Phillip Pomroy’s ‘Death of Thunderbolt’ Painting Series

Phillip Pomroy’s ‘Death of Thunderbolt’ Painting Series

The series of nine paintings capture the alleged events of Fred Ward’s last day. The Museum is building this area of the web site and a virtual tour of this unique collection is scheduled for development. Postcards and prints of these works are available by contacting Museum staff. A ‘Dramatic Interpretation’ of the series is available on DVD from The Museum or through our online shop.

Painting One

Painting One

It is the afternoon of Wednesday 25th May 1870.

Blanche’s Inn was situated at Church Gully, a few hundred metres south of Thunderbolt’s Rock on the Northern Road.

In the background, Thunderbolt, who had spent the previous day enjoying the Uralla Races, can be seen engaged in his favourite activity, Highway Robbery!! (His other pre-occupation was horse-stealing). The victims of the robbery are none other than Mr and Mrs John Blanche, innkeepers of “The Royal Oak”, who were out for an “afternoon drive”, and therefore carrying little money.

Thunderbolt accompanied them back to the Inn and enjoyed a few drinks with them, then continued “bailing-up” travellers on the main road.

Painting Two

Painting Two - detail

The shadows have moved and so has Thunderbolt.

An Italian hawker, Giovanni Capacotti, is about to hand over his pocket watch, money and some jewellery to the bushranger. Although the Rocky River Goldfields, near Uralla, had attracted thousands of Chinese and a lesser number of immigrants from England, Ireland, Scotland and Wales, the arrival of an Italian would have been something of a novelty.

Note….. The spelling “Blanch” (Newspapers of the time used either spelling).

……. everybody is so involved in the robbery of Capacotti that somebody has forgotten to put another log on the fire!

Painting Three

A general view, showing the “highway” heading south from Thunderbolt’s Rock.

Capacotti’s wagon can be seen in the distance. Did Thunderbolt say…… “Go back to where you came from!”?

We can almost hear the Italian’s curses and protestation in the chill New England air!

The countryside was more heavily timbered with Stringybark forest than it is now and was mostly unfenced.

Painting Four

There are now two significant developments. Capacotti has met a Mr Dorrington (a local settler) on the road, and borrowed a saddle. He has saddled up his own cart-horse and galloped through the bush, giving Blanch’s Inn and Thunderbolt a wide berth! Capacotti is heading “hell for leather” to Uralla to inform the police.

Meanwhile, Thunderbolt has “borrowed” a grey horse from a new arrival at Blanch’s Inn…… to “try it out”. A young man, James Coglan, was returning home from Singleton, riding a grey horse and leading another.

Capacotti arrived in Uralla and poured out his story to Senior Constable Mulhall. (Mulhall had been involved in an exchange of shots with Thunderbolt at Thunderbolt’s Rock in 1863 and Thunderbolt still bore the nasty scar of the bullet wound behind his left knee from that episode).

Mulhall set out for Blanch’s Inn. Constable Alexander Binning Walker, who was off-duty, saddled his horse, got his revolver and ammunition and followed. (In his report Walker says that the two went out together and that Mulhall, having the faster horse,  raced ahead of him. This seems unlikely. Perhaps Walker was protecting Mulhall’s reputation!).

When Walker came over the hill near the rock, Mulhall, coming back in the opposite direction, met him and said “I have exchanged shots with the bushrangers”. Mulhall claimed later that his horse had bolted. Most other people believe he lacked the courage to confront Thunderbolt.

Young Constable Walker certainly didn’t lack courage. He rode on towards Blanch’s Inn and shots were exchanged.

Thunderbot, on the grey horse he’d been “trying out”, headed west into the bush. The twenty-three year old constable followed gamely, even when Thunderbolt taunted him with “Come on!”.

“All right! ” Walker replied.

Painting Five

Pomroy has cleverly changed the direction of the paintings. West is now on the viewer’s left.

More shots had been fired and Thunderbolt seems far less secure.

Even though Pomroy has positioned Constable Walker down in a gully he seems to be a dominating resolute figure.

Is Pomroy’s clever change of direction, (a figure retreating from right to left in our vision) a subtle hint that the “game is up” for Thunderbolt?

Painting Six

Thunderbolt abandons the weary horse, sheds his coat and hat and wades across Kentucky Creek. The constable shoots the outlaw’s horse to hinder the possibility of his escape.

The grey horse has the same saddlecloth as Thunderbolt’s horse in Painting Two, so we can assume the bushranger intended to steal the horse and not just “try it out”.

The style of painting undergoes a subtle change. Thunderbolt looks more like a caricature and the blue of the water has a sinister quality.

Painting Seven

Thunderbolt wades through the murky blue of Kentucky Creek, while in the background, the gallant Constable Walker looks even more heroic.

Lit by the late afternoon sunlight, he continues the pursuit, “riding into the sunset”.

Apart from the two men, the details are less defined, and there is an eerie expectant atmosphere.

Red comes into the colour of things.

Painting Eight

The Confrontation

Thunderbolt, now a pathetic figure, leans against a sapling and seems to be staring in the distance and into oblivion.

In the previous three paintings the constable’s shirt-sleeves are down. Now they are rolled up, Pomroy’s subtle way of saying that the trooper was about to “get to work”. The policeman is not threatening Thunderbolt with his revolver, but with “the long arm of the law”.

According to Walker’s evidence, at the inquest, the following conversation then took place.

Walker                        “You had better surrender before you do any harm”.

Ward                        “Who are you?”

Walker                        “Never mind who I am”.

Ward:                        “What’s your name?”

Walker            :            “Walker”.

Ward:                        “Are you a trooper?”

Walker:            “Yes”.

Ward:                        “Are you a married man?”

Walker            :            “Yes”.

Ward:                        “Keep back. You are a married man…. Think of your family”.

Walker:            “Will you surrender?”

Ward:                        “No. I will die first”.

Walker:            “All right. It’s you or I for it”.

Painting Nine

The final painting is stunning in its dramatic and brutal simplicity.

The men struggled briefly.

Walker fired the last round in his revolver and shot Thunderbolt in the chest. The bushranger fell forward into the water, but he re-surfaced and tried to grapple with the trooper who then battered the bushranger’s head with his revolver.

Thunderbolt’s body was dragged onto the bank by Walker who then headed back to the Inn for assistance.

When he returned in the dark, the body could not be found immediately. Amazingly, Thunderbolt had managed to crawl some metres into the scrub, where death finally overcame him.

In this painting, the grim colour of Kentucky Creek contrasts with the red …. of sunset, blood and death.

The irony is the dominance of the policeman’s horse.

Thunderbolt had survived for so long because of his horsemanship.

Without his horse he perished.

Thunderbolt’s Tranter revolver was recovered after his death. The last round had misfired , rendering the weapon useless, possibly during the pursuit on horseback.

Probably, in that final and fatal encounter, Thunderbolt knew that it was all over. When he said “I’ll die first”, was that an acceptance of his fate?

There was no eye-witness evidence, only the official report submitted by gallant Constable Walker on the 29th May 1870 (four days after the incident), and signed “Alex B. Walker, Sen. Constable”.

The young constable had certainly earned his rapid promotion!

Interesting Addenda

  • At the time of his death Thunderbolt had a muzzle-loading pistol in his belt. This was recovered from Kentucky Creek and is how in the possession of the Justice and Peace Museum, Sydney.

That museum also has a beautifully written testimonial presented to Constable Walker and his beautiful presentation watch which was paid for by public subscription.

  • The whereabouts of Thunderbolt’s Tranter revolver is still a mystery.

It was reportedly sighted by a Uralla resident in the Museum at Leominster, Herefordshire, England in the 1970’s. She said the label read, ‘Revolver belonging to the notorious Australian bushranger, “Thunderbolt”, shot dead by the NSW Police in 1870.’

Our Historical Society’s President, Kent Mayo, visited Leominster in 1986 after a formal letter had been sent to the Leominster Museum on the subject of “purchasing, leasing or borrowing” the revolver for display in Uralla.

An inspection of Leominster’s Museum’s records showed no sign of the pistol ever having been there.

Kent Mayo spent two fruitless days chasing “leads” and finally admitted defeat. It was on the final night that the publican of the hotel informed him that a member of the British Army’s SAS Unit “has been following you for two days”. There definitely was some sort of cover-up …. a few fibs were told.

Our Historical Society is pursuing the matter.

  • Constable Walker had a meritorious career, rising to the rank of Superintendent, Southern Division, New South Wales Police.
  • After Ned Kelly’s raid on Jerilderie, the Victorian Police sent for “Bold Sergeant Walker, The Man Who Shot Thunderbolt”, to help them but Kelly had “disappeared” two days before Walker crossed the Murray River.

This information was written by Kent Mayo, President of the Uralla Historical Society, September 1996.

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