As an acclaimed Australian illustrator, Margaret brought whimsy and charm to life through her enchanting ‘Federation Fairies’ series. Created in the early 1900’s, her illustrations captured the free spirit and magic of fairies, set against the backdrop of the Australian bush. Her delicate and intricate work reflects a blend of European folklore and Australian flora and fauna, giving the fairies a unique identity rooted in the nation’s cultural heritage.

In 1875, James Stedman bought the Sweetacres Confectionery and Chocolate business where he had been working for the past 21 years, and promptly employed  Margaret when she was 17 years old to illustrate booklets and confectionary tins.

The facial expressions illuminated by her dainty pen work was considered genius. She had a pure natural aptitude for colour. In all her work she never makes the inartistic error of over-colouring and more remarkable still, she is a child of nature in that she never associates colours inharmoniously. Her mind illuminates her own fancies and their colouring. Her hand translates both into the beautiful little fantasies which are entirely her own. No two of her drawings are alike with no limitation to the range of her conceptions, her imagery and colouring are unique to her style.

Her work is full of such tiny touches and similar detailed whimsicalities. This versatility of fancy and capacity for infinite detail and imagery make up the charm and attraction of Margaret Clark’s beautiful craft.

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

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.

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