One of the most enduring figures in Australian popular culture is ‘Miss Redhead’, who first appeared on the Bryant and May Redheads matchbox label in 1947. The playful personification of the mundane, functional red-tipped safety match as a glamorous red-headed woman was something new in Australian marketing.
It’s a measure of her iconic status that in the past women have come forward claiming to have been the original model for Miss Redhead. But the rendering is completely generic, and an actual model is unlikely to have been involved. We do not know who drew the first Miss Redhead, or for that matter, who restyled her for the updated label in 1958.
The label remained the same during the 1960s, but a modified version of Miss Redhead appeared on the paper wrapping in which bulk matches were sold. Her features are slightly compressed, giving her a more knowing, less startled look.
In 1971 the new Ms Redhead appeared, as refined by legendary Australian graphic artist Brian Sadgrove. Giving her even bigger hair, Sadgrove has tightened up and modernized the design, cleverly sculpting the hair-forms to suggest both curling tongues of flame, and the rounded red tip of the match.
Since then, Ms Redhead has displayed infinite variety, to the delight of phillumenists (collectors of matchboxes).
In 1975 the design was future-proofed against changes in hairstyles by flooding it with a red background.
Ms Redhead lends herself to re-invention and a number of artists have adapted her. Jo Waite transformed her into a series of ‘Radheads’, including this ‘Dredhead’.
She has even served as an avatar for one Australian Prime Minister:
Hardie Grant 2013, cover design by Josh Durham
The story in my wife’s wider family is that her mother’s cousin, Graham Moore, a noted Australian artist and Art and painting teacher, drew the first Red Head woman, as one of his first commissions.
But he was never given credit for it.
I will contact Graham Moore’s daughter, Jillaine Hurrell, herself a noted ceramist and teacher, and let her know about this State Library e-mail notice.
She may be able to confirm this story.
John, thank you for this fascinating information. It would be great to track down the original Redhead artist. We look forward to hearing more from you.
I have spoken with Jillaine Hurrell (nee Moore), the daughter of Graham Moore. She confirms the fact that the original Bryant & May “redhead” matchbox cover was indeed designed by her father.
(Note the spelling: “Graham”, NOT “Graeme”.)
He is also known as Graham Hinton Moore (born in America in 1916).
But there is a catch.
It was Graham Moore’s express wish that his considerable work as a commercial artist be ignored. He wanted to be remembered for his fine art.
He did have, in the 1950s and onwards until he died (around 1996), a successful career as an artist. He exhibited, and also taught at his studio-home in Croydon (Melbourne).
He came to Australia as a young child in 1920, and later studying at the National Gallery School, Melbourne, and at Swinburne Technical College. He won several awards, and exhibited with the Royal Society of British Painters and the Royal Society of Portrait Painters in London.
Brief details of his career as an artist (non-commercial) can be found at:
Alan McCulloch, Susan McCulloch, Emily McCulloch-Childs. The New McCulloch’s Encyclopedia of Australian Art. 4th Edition, Aus Art Melbourne & The Miegunyah Press, 2006. Page 696,
and,
Germaine, Max. Artists and Galleries of Australia, Volumes 1 & 2, Third Edition. Craftsman Press, Sydney, 1990. Page 483.
Importantly, as a young artist, Graham Moore was taught by (I believe), and strongly influenced by Max Meldrum, a leading artist and art theorist and historian, in Melbourne. In particular Meldrum promoted a particular style of painting referred to as “tonal realism”, or “tonalism”, using techniques of colour and composition and lighting that closely resemble the works and style of Rembrandt. Another influential artist working in this, or a similar style, was Alice Marian Ellen Bale (1875-1955), whose work later influenced Graham’s artist son, David Moore. (David now lives and paints and teaches in Castlemaine, Victoria, although his work is no longer constrained by the “rules” of tonal realism.)
When Graham Moore visited England, he enjoyed painting in John Constable’s countryside, and painted a striking work showing Constable’s tombstone in Hampstead Heath — the heartfelt homage of one artist to another.
It must be noted, however, that during the 1950s and onwards, painting like Rembrandt, or Constable, was not regarded by mainstream critics as in any way “modern” or “serious”. The result is that Graham Moore failed to gain the recognition he deserved, only because he resolutely painted in a style that was (and perhaps still is) unfashionable. Although old-fashioned styles can be rediscovered, and old-fashioned artists can be newly accepted, this has not yet happened for Graham. (There is, so far, little about him and his life and work, on the internet, or in print.)
As a young man, and while trying to establish himself as an artist, he supported himself and his young family by doing commercial work. His uncle (Al, possibly Albert or Alfred), before the Great Depression, ran a lithography firm in Melbourne, and Graham was able to work for his uncle designing posters and advertisements. Eventually his uncle’s firm went out of business because of the harsh economic times.
When Graham’s children were growing up, they knew about, and often explored two large portfolios of Graham’s sketches and designs for commercial art. (Jillaine remembers her father creating promotional displays for Australia Post, or its ancestor, in the old central GPO, General Post Office, in Melbourne.)
One of these large portfolio books contained examples of the Bryant & May “Redhead”, the original.
Graham seemed to have resented the commercial success of this design, and was later particularly annoyed when his original design was modified, and “updated”.
Eventually, somehow, that portfolio was lost or destroyed (presumably by Graham, himself).
His daughter, Jillaine, and son, David, have discussed the question of whether to acknowledge Graham’s original creation of the “Redhead”, knowing that Graham chose not to acknowledge it. (They are still considering this.)
(This moral issue reminds me of Franz Kafka, on his death-bed, telling his friend, and later biographer, Max Brod, to burn all of Kafka’s manuscripts. What we now know, and esteem, from Kafka’s pioneering work in Twentieth century literature, is entirely due to Max Brod’s decision to ignore Kafka’s dying request. It is in such a spirit that I have provided these details about Graham Moore. I think history trumps the artist’s views, while at the same time, it is important to know the artist’s views, even when they are arguably misguided. Sadly, Graham Moore did not live long enough to see the genuine appreciation of outstanding commercial art, often created by professionals whos fine art is also highly esteemed.)
For a matchbox collector from wayback the display the wonderful
Hi all just wondering if a original redhead metal advertising sign would be sort after If I could send a picture and someone can upload it that would be good.
Hi Kyle,
Thanks for the email.
If you are thinking about offering the item to the Library- you could fill out the Collection Offer form
and staff will respond from there. There is an option to upload an image in this process- after you submit the form.
Thanks
Paul
I’m enjoying see this collection right in my own home. Thank you