Skip to main content
Menu

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

‘Whistling Billy’ of York

by John Dempsey

With his bicorn hat, double-breasted scarlet coat and white knee breeches, all tricked out with gold braid, silver buttons, sash, ribbons and medals, ‘Whistling Billy’ of York is one of Dempsey’s most colourful and memorable portraits. It would appear, however, that the dark, ruddy-cheeked, moustachioed and almost handsome officer is not a serving soldier, but one of Dempsey’s usual cast of eccentric street people.

Only one substantial textual reference to this man has been found, a brief paragraph in the York Gazette from July 1830:

Whistling Billy. — Some person having taken it into his head, that his life was in danger from this well-known individual, the subject was brought under the notice of the Magistrates on Tuesday; and by their direction he was examined as to his state of mind by Dr. Wake, who gave it as his opinion, that it was not proper he should be at large; in consequence of which, he was ordered to be taken care of in the Lunatic Asylum.

From the tone of the article, it seems that the writer considers ‘some person’ has overreacted, and that Billy is quite inoffensive, despite his (broken and bandaged) sabre. Still, if he really was a lunatic, what might have been the nature of his illness? The military focus of his wardrobe suggests some connection to the Napoleonic Wars — perhaps he was a veteran, a youngish old soldier bearing psychic rather than physical wounds. The medals certainly look genuine. Then again, perhaps the costume is no more than a crazy show, possibly put together in excited response to the pomp and circumstance of the Duke of Wellington’s visit to York in September 1827.

In the 12-month period following Dr Wake’s examination, the admissions register of the York City Asylum mentions only two men from York of the right age to be identified with ‘Whistling Billy’. The first, William Richardson, does not seem to match the character profile. A shoemaker, Richardson was committed by his wife for ‘mania’ arising from an unspecified loss of property. He was discharged, cured, by his sister three weeks later. The other, more likely, candidate is Thomas Thompson who, described as a 34-year-old labourer, was sent to the asylum in May 1831 by the Overseers of the Poor, with a diagnosis of ‘imbecility’.

What is particularly intriguing about this entry is that the duration of the illness is given as 16 years, which places its start in 1815, the year of the Battle of Waterloo. This fact might confirm a diagnosis of post-traumatic stress disorder or, alternatively, might explain the Waterloo obsession as a focus point from the onset of psychosis.

If Thompson was indeed Whistling Billy, it is pleasing to note that his incarceration in the asylum was relatively brief. Thompson was declared ‘quite harmless’, and found accommodation at the workhouse in January 1833.

Collection: Tasmanian Museum and Art Gallery, presented by C. Docker, 1956

© National Portrait Gallery 2024
King Edward Terrace, Parkes
Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
ABN: 54 74 277 1196

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency