Remnants of vegetation were often the subject matter of sketches and formal paintings in Margaret’s work. The beautiful Lisgar Gardens backed onto Margaret’s studio, and behind the gardens are the magnificent Blue Mountains. It was only natural that strands of vegetation would find their way into her studio for study.

With Orange Branch there is a lyrical build-up of wash and pastel, the simplicity reminiscent of a Japanese approach that is also evident in the formal qualities of composition including the horizontal slice and white background.

Of course, fruit, which often appeared in her still life images, was symbolic of bountiful vegetation and continues her referencing of Cezanne. The orange depicted in the front of the painting is studied and far more closely observed than the other parts of the picture.