Through the distribution and sale of mezzotint prints of subjects such as William and Grace Darling Going to the Rescue of the SS Forfarshire, Parker became one of the north-east's best-known nineteenth-century artists.

He displayed examples of his work in a prominent shop window with the notice: ‘Likenesses done in this style at one guinea each.’[5] Over the next few years seventy commissions followed, enabling the artist to move to more respectable apartments in Pilgrim Street.

[7] Parker was a contemporary of David Wilkie (1785–1841), a particularly successful exponent of this type of droll depiction of everyday situations and someone whose work at times provided an inspiration.

‘Being a young man of good address and prepossessing appearance and developing a vigorous and taking style of painting figure subjects, Mr. Parker received from the people of Tyneside flattering encouragement and support.

It shows fourteen ‘eccentrics’ – locally known characters, mainly paupers from the streets of the Quayside area of Newcastle – assembled in the Flying Horse drinking house.

[14] Parker's large commemorative painting The Sandhill at the Celebration of the Coronation of George IV captured the excitement and mayhem of the event, with local dignitaries being identifiable.

While some of the London press commented on Parker's ‘uncultivated style’, it was also seen as being ‘a remarkable picture’ that ‘reminds us of that master of the satirical art, Hogarth'.

Davie Deans Rejecting the Advice of Saddletree and Butler, drawn from Scott's Heart of Midlothian (first published 1818), was exhibited at the British Institution in 1823,[20] from where it was purchased.

A dog's head was painted ‘the exact size of life’; short-horned cattle he depicted had won prizes at the Wooler Fair; Whiskey was a favourite pony of the Rev.

[23] The Porteus Mob Breaking into the Tolbooth, Edinboro’ was, artistically, Parker's most ambitious work, and contemporary newspaper critiques were highly complementary: ‘Composed , as the picture entirely is, of the gradations of two colours, the effect is most surprising, and the judgement with which the group is arranged, and the beautifully energetic activity which pervades it in every part, are among the triumphs of modern skill’.

[24] The Tyne Mercury made comparison with the ‘genius of Rembrandt’ and felt that it was ‘the finest picture ever painted by this industrious and rising artist'.

[25] The Porteus Mob … was exhibited at the British Institution in 1826 and at the newly established Scottish Academy in 1827 – yet despite critical success it remained unsold.

He embraced the role – dressing as a brigand at a fancy-dress ball and telling many stories about smugglers, which ‘greatly delighted the boys in his drawing classes.

Richardson and Parker attracted some criticism from the committee and the local press because it was believed that 'the pair were not administering their [institution] with the public good in mind.

and commissioned John Dobson [1787–1865] to design a building suitable not only for the display of paintings but one which could be adapted to the holding of public meetings and concerts.

They travelled to Edinburgh to select potential exhibits, and in 1829 Parker was elected an honorary member of the newly established Scottish Academy.

[31] ‘However, London and provincial artists of note were slow to send works to the Northumberland exhibitions because sale numbers were low.’[32] Financial losses meant that Richardson and Parker were forced to sell the academy in 1831, carrying over debts amounting to £1,700.

Brandling's successor as MP for Northumberland, Matthew Bell (1793–1871), commissioned a portrait: ‘The picture is to be engraved by subscription, and will afford many of the friends of Mr. Bell an opportunity of paying a compliment to the local usefulness and private worth of the individual, by placing their names on the list which hangs beside the painting.’[34] In March 1832 the mayoress of Newcastle gave a grand ball and supper to mark the coronation of William IV.

A portrait of Reverend Robert Morrison (1782–1834), the first Christian Protestant missionary in China, was presented to the Literary and Philosophical Society of Newcastle upon Tyne in 1833.

Sales of mezzotint prints of Parker's work became increasing important to his finances, and in 1833, Danger was his first painting to be purchased by Ackermann's of London for reproduction and publishing.

It has been noted that Thomas Gainsborough’s ‘beggar children and humble families at work or at play outside tumbledown Picturesque cottages … were not meant as criticisms of social conditions; the whole intention was to move the beholder’s affections.’[40] Similarly, while the social import of Parker displaying ‘pitmen’ at the Royal Academy is itself of note, ultimately their function was to please and entertain the spectator.

Parker saw a commercial opportunity and enlisted the talents of his friend John Wilson Carmichael (1800–1868) – an artist specialising in marine subjects – to work collaboratively on a painting that was to be known as William and Grace Darling Going to the Rescue of the SS Forfarshire.

As the annual conference was to be at Newcastle the following year, Parker decided ‘to commemorate the occasion by painting a picture of some striking incident in their history.

[52] Sir Francis Chantrey – the leading portrait sculptor of the Regency era – died in November 1841, and was buried in his birthplace of Norton, Sheffield.

In conjunction with the banker and educationalist Dr Benjamin Haywood and a Mr Holland, Parker campaigned for a Sheffield School of Design, which was established in 1843.

Some time afterwards he resigned his connection with Wesley College, and launched himself into the great world of London.’[55] Understandably, Parker's output diminished over the next few years.

[60] Watercolour sketches record occasional seaside holidays – in Margate, Cornwall, the Isle of Man and Boulogne – but there are family bereavements and upsets.

It has been stated that he 'died in poverty in London',[66] and this was supported by Nerys Johnson's biographical notes for the catalogue of the Henry Perlee Parker exhibition at the Laing Art Gallery, Newcastle, in 1969: ‘Died penniless … Among the possessions passed on to his son Raphael were paintings, watercolours and a copy of Reynolds Discourses published in 1831.’[67] He seems to have lived the second half of his life on the income generated in the first half, so it would not be surprising that his money was running out.