Dalgety Blues

Provenance

Camera
NIKON D850
Lens
24.0-70.0 mm f/2.8
Settings
27mm · f/8.0 · 1/100 · ISO 100
Paper
Ilford Galerie Smooth Cotton Rag 310 gsm

Blue paint peels in long strips from weatherboard walls. Interior rooms hold a layer of fine dust. Light enters through gaps in the structure. Surfaces are bare, no furnishings remain. The building stands in Dalgety, southern New South Wales.

Edition
Open edition

Open edition
Printed to order, no fixed quantity. Each print is hand-signed by the photographer.

Limited edition
A fixed number of prints exist. Once sold, the edition closes permanently. Each print is individually numbered and signed.

$100.00 AUD
Size
Type
Colour
Signed, numbered, with COA. Made to order in 5 to 10 business days (unframed). Shipped in protective packaging with edition certificate, paper-stock reference and a printed care guide.
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In situ

Dalgety Blues at A Place to Call Home, unframed print displayed in situ on a wall.Dalgety Blues at A Place to Call Home, white-framed print displayed in situ on a wall.Dalgety Blues at A Place to Call Home, black-framed print displayed in situ on a wall.Dalgety Blues at A Place to Call Home, raw timber-framed print displayed in situ on a wall.Dalgety Blues at A Place to Call Home, glass print displayed in situ on a wall.
01 PROVENANCE

Print datasheet

Title
Dalgety Blues
Series
A Place to Call Home
Catalogue
PCH-046
Process
Giclée
Captured
30 December 2018
Camera
NIKON D850
Lens
24.0-70.0 mm f/2.8
Aperture
f/8.0
Shutter
1/100 s
ISO
100
Focal length
27 mm
Paper
Ilford Galerie Smooth Cotton Rag 310 gsm
Paper size
290 × 200 mm
Location
Rural New South Wales and ACT, Australia
Recognised by
Highly Commended in Multimedia at the 2016 National Trust of Australia (NSW) Heritage Awards
03 THE STORY

About this print

Blue paint peels from the weatherboard walls in long, curling strips. Dust has settled across the empty rooms, undisturbed. Light finds its way in through the gaps that time has opened in the structure. There is no furniture, no evidence of recent occupation. What remains is the building itself: the particular blue that someone once chose, and the slow process by which it is returning to the boards beneath. Dalgety sits on the Snowy River in the southern Monaro, a district that saw its first European settlement in 1827 and was drawing selectors and graziers steadily through the following decades. The town itself was surveyed and officially named in 1874. Edward Buckley had established a farm at what became Buckley's Crossing, the same location, as early as 1832. The first public building, the Police Station and Court House, was built by David Scarlett in 1876. The local Catholic church followed in 1878. Stone was the dominant building material in the Dalgety area, owing to the granite outcrops of the district, though later construction moved to weatherboard and corrugated iron as the pastoral economy consolidated through the 1880s and 1890s. Between 1902 and 1903, Dalgety was evaluated as a potential site for Australia's federal capital. Federal Parliament selected the town in 1904, before the decision was reversed in favour of the Canberra district in 1908. The expectation that the town would become the centre of a new nation did not last, and Dalgety settled into the quieter future that followed. Henry Charles Merrett, a long-standing local identity who served as the first President of Dalgety Shire and was among those who took a leading part in advocating for the town's selection, died at the Coonghoongbula homestead on 20 January 1914. The A Place to Call Home series documents structures across the Snowy Monaro and Hunter Valley, photographed between 2016 and 2019. This building was photographed in 2018. The blue paint on its walls is what the series came to find.

04 FROM THE FIELD NOTES

Fading blue paint peels from an abandoned building in Dalgety, a small Snowy River town on the southern Monaro tableland. Between 1902 and 1903, Dalgety was evaluated as a potential site for Australia's federal capital; the decision ultimately went elsewhere, and the town's trajectory quietly changed from that point. Dust has settled on the empty rooms. The photograph holds what remains: bare walls, peeling paint, and the particular stillness of a place that once expected a great deal more of itself.

Brett Patman

A Place to Call Home

The series

A Place to Call Home

2015–2020 · 60 photographs

A series of rural homesteads from the Snowy Monaro region of southern New South Wales, with a few from the Hunter Valley. Most were family homes left behind when a generation moved to town; others when the land could no longer be worked. The buildings are smaller than the industrial sites that anchor most of Lost Collective and tend to be older. Most are timber-framed.

View all in this series →

05 SIZE GUIDE

Print sizes

The anatomy view shows what this finish is as a physical object: paper margin, mat band, frame depth, acrylic profile. The comparison strip shows how each size sits relative to the others at true scale. Click a size or a finish to update both.

Anatomy · true ratio
TypeSizeWidthHeight
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