While paintings of local subjects had considerable appeal, there was a danger of such work being considered too parochial.
Parker turned to the novels of Walter Scott for inspiration for dramatic incidents.
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, from where it was purchased.
Who’s Turn Next?
or Vacant Chair, a whimsical work ‘in the style and manner of Wilkie’, was exhibited at Royal Academy in 1824 – and bought by Brandling.
Comparisons with Wilkie were also made in relation to The Village Raffle, exhibited the following year at the British Institution (where purchased by Hewitson).

With an expanding family, Parker's livelihood came from portraiture – human and animal.
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. R. H. Brandling,  and T. Cook, Esq.
was shown on his favourite hunter.

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’.
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'.
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.
While paintings of local subjects had considerable appeal, there was a danger of such work being considered too parochial. Parker turned to the novels of Walter Scott for inspiration for dramatic incidents. 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, from where it was purchased. Who’s Turn Next? or Vacant Chair, a whimsical work ‘in the style and manner of Wilkie’, was exhibited at Royal Academy in 1824 – and bought by Brandling. Comparisons with Wilkie were also made in relation to The Village Raffle, exhibited the following year at the British Institution (where purchased by Hewitson).
With an expanding family, Parker's livelihood came from portraiture – human and animal. 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. R. H. Brandling,  and T. Cook, Esq. was shown on his favourite hunter.
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’. 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'. 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.
Henry Perlee Parker