At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). The absence of buildings and or property in Kew facing the Yarra is the most notable feature of this plan. Walmer Street and its bridge stretched, then and now, from Studley Park Road to Victoria Street, Richmond. On the Richmond side of the Yarra, there was evidence in 1904 of industry (‘Wool shed’; Soap Works’) and entertainment (‘Skittle Alley’). In reality, another Plan (No.1303) shows Chinese Gardens bordering the Yarra on the Kew side and buildings in Young Street.melbourne and metropolitan board of works, detail plans, mmbw 1302, cartography

Born in Bendigo and trained as a nurse in the 1950s, Sonia Jill O’Brien devoted a lifetime to social and environmental issues at both the state and local level. From her work in the 1960s with the Family Planning Association of Victoria, of which she was a founding member, through to the 1990s as a member of the Ethics Committee of the Department of Health, she supported efforts to improve women’s health and reproductive rights. At the local level she was most active on committees that worked to save the natural and built environment. The Power-line Action Group, the Studley Park Conservation Society, and the Yarra Bend Park Trust all benefitted from her indefatigable endeavours as well her vision. In 1980, Jill O’Brien successfully stood for the Kew City Council and served as Mayor in 1983 and 1984. With an eye to preserving the past as well as guarding the future, she had the Mayoral robes restored and in 1980 and 1981 was president of the Kew Historical Society. The preservation and restoration of Villa Alba in Walmer Street owes much to her determined efforts throughout the 1980s. On Council, she chaired a number of committees involved in the saving of the Kew River Parklands from the proposed transmission line of the SEC. To this end, she was the Council representative on the Merri Yarra Municipal Protection Committee.Rare colour photograph, used as the official mayoral portrait of Cr Jill O'Brien.Formal civic portrait of Cr Jill O'Brien in red mayoral robes wearing lace jabot and cuffs. The portrait is part of the larger Jill O'Brien Collection donated by her daughters.cr jill o'brien, city of kew -- mayors, mayoral portraits -- city of kew

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Black and white photograph of flooded trees in Kew with rising dry ground in distance.Inscription on reverse in pencil: "Flood River Yarra Kew Vic"river yarra, kew, floods 1916

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Panoramic view, believed to be looking north towards Fairfield from the Zig-Zag Bridge on the River Yarra. The inscription on the reverese identifies it as taken before 1920.Inscription on reverse in ink "(pre 1920) Flood from Zig-zag bridge Yarra River, Kew Vic."river yarra, kew, floods 1916, zig-zag bridge

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Small black and white photograph of flooded trees in Kew.Inscription on reverse in ink "Flood R. Yarra Kew Vicriver yarra, kew, floods 1916

This book contains the report from the select committee on Castlemaine and Sandhurst water supply; with the proceedings of the committee, minutes of evidence and appendices. It also contains the report Of the Engineer-In-Chief of Railways, and reply of the Chief Engineer of Water Supply on the works constructed by the Victorian Water Supply Department, presented to both houses of parliament by His Excellency’s command. Ferdinand M. Krause, was a lecturer at the Ballarat School of Mines in Geology Mineralogy Mining Engineering and Surveying. He was a Fellow of the Geological Society and a Fellow of the Linnian Society. He was assistant engineer for the Ballaarat and Ballarat East Water Supply Committee and helped plan local reservoirs.A brown cloth hard cover, foolscap book with leather spine. Title is written in black on the title page. "Water Supply Reports" is engraved in gold on spine. It includes a table showing the monthly and yearly rainfall and shade temperature at Ballarat, 2nd February, 1885. It also includes two reports and two replies, a map No.7082.2 of Victorian Water Supply, Castlemaine and Sandhurst district general plan including lines of Aqueduct, Reservoirs. No. 7082.3 of Victorian Mining districts, Mining Divisions and The Gold Fields in 1866 - includes districts to be supplied under the Waterworks Act, 1965. It also includes: *Report of the Engineer-in-chief of Railways and Reply of the Chief Engineer of Water Supply on the works constructed by the Victorian Water Supply Department, 1869. * Coliban Water Scheme, 1864 * Ballarat and Ballarat East Water Supply (1869) including the Ballarat Water Supply List containing names of occupiers and nature of improvements on lands comprised within the proposed reserve of Gong Gong Reservoir, Ballaarat. At Warrenheip the names included: Honora McCallin, William Honan, C. McMahon, Patrick McMahon, J.P. Beach, J.H. Smith, Michael Nestor, Martin Quinn, Martin McIntyre, Robert Higgins, Coleman Kane, Robert Bond. At Ballarat: William Clarke, Richard White, John Hosking, Wesleyan Chapel, J. Hewitt, Robert McRobinson. At Bungaree: John Pullin, John Llewellyn. William Daw, Smith and Wynne, William Brough, A. Alexander. * Ballarat and Ballaarat East Water Supply report upon the advisability, or otherwise, of constructing a reservoir at the junction of the Yarrowee Creek and Gile's Creek, upon a site known as Gile's Reservoir (printed by Frank Pinkerton). This report has numerous notes written on it (most probably by Krause) and includes the capacity of Harry Beale's Reservoir, Pimcott's Reservoir and the Proposed Gong Gong Reservoir. * Statement as to the position of the Ballaarat and Ballaarat East Borough Councils in Connection with Water Supply, September 1869. * Ballarat and Ballaarat East Water Supply - General Statement upon the Ballaarat and Ballaarat east Scheme of Water Supply. Includes information on Moorabool reservoir, Harry Beale's Reservoir, Lal Lal Creek, Two Mile Creek, Beale's Dam, Yarrowee Creek, Gong Gong Reservoir, Kirk's Dam, Devil's Creek, Moorabool Creek. Additional handwritten notes (probably by Krause) * Engineer's Report on the resolution of the COmmittee of Water Supply, of the 7th July 1868. The report refers to the Country around Mount Warrenheip. Names mentioned are L. Abraham, Great North-West Gold Mining Company, Border Sawmills, Ferdinand Krause, Ohlfsen Bagge, W.H. Shaw, A signature by "Ferdinand M. Krause" at the top corner of the title page. A few pages have handwriting on the margins, it is believed to be his handwriting. water supply victoria, castlemaine directories, sandhurst directories, ballarat directories, james blackburn, edward wardle, daylesford water race, c j taylor, george avery fletcher, bagge, ohlfsen bagge, george foote, john h reilly, ambrose johnson, george francis, timber preservation, james forbes, alfred surplice, malcolm carmichael, robert adams, frederick hugh thomas, h o christerpherson, william downe, thomas lawrence brown, francis hadgson nixon, strangways, guildford, maldon, muckleford, lauriston, malmesbury, franklinford, walmer, strathloddon, downe, ferdinand krause, m7082, trentham, castlemaine, drummond, metcalfe, sutton grange, lockwood, ravenswood, mandurang, yandoit, c.h. ohlfsen bagge, moorabool reservoir, gong gong reservoir, harry beale's reservoir, pincott reservoir, frank pinkerton, water

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored. These images were used to create a series of six large postcards. Jonquils - No. 1 in a series of postcards of the dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored.Roses - No. 2 in a series of dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored.Wildflowers - No. 3 in a series of dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored.Daffodils - No. 4 in a series of dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored.Lilies - No. 5 in a series of dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored.Peonies - No. 6 in a series of dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. The Museum's Decorative Arts & Design collection includes artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).‘Oak Tree’ pattern. Sample of original Morris & Co wallpaper, designed circa 1896 by John Henry Dearle (1859–1932). Oakleaf and acorns in pale blue on cream ground. Sample manufactured ca.1920–ca.1930. Printed border : OAK TREE / MORRIS & COdecorative arts & design, wallpapers -- morris & co, john henry dearle, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. The Museum's Decorative Arts & Design collection includes artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample: ‘Chrysanthemum’ pattern. Original pattern created 1876–1877 by William Morris (1834-1896). Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample: ‘Larkspur’ pattern, Foliate design with flowers, red on a paler red background. Original design by Morris in 1872; revised by Morris in 1875. Sample is a later Morris-style wallpaper block reproduction from the 1970s. Pattern No. 133400.Stamped on verso: 133400CI / MADE IN ENGLAND. Inscribed in ink on verso: W. MORRIS / LARKSPUR / 133400 / $7.60decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with decorative tiles produced by the company of Mintons Ltd in the United Kingdom.Digital photograph of an intact and original 1880s fireplace in the drawing room of Villa Alba. Carved white marble mantle surround. Iron and brass back panel. Cast iron insert. Plain and decorative surround and hearth tiles produced by Mintons Ltd.fireplaces, villa alba - drawing room, mintons, mintons - tiles

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of plain and decorative hearth tiles in the fireplace of the drawing room at Villa Alba. The decorative tiles depict pink clematis flowers, buds and foliage. The tiles were produced by Mintons Ltd.fireplaces, villa alba - drawing room, mintons, mintons - tiles

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles in the fireplace of the drawing room at Villa Alba. The gold, white and blue decorative tiles depict abstract flowers within a quatrefoil design. The tiles were produced by Mintons Ltd. In the Minton's Ltd Tile Catalogue, this tile is listed as No. 1427 G. Sin. Tiles. / End Tile. It can be viewed in the flipbook viewer of the original catalogue published by The Minton Archive on page 44/206.fireplaces, villa alba - drawing room, mintons, mintons - tiles

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the fireplace in the dining room at Villa Alba. The original 1880s black marble mantel surround is inset with plain and decorative tiles produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of plain and decorative hearth tiles in the fireplace of the dining room at Villa Alba. The decorative tiles placed on the left and right of the centrally-placed tile panel depict pink and yellow flowers, set within plain maroon and teal blue rectangular tiles. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of plain and decorative hearth tiles in the fireplace of the dining room at Villa Alba. The centrally-placed decorative tiles depict a surround of pink and yellow flowers with a corner decoration, once assembled, that features cobalt blue fern leaves, chrysanthemums and foliage, , set within plain maroon and teal blue rectangular tiles. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of plain hearth tiles in the fireplace of the dining room at Villa Alba. The square majolica plain tiles, positioned under where the original cast iron grill sat, are in shades of brown, green and blue. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the left side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the right side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the rear panel of the fireplace in the dining room at Villa Alba. The central decorative tiles depict pears and pomegranates. Above and below this central pair are abstract floral tiles in shades of olive green, blue and white. These six decorative tiles are surrounded by rectangular plain majolica tiles in shades of maroon and teal blue. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the fireplace in the ground floor morning room of Villa Alba. The original 1880s black marble mantel surround is missing its decorative surround tiles and cast iron hearth but retains its decorative hearth tiles produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- morning room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative hearth tiles used the fireplace of the morning room at Villa Alba. The patterns within the decorative tiles are self-contained or show their pattern when assembled with matching tiles. The multicoloured tiles have a grey or maroon background. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- morning room