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. ‘Smuggler Parker’ In 1826 Shipwrecked Smugglers was exhibited at the Royal Academy, where it was purchased by Sir Matthew White Ridley, 3rd Viscount Ridley and MP for Newcastle. Its elements of melodrama, nostalgia and romanticism were careful judged so as not to offend notions of good taste. Parker returned to the similar subject matter regularly over the next thirty years: Smugglers Attacked; Smugglers Alarmed; Smugglers Playing Cards; An Affray with Smugglers; Smugglers Resting and Smugglers Quarrellin'''. ‘Smuggler Parker’ became a nickname and a marketing strategy – the paintings sold well. 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.' The Northern Academy of the Arts The Newcastle Exhibitions continued at Brunswick Place until 1827, but sales were poor and there were divisions within the committee. 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. The argument is therefore characterized as one of civic good versus private interest.’ Richardson and Parker decided to speculate their way out of the problem. ‘They bought a plot of land on Blackett Street from Richard Grainger [1797–1861] for £113.10s. 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. Unknown to them, however, Grainger was building a larger room nearby and called it the "Music Hall" and by doing so deprived Richardson and Perlee Parker of valuable revenue.’ The first of a series of exhibitions was held in June 1828 in what was called the ‘Northern Academy of Arts’ in Blackett Street. With no troublesome committee, Richardson