926 a one-woman exhibition was held at the St James Theatre in Sydney. All 23 pieces were sold.  Her work received rave reviews in three daily papers. Her career was on the rise and illustrations appeared in the Steel Rudd publication and in the Australian Childhood magazines. As was the custom of the day, marriage in 1929 brought a halt to her career. Family life was important and her efforts were focused on raising three diversely talented sons.  Friends and relatives often received precious greeting cards over the years.  Margaret donated six images to the National Trust which released a six card collection back in 1985.

 

Margaret was a remarkable woman living a few months short of 100. She was a warm and generous person who was admired by all who met her. Children especially were captivated by her quick wit and animated stories.

Vivien Kells, Margaret’s great niece, has dedicated herself to preserving the ‘Federation Fairies Collection’. Through her efforts, the historical and artistic value of Margaret’s work has been documented and conserved. Vivien has meticulously maintained a vast collection of Clark’s original hand-drawn art, safeguarding its legacy for future generations.

The Australian Museum of Design now houses the ‘Federation Fairies Collection’, allowing Margaret’s work to engage and inspire new audiences. This inclusion honours her contribution to the visual arts and celebrates her status as a significant figure in Australia’s artistic heritage.

 

Do you have a Margaret Clark illustration or a story you would like to share? Please let us know!