Gordon Andrews (1914-2001), designer, established himself through the 1950s and 1960s as a significant creator of furniture and interiors; in 1955 he became the first Australian to be elected a Fellow of UK Society of Industrial Artists and Designers. In 1963 he was one of four men chosen to submit ideas for Australia's new paper notes. Debate had raged over what to call the new unit of currency; distinctively Australian names such as 'Dollaroo', 'Spin' and 'Fiddley' were proposed, but diplomatically shelved by Treasurer Harold Holt. Public opinion was against the government's preferred option, the 'Royal', and in the end the more neutral word 'Dollar' prevailed. With the name decided, Andrews and his three rivals submitted hundreds of sketches and plans to an expert selection committee. Andrews's designs were accepted unanimously, and in early 1966 his $1, $2, $10 and $20 notes entered circulation. Shortly before their issue, it had been decided that a $5 note would be required too - Andrews was engaged to design it, and also the $50 note when the need for it subsequently arose. When the present-day polymer plastic notes began to replace paper ones in 1992, Andrews served on the advisory panel that oversaw their design.
Collection: National Portrait Gallery
Gift of the artist 2001. Donated through the Australian Government's Cultural Gifts Program.
The series 'David Moore: From Face to Face' was acquired as a gift of the artist and with financial assistance from Timothy Fairfax AC and L Gordon Darling AC CMG 2001.
© Lisa, Michael, Matthew and Joshua Moore
http://davidmoorephotography.com.au/
David Moore (79 portraits)
On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.
Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.
The acquisition of David Moore's archive of portrait photographs for the National Portrait Gallery's collection.
