Jeffrey Stewart’s donation of Margaret Morgan artworks to the Cruthers Collection of Women’s Art

Jeffrey Stewart is a Sydney based art collector who donated five of the Margaret Morgan artworks showing in Place Makers to the Cruthers Collection of Women’s Art. Revisiting these works in the gallery, Jeffrey said, “It was fairly emotional. I’m just thrilled to see them again - but as well as that, I feel lucky that I’ve been able to get artworks in my care into the right organisations. I’ve protected their art and their legacy - this is really important to me.”

Jeffrey’s story speaks of the deep relationships that shape art collections, and why he decided to entrust Lawrence Wilson Art Gallery with the long-term care of these significant works. Here is his story.

“I met Margaret at the very beginning of 1980 through Allan Booth who was my boyfriend at the time. He and Margaret had gone to high school together. Allan was living in a shared house in Surrey Hills, and Margaret moved in with him in January 1980. The thing about this house is that it was ‘party central’. It was passed amongst friends between the community from the mid-70s and 1995. It was close to everything including the art school known as Alexander Mackie College of Fine Arts which was later called the College of Fine  Arts (COFA), and it was all very exciting.

Margaret’s first show Views from the suburbs was in March 1980 at what was called The Student’s Gallery run by Stephen Mori – he later changed the name and location and became Mori Gallery – Mori represented Margaret until the late 80’s when she moved to the US. Margaret’s second solo show was in 1981 at The Student’s Gallery, and we all went to that. That’s when I bought Wall to Wall, the second of Margaret’s artworks to come into my care. The first was from the 1980 show called The Line Was Full and remains in Sydney on loan to a friend who knew Margaret.

At the first show, Allan had bought the screen print Crafty Business, and another friend Adam Marriot bought the  Panaceas/Panadol I was sold artwork. When Allan passed away, all of Margaret’s works in his collection were left to me – which is how I came to hold this collection of works. Bradley Mead gave me the 'Panadol' screenprint in the late 90s to keep the works together. It had passed after Adam’s death to Brett Collings and then to Bradley, his partner in 1993 on Brett’s death. Bradley, as one of my executors has been aware of my gift of Crafty Business to the Cruthers Collection of Women’s Art since 2022.

Jumping to 2021 – I was quite ill for a long time, and I was very concerned that my mobility might be really impaired. This is when I decided to do something about the artworks in my care. Also, in 2015 when my sister and I had to clear my mother’s home it was a large and difficult task. I didn’t want these artworks to be a burden for someone else to have to take on after I’ve gone and I also felt a responsibility to ensure the works went to places that honoured them and the artists.

When I recovered in 2022, I started approaching galleries, particularly institutions that already had works by some of the artists whose works I held. When I got to Margaret’s work – I contacted a friend at the Art Gallery of New Sout Wales as I had seen work of Margaret’s included in exhibitions there however, they confirmed they didn’t have any of Margaret’s work in their collection. I offered five of Margaret’s works to AGNSW along with detailed information outlining Margaret’s career and success, but all to no avail. They said very politely – thank you for thinking of us but no.

And what happened then was that I was having breakfast with a friend who works in the arts field who had a friend who just happened to be hanging a show for John Cruthers. When I contacted John about Margaret’s artwork, he said ‘these works should be in the CCWA collection’ and passed on the details for Lee Kinsella, the collection curator. I had heard of CCWA and when I learnt more about the collection I knew this was where these works needed to be.

So that worked out really well, I was so pleased. I later found out that Margaret actually knew Sheila and Jim Cruthers in New York – Margaret used to visit them and go out for dinner. John had also met Margaret in 1985 and mentioned that Margaret and Sheila were good friends. It’s a great story and I’m just thrilled that it all worked out.

What I’ve discovered is that donating works can sometimes be a lengthy process – especially when you understand the importance of continuing the legacy of an artist and their works. Sometimes you’re told yes, sometimes no. However, it has been an interesting and rewarding task. And seeing these works in this show, as well as Margaret and her family in person at the opening – you couldn’t ask for a better donor experience”.

—Jeffrey Stewart

Prospective donors are encouraged to make an enquiry with one of LWAG’s curators.

Contact details can be found on the ‘About Us’ section of our website.

Image: Margaret Morgan and Jeffery Stewart at the opening of Place Makers, 2025, Lawrence Wilson Art Gallery. Featuring the artworks Crafty Business, 1979, Panaceas/Panadol I was sold, 1979 and Wall to wall, 1981, by Margret Morgan. Ilkka K Photography