The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola in her drawing room at D'Estaville, Barry Street, Kew, holding her pet dog while gazing into the fireplace. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this. Stamp of The Age on reverse.australian artists, d'estaville -- 7 barry street -- kew (vic.), alma figuerola, melbourne artists -- twentieth century

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola painting in her garden at D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Interior, D'Estaville. A chiffonaire owned by the artist Alma Figuerola and located in her house, D'Estaville in Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola. A posed portrait of the artist Alma Figuerola. Figuerola lived in D'Estaville, Barry Street, Kew. This is a magazine photograph and may still be covered by copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in December 1970, so the photograph predates this. A stamp on the back identifies the publisher as Woman's Day No. 570.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Interior, D'Estaville, Barry Street, Kew, the home of the artist Alma Figuerola. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Interior, D'Estaville, Barry Street, Kew. The section of the house photographed is of the hall looking into the drawingroom. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola in her Studio, D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola in the drawingroom of D'Estaville, Barry Street Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola standing in the portico of D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Window, D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.Annotation on reverse: "Bars on pantry window were for protection against raiding blacks. Retained for historic interest."australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.D'Estaville, Barry Street, Kew. The facade facing Barry Street. The original front of the property faced Studley Park Road where the front door is still located. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola and her sister standing beside a creeper growing up the wall of D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

D'Estaville was built for Sir William Stawell in Studley Park, Kew in the 1850s. Later occupants include the artist Alma Figuerola. Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.D'Estaville, Barry Street, Kew, This view of the bluestone house is taken from the western side. The front entrance, originally facing Studley Park Road is set into the southern side of the house.d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

D'Estaville was built for Sir William Stawell in Studley Park, Kew in the 1850s. Later occupants include the artist Alma Figuerola. Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.D'Estaville, Barry Street, Kew, This view of the bluestone house is taken from the western side. The front entrance, originally facing Studley Park Road is set into the southern side of the house.d'estaville -- 7 barry street -- kew (vic)

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken by Rick Lowell following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture