‘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.'
Eccentric Characters of Newcastle (aka Hell’s Kitchen), from about 1817, was one of Parker’s best-known early paintings.
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.
The painting was bought for 20 guineas by Charles John Brandling (1769–1826), an influential landowner and coal magnate.

Newcastle had a reputation for the artistic merit of its book illustration and printing industries, and Parker became acquainted with two exponents: Thomas Bewick (1753–1828) and Thomas Miles Richardson(1784–1848).
An engraving by G. Armstrong of Eccentric Characters of Newcastle 'became exceedingly popular'.
When Brandling became MP for Northumberland, in 1820, he commission a portrait by Parker that was engraved.
Reproductive engraving had a double value in that it brought artwork within the means of the emerging middle classes and it widened the artist's reputation.
Brandling commissioned further work over the next few years, and most importantly the relationship gave Parker an entrée into Tyneside society.
‘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.' Eccentric Characters of Newcastle (aka Hell’s Kitchen), from about 1817, was one of Parker’s best-known early paintings. 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. The painting was bought for 20 guineas by Charles John Brandling (1769–1826), an influential landowner and coal magnate.
Newcastle had a reputation for the artistic merit of its book illustration and printing industries, and Parker became acquainted with two exponents: Thomas Bewick (1753–1828) and Thomas Miles Richardson(1784–1848). An engraving by G. Armstrong of Eccentric Characters of Newcastle 'became exceedingly popular'. When Brandling became MP for Northumberland, in 1820, he commission a portrait by Parker that was engraved. Reproductive engraving had a double value in that it brought artwork within the means of the emerging middle classes and it widened the artist's reputation. Brandling commissioned further work over the next few years, and most importantly the relationship gave Parker an entrée into Tyneside society.
Henry Perlee Parker