and ballads, all of which he sang in his own entertainments. The following were printed: ‘Wanted, a Governess’ (1840), ‘Fair Daphne’ (1840), ‘Anticipations of Switzerland’ (1842), ‘The Accomplished Young Lady’ (1843), ‘My déjeuner à la Fourchette’ (1844), ‘The Polka explained’ (1844), ‘Fayre Rosamond’ (1844), ‘Matrimony’ (1845), ‘Young England’ (1845), ‘Miss Harriet and her Governess’ (1847), ‘The Flying Dutchman’ (1848), ‘Coralie’ (1853), ‘Charming Chloe Cole’ (1854), ‘Oh, send me not away from home’ (1854), ‘Little Mary of the Dee’ (1855), ‘In lonely bow'r bemoans the turtle dove’ (1855), ‘The Tyrolese Fortune-teller’ (1867), ‘Bridal Bells’ (1868), ‘Cupid's Flight’ (1868), ‘Don't be too particular’ (1868), ‘Take a bumper and try’ (1874), and ‘The Musical Wife’ (1878). Duetts: ‘Fond Memory’ (1855), ‘A B C’ (1863), ‘Tell me, gentle stranger’ (1863), ‘We are two roving minstrels’ (1864), and ‘Flow, gentle Deva’ (1872). He also wrote a glee, ‘Oh! it is that her lov'd one's away’ (1853), and ‘Parables set to Music,’ three numbers (1859), besides much music for the piano, including many polkas. The Melodists' Club awarded him prizes for the following songs: ‘The Inchcape Bell,’ ‘The Flying Dutchman,’ ‘A Heart to let,’ ‘Sweet Mary mine,’ ‘The Gipsy's Tambourine Song,’ ‘Nant Gwynnant,’ ‘You know,’ ‘Constancy,’ ‘Fair Daphne,’ and ‘The Days of Yore.’ Some of his songs were arranged as quadrilles by L. Negri in 1842, and L. G. Jullien's ‘Buffa Quadrilles’ in 1844 were also composed from the tunes of his vocal melodies.
[Dramatic and Musical Rev. 1843, ii. 541–3; Illustr. London News, 1844, iv. 389, with portrait, 1851, xviii. 29, 1877, lxx. 251, 252; Illustr. Sporting News, 1865, iv. 657, with portrait; Graphic, 1877, xv. 101; Era, 20 Feb. 1879, p. 7; Morning Advertiser, 22 Feb. 1879, p. 5; Pascoe's Dramatic List, 1879, pp. 253–5; Illustr. Sporting and Dramatic News, 1879, x. 572, 574, with portrait; Blanchard's Life, 1891, i. 260, 338, ii. 437, 457, 464–5, 484; Grove's Dictionary of Music, 1880, ii. 651; Cock's Musical Almanack, 1851, p. 36; German Reeds and Corney Grain, 1895, p. 29; information from Mrs. H. H. Lang, Pembroke Lodge, East Molesey.]
PARRY, JOSEPH (1744–1826), artist, born in Liverpool in 1744, was son of a master-pilot of that port who was owner of a pilot-boat called Old No. 5. He was apprenticed to a ship and house painter in Liverpool, but during the intervals of his work he devoted himself to the study of art, and when out of his time at once practised as a professional artist, painting with great energy and perseverance. In 1790 he removed to Manchester, where he was fortunate in finding appreciative patrons. He is often called the father of art in that town, and undoubtedly his work exercised considerable influence in a place where, up to that time, the practice of art had been almost exclusively confined to those who paid short visits during their provincial tours. He continued to reside at Manchester till his death in 1826, when he left four sons, two of whom practised as artists, and are noticed below.
Parry's best pictures are familiar scenes of everyday life, such as ‘The Old Market Place and Shambles at Manchester,’ a small, highly finished oil-painting, full of figures, in the possession of Robert Dauntesey, esq., of Agecroft Hall, and the ‘Old Bridge,’ Manchester, pulled down in 1837, the property of the Royal Salford Museum. He also painted for a Liverpool gentleman ‘Eccles Wakes,’ which contained two hundred figures, all separate studies from nature. A small pamphlet was written about this picture. Parry had considerable practice as a portrait-painter, and painted some large historical compositions in the style then in fashion, together with pictures of shipping and landscapes. He etched an excellent half-length portrait of himself seated at an easel. Only ten impressions were taken, of which one, in an exceedingly fine state, is in the writer's collection.
A younger son of Joseph Parry, James Parry (d. 1871?), was represented by three works in the first exhibition of the Royal Manchester Institution in 1827—a landscape, a portrait, and a figure-picture—and he continued to exhibit similar works till 1856. His address, with the exception of the first few years, was 5 Grove Street, Gartside Street. His portrait, Kitcat size, which was painted by himself in oil, is in the Royal Salford Museum. He engraved most of the plates in Corry's ‘History of Lancashire,’ 1825, many of them from his own drawings. One of these, in Indian ink, ‘The Manchester Exchange,’ is in the possession of the writer. He also drew and engraved ‘View of Manchester from Strawberry Hill,’ published in 1818, and in 1821 ‘Manchester College,’ and a view of the ‘Collegiate Church.’ He engraved many plates from his own, his brother's, and other artists' work. He died in Manchester about 1871.
Joseph's second son, David Henry Parry (1793–1826), born in Manchester on 7 June 1793, studied from an early age in his father's studio, and soon gained for himself a reputation as a portrait-painter. His local success encouraged him to remove to London in
