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Nillumbik Shire Council
Print (lithograph) Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, Mandarin on Kitchen Table, 1983
This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This lithograph comes from a series of still life by Wegner from the early 80's; a subject matter in which he has not returned to. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. Lithographic print - still life in black and white. Details several kitchen/household items: spoon, tea pot, egg holder, cup and saucer, bowl, chop sticks and mandarin.Lower far left: 'A/P'; Low centre: 'Mandarin on Kitchen Table'; Lower far right: 'PW 83'wegner, lithograph, still life, black and white, utensils, table, fruit, print -
Nillumbik Shire Council
Sculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps -
Nillumbik Shire Council
Deborah Halpern (b.1957 Melb) with Malcolm Laurence (b.1974 Melb), Malcolm Laurence, The Spirit of Nillumbik (balustrade panels x11); Location: Eltham Town Square - Main St, Eltham, 2001
In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos -
Nillumbik Shire Council
Public Art: Deborah HALPERN, 'Queen of the Shire'; Location: Cnr Kangaroo Ground-Warrandyte Rd & Research-Warrandyte Rd, North Warrandyte, 2015
Deborah Halpern was raised in Nth Warrandyte. Her connection to the area and the significant contribution that she and her family (founding members of Potters Cottage) have made to the artistic heritage and culture of the Shire is acknowledge with the commission of this piece. Deborah Halpern is a highly recognised and respected local artist with an acclaimed national reputation in the arts community. This work is a gateway piece, welcoming residents and visitors into the Shire from the southern end of the boundary. 'Queen of the Shire' reflects the creative spirit that flows endlessly in the Shire, inspired by the landscape. This work forms part of a series of sculptures that Halpern has created along the banks of the Yarra in Melbourne ('Angel' - Birrarung Marr and 'Ophelia' - Southgate). This sculpture is an excellent example of Halpern’s ouvere and 'tile construction' technique for which she is renowned. Materials: coloured glass tiles, fibreglass, aluminium, steel. A sweeping stylised (female) form covered in bright and colourful tiles held aloft by two steel poles. queen, sculpture, semi-abstract, stylised, glass, tiles, public art, halpern, ek prac 2015 -
Nillumbik Shire Council
Ceramic (tiles): Tom SANDERS, Untitled, c. 1970s early
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A -
Nillumbik Shire Council
Drawing (charcoal) Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, Portrait Of Danny Moynihan, 1999
This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher -
Nillumbik Shire Council
Painting: Piers BATEMAN (b.1947, Perth - d.2015, NSW), Piers Bateman, Blackboys, 1989
Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape -
Nillumbik Shire Council
Public Art: Tom SANDERS (b.1925-d.2008 Vic, Aus), Tom Sanders, Wall of the Moon (Homage to Miro) - (Location: Eltham Town Square, Arthur Street, Eltham), 1968
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro -
Nillumbik Shire Council
Painting: Jodi WILEY, Afternoon Light, 2014
N/AJodi Wiley is a local artist who works in acrylic to create detailed images of trees found in urban and suburban environments. “Trees are ordinary features of our everyday landscape. And yet when the light hits them at certain times of the day, the colours and textures that are illuminated can make us gasp in awe if we are truly paying attention". 'Afternoon Light' was highly commended in the 2015 Nillumbik Prize, judged by Melinda Martin, Director of Linden New Art, Melbourne.Detailed, cropped view of a tree trunk, warm earth colours and tonesWhite, hand painted 'J' in bottom right cornerwiley, acrylic, art, painting, trees, landscape -
Nillumbik Shire Council
Painting: Yvonne BIRCH (nee BALL), Untitled, c.1984
Oil on canvas board, landscape painting in muted tones of an dry creek bed. Trees line the creek banks and a log bridge crosses the creek bed, perhaps built from the local tree timbers.Lower right, black paint 'Yvonne Ball' -
Nillumbik Shire Council
Painting: John DUDLEY, John Dudley, Night Predators, 1960s/70s
John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham -
Tatura Irrigation & Wartime Camps Museum
Photograph, Rodney Shire Councillors 1906
... , J.P. government local council costume male ...Headshots of the councillors and officers of the Shire of Rodney; 30th of April 1906; presented by the President Cr. John Gilford, J.P.government, local, council, costume, male -
Tatura Irrigation & Wartime Camps Museum
Photograph, Cherie and Andrew Crawford c1980s
... Councillors Cherie and Andrew Crawford c1980s. tatura council crawford ...Councillors Cherie and Andrew Crawford c1980s.tatura, council, crawford, locals -
Port Fairy Historical Society Museum and Archives
Photograph
... local council... and white photograph Of Mr Mackley Town Clerk people local council ...Black and white photograph Of Mr Mackley Town Clerkpeople, local council, public servants -
Port Fairy Historical Society Museum and Archives
Photograph
Borough Councillors J. Baulch, S. Watson, F. Hughes & J. Reardon on Jack McLaren’s TruckBlack & white photograph of Borough Councillors standing on the tray of Mr mcLaren’s truckpeople, councillors, local business, f.hughes, j.reardon, j.baulch, borough council, truck -
Port Fairy Historical Society Museum and Archives
Photograph
Showing the flood waters of 1946 around the Band Rotunda in the botanical gardens. Funding for the construction of the Rotunda was bequeathed in the Will of local resident Mrs Annie Williams, who was born in Daylesford in 1872 and died in Kew in 1930. Annie’s Will stipulated that the remaining value of her Estate be spent on erecting a Bandstand in the Port Fairy Botanical Gardens dedicated to the memory of her brother Hugh, a stretcher bearer in WW1 and who died in 1921 after being discharged with health issues, her husband Henry, and herself naturally. There is a plaque dedicated to Annie on the Bandstand She requested that the Bandstand be a replica of the one at Daylesford but by 1933 the value of her Estate had diminished to £76.4/8 which was insufficient to cover a similar design and the Borough Councillors felt it would be too extravagant for the Port Fairy Botanical Gardens. Local builder J.J.McLaren’s tender of £71.15/- was accepted and the octagonal concrete pillared construction was completed with the use of sustenance labour the following year. The Bandstand was opened in December, 1934 with a performance by the Port Fairy Band and local residents enjoying the entertainment and a picnic. In 1934 it was reported that there was some fuss in Council because of the whereabouts of the sum of approximately £3/- , being the amount left over from the build. After some months of debate, in which the Councillors suggested that the Engineer had used the money inappropriately, and to which he responded that the build had cost more than the quote, the matter seems to have ended there An image of the flood waters in the botanical gardens in 1946Black and white photograph of Flood water around rotunda in the gardensflood, river, botanical gardens, port fairy, moyne river, rotunda, bandstand -
Port Fairy Historical Society Museum and Archives
Photograph
The small building on the left is the Farmers Inn, and was built about 1849, when James Brown became the first licensee. In 1854 John Walwyn Taylor moved from the Sally Ann to take over, and remained there until 1857, when he moved to his new hotel The Star of the West built on the old Sally Ann site. John Wall then became the new licensee of the Farmers Inn. In 1876 his wife Bridget made an application for the license to be transferred to her as “her husband suffered from rheumatism, and there were certain other reasons why the license should be transferred to her hands”. The Bench wondered about creating a precedence of granting a license to a married woman, who was living with her husband, (licenses were only granted to the widows of licensees at that time), so the application was postponed for 14 days, but eventually Mrs Wall won her case. In 1882 Patrick Tennyson took over the lease of the Farmer’s Inn and applied to change the name to Tennyson’s Hotel. In 1885 he bought the freehold in the Great Land Sale for £780. 12s. 8d., and in December, carried out extensive renovations. The local press reported that “the rooms were quite tasteful, the Billiard room commodious and well ventilated, and that the old hotel had not looked so good for years”. The double storied part of the hotel was added in 1893. Patrick Tennyson had a colourful career. He was born in Charlemont, County Armagh in 1846. When he was 21, he served as a papal guard at the Vatican for 2 years and then entered the Marist Brothers novitiate in Beauchamps. In 1872 he was one of three brothers to accompany Brother Ludovic to Sydney; he was then aged 23. After 5 years he withdrew from the Congregation and moved to Victoria, where he took up teaching, first at Rosedale near Sale, then at Crossley, by which time he was married to Anne White. They had eight children, three dying in infancy. Eight months after he took over the Farmers’ Inn, he was elected to the Borough Council, and served as Mayor in 1897. His great interest was sport, was Secretary of the Race Club for 20 years and supported the local Football Club by donating a silver cup for local competitions. Patrick Tennyson died in 1904. The hotel continued under various licensees until it burned down in 1977 under the name of “The Fishermen’s Arms”. Well known main street hotel no longer exists Sepia photograph of 2 story building with tiled wainscoting male and 2 females in doorway and 2 females in window upstairshotel, building, sackville street, patrick tennyson, w.j.wright -
Port Fairy Historical Society Museum and Archives
Photograph
William Earle Mayor of Port Fairy 1884-1885-1889-1893 William Earle published the first historical account of Early Port Fairy/Belfast in 1896 it was published at the local paper Port Fairy Gazette and titled Earle's Port Fairy He was born in Okehampton, Devon England in 1850William Earle Councillor, Mayor and author of early Port Fairy/BelfastBlack and white photograph portraitwilliam earle, councillor, mayor, port fairy, municipal council, author, earle's port fairy -
Port Fairy Historical Society Museum and Archives
Photograph, c. 1891
... belfast mayor shire council local-government publican Patrick ...Patrick Tennyson, Mayor of Belfast 1891 1896-98, owner of Tennyson’s hotelBlack and white photograph of Patrick Tennyson in a top hatbelfast, mayor, shire, council, local-government, publican, patrick tennyson, tennyson, hotel, tennyson’s hotel -
Port Fairy Historical Society Museum and Archives
Photograph, Ireland,Robert Mayor 1886,1867, 1895, 1880's
... belfast mayor portrait government shire council municipal local ...Black and white portrait photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph, C Bourne, Mayor of Borough of Port Fairy 1888
... shire council municipal local-government ...Mayor of Port Fairy 1888Sepia portrait of Mayor in suit belfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph, Cornelius Bourke Mayor 1906
... Bourke Mayor 1906 belfast mayor portrait government shire council ...Cornelius Bourke Mayor 1906Black and white photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph
... belfast mayor portrait government shire council municipal local ...John Gray Mayor of Port Fairy 1918Black and white portrait photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph
... council municipal local-government john baulch ...John Baulch Appointed Mayor of Port Fairy,1923,1929, 1934, 1939, 1940, 1946, 1953Black and white portrait photograph of John Baulch wearing Mayoral robesbelfast, mayor, portrait, government, shire, council, municipal, local-government, john baulch -
Port Fairy Historical Society Museum and Archives
Photograph, Edward Manley Mayor 1920, 1921, 1928
... portrait government shire council municipal local-government ...Edward Manley Mayor of Port Fairy 1920, 1921,1928Black and White portrait photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph, Edward Spink Revell 1924
... of Port Fairy1924 belfast mayor portrait government shire council ...Mayor of Port Fairy1924 Black and white portrait photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph, Robert Scott 1926
... council municipal local-government ...Robert Scott Mayor of Port Fairy 1926Black and white portrait photographbelfast, mayor, portrait, government, shire, council, municipal, local-government -
Port Fairy Historical Society Museum and Archives
Photograph, Unkles, Arthur Edward Mayor 1930
... local government shire council ...Arthur Edward Unkles Mayor of Port Fairy 1930Black & white portrait photographbelfast, mayor, portrait, local government, shire, council -
Port Fairy Historical Society Museum and Archives
Photograph, Mayor Joseph J Irving 1933, 1933
... Joseph J Irving 1933 Black & white photograph shire council local ...Black & white photographshire council, local government, mayor, belfast -
Port Fairy Historical Society Museum and Archives
Photograph, Woods, Brian Rosse Mayor of Borough of Port Fairy 1938
... portrait shire council municipal local government ...Brian Rosse Woods Mayor 1938Black & white portrait of Mayor in suitmayor, portrait, shire, council, municipal, local government