Post in preparation.
The Mural Monument to John Kyrle on the North Wall
in St Mary's Parish Church, Ross on Wye, Herefordshire.
This monument is something of a conundrum - it has all the hallmarks of a work designed and made in the Westminster workshop of Henry Cheere but there are several anomalies.
The curved support underneath the centre of the apron is inscribed Marsh, Ross.
The Biographical Dictionary .... Yale 2009 states - Marsh of Ross and Bristol fl. 1776. erected in 1776 the monument to the "Man of Ross" - Ruper Gunnis says - "It is executed in coloured marbles and is so good that it gives the impression of being London rather than local work".
Given that Marsh inscribes no other monument I think it is fair to say that he was only responsible for mounting the monument on the wall rather than sculpting it.
There are several other candidates for the work - William and Thomas Paty the Younger were certainly capable of executing works of this quality. See - the monument to Martha Lewis d. 1751. (illustrated below).
Another workshop capable of this sort of quality work were the Bryans of Gloucester (see the Singleton Monument in Gloucester Cathedral (illustrated below).
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Charles Heath of Monmouth writing in the Excursion down the Wye from Ross to Monmouth .......1799 described the creator? as Mr Marsh statuary in Bristol. - an extract below
MR. KYRLE's MONUMENT, AGAINST THE NORTH WALL OF THE CHANCEL.
Mr. POPE has added the following Note to his Lines on Mr. KYRLE:
The person here celebrated, who with a small estate actually performed all these good works, and whose true name was almost lost (partly by the title of the Man of Ross, given him by way of eminence," and partly by being buried without so much as an Inscription) was called Mr. John Kyrle.
He died in the year 1724, aged 90, and lyes interred in the chancel of Ross church, in the county ofHereford."
If the Writer cannot confirm the assertion of POPE, that he was buried without a MONUMENT, INSCRIPTION, STONE!" it was not till the year 1776 that a proper tribute of respect was paid to his memory; at which time, Lady BETTY DUPLIN left a sum of money, chargeable on her estates, now the property of W. Money, esq. for that purpose: in consequence of which, a very hand some monument was in that year erected, against the nörth wall of the chancel, the workmanship of Mr. Marsh, Statuary, in Bristol.
It is of a pyramidical form; the tablet of lilack, the upper part of beautiful variegated marble. At the top
is a fine bust, in relievo, of Mr. Kyrle; below it. three figures also in the same taste, that on the left hand holding a cornucopia reversed; which may be the symbol of Benevolence, or Charirity dispensing Plenty: at the bottoru are his arms, with the motto " VIRTVTE ET FIDE."
On the Tablet is this simple inscription, in gold letters :
This MONUMENT was Erected in Memory of
MR. JOHN KYRLE, commonly called
The MAN of ROSS.
Very considerable doubts are entertained in Ross, respecting the truth or fallacy of Mr. POPE'S remark,
viz. That MP. Kyrle was buried without the least memorial being placed oyer his remains." Mr. Delahay, the present Clerk, says, that his predecessor Mr. Hardwick informed him (and no person's testimony would be received with greater respect, not only from filling a responsible situation in the town himself, but because his father was a native of Ross resided in it all his life knew Mr. Kyrle perfectly well—and had related to his son many anecdotes respecting him.
The only monumental record to Mr. Kyrie's memory was A FLAT STONE, with the INITIALS OF his name
William Dobbs, who present at the conversation, and whose advanced age (84) as well as having spent his life in Ross intitles him to equal credit, persisted in his former declaration. An opinion in favor of Mr. Hardwick's information was declared by a friend. because the sharpness of the chisel, and form of the letters, are convincing marks that they are of the date of very late vears.
The writer bows with deference to superior judgment, - but adds, That though there is an appearance of uniformity in the inscription, it ought not to lead to an actual decision. because Mr. James Prosser of the King's Head, ordered to be added, at his own expence, name Of Weale,
From the Bust which surmounts this inscription the Writer is of opinion, that a much juster idea may beof Mr. Kyrle's countenance, than from any of the Pictures before mentioned, if Mr. Marsh took the cast from any authority then in being; which is more than we at present know of.
The whole of the monument is in the finest preservation
The following INSCRIPTION is on the Stone under which the Kyrle family lie interred.
John Kyrie. Esq. died Nov. 7, 1724, aged 88.
Vand. Kyrle, Esq. died October 5, 1727, aged 55.
Robert Kyrle, Esq. died March 13, 1736, aged 3 r.
Mrs. Frarres Kyle, died February 9, 1744, aged 67.
Mr. Walter Kyrle, died January 14, 1775, aged 70 years.
Mrs. Elizabeth Weale, died 23d March 1779, aged 75 years.
ARMS.—A chevron, between three fleur de lys crescent of second for a difference.—CREST, A hedgehog.
75.4 x 63.5 cm)
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Another version is currently with London Dealer Philip Mould.
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Two Monuments in Christ Church with St Ewen, Bristol.
James Paty.
The Images below from the excellent website of Bob Speel see -
http://www.speel.me.uk/sculptplaces/bristolchristchewen.htm
Thomas Holmes d. 1761. - and ‘Also beneath this Trophy of the Victories of Death’, his wife Mary, d.1789, and daughter Elizabeth.
Beneath the lower shelf under the inscription is a small apron between two brackets. This has upon it two painted shields, and it is between them that the sculptor signs, as Jas. Paty F, standing for ‘James Paty fecit’. James Paty the Younger was from a significant family of Bristol monumental sculptors and architects, working from the 1720s through to about 1800, and responsible for a variety of memorials in the Bristol churches and surrounding areas. William Paty has already been noted as the architect for Christ Church with St Ewen.
Paty (or Patty) was the first of a dynasty of stone-masons,
carvers and sculptors, who practised in Bristol throughout the 18th century.
His cousins and descendants all worked independently or as a loose federation,
supplying wall monuments, chimneypieces and architectural ornaments in wood, as
well as dressed stone for many buildings in the city.
He came from Somerset and his earliest known work pre-dates his move to Bristol by several years. This is an elegant wall monument with a framed inscription tablet above an apron carved with a cherub’s head (1).
Paty’s name was entered on the Bristol burgess list on 15 April 1721, when he paid a fine of £15 4s 6d and so became a freeman of the city, at liberty to work within its confines. He took a dwelling and workshop at 21 Merchant Street, Broadmead. That year he provided a large architectural wall monument with composite columns, consoles and an apron carved with rich swags for Richard Sandford (2).
By 1722 he was sufficiently established to take an
apprentice, Samuel Phillips, son of Maurice Phillips of Bursley, a clothier.
Paty did not revise his designs to meet new fashions: the large monument to
George Locke, 1735 at Frome is a finely executed adaptation of the Sandford
memorial (5).
Paty appears to have worked on several Bristol buildings, some of which have been destroyed or damaged. He is credited with carving and painting the quarter-jacks on the tower of Christ Church, 1728, and a strong claim can be made for his authorship of the design for King Street library, 1739-41, which had superb civic arms in the pediment and charming panels depicting Putti studying the arts and sciences over the first-floor windows. These survived until 1951, when they were chiselled off to avoid the cost of repair.
He is also thought to have been responsible for work on two other Bristol buildings decorated with carved panels, 32 College Green, which was built in the early 1740s, perhaps under Paty’s direction, and had knotted and tasselled swags below two upper floor windows, and Redland Court, built c1735 by the architect John Strahan, who probably brought in Paty to carve the garlanded swags and a pair of quivers above the first floor windows.
During the
1740s he appears to have worked on a number of houses in the centre of Bristol,
particularly in College Green and Unity Street, and may also have designed and
built a country house of five bays, Earnshill, Somerset, where he perhaps
supplied the saloon chimneypiece.
The first drawing in the Paty Copybook, a catalogue of
designs by family members and other draughtsmen assembled over a long period,
relates closely to the Barker monument, though the suggestion for a
classicizing portrait bust and martial trophies above the tablet was not
implemented. Several other unsigned designs in the Copybook for wall monuments
with funerary urns or heraldic shields have been ascribed to Paty on stylistic
grounds (nos 28, 37, 38, 39, 102).
Paty died in February 1748, two months after writing his
will, at which time his wife Rachel was pregnant with their only child, James
Paty III.
His parentage is not known, but he was a nephew of James
Paty I and was Thomas Paty’s younger brother and partner in building schemes.
They worked together on major city developments in Bristol and on the first
phases of the Clifton layout, but they also worked independently and their
workshops always remained separate. Paty became a burgess of Bristol in 1755,
by marriage to the daughter of another burgess, Peter Tonkin, a deceased
mariner. His address was given as 21 Horse Street (now Host Street) and his
occupation as carver.
Monuments signed ‘James Paty’ provided between 1755 and 1768
are given to James II, but those signed in the same manner between 1768 and
1775 may be by James II or III. James II’s monuments are conservative
compositions, competently carved: a profile medallion portrait is a feature of
several (2, 3, 5, 7). The only building in which he is known to have been
involved is Stoke Park, near Bristol, which was rebuilt in the 1760s. The
architect was Thomas Wright, but Paty appears to have been site architect and contractor.
Among designs attributed to James II in the Paty Copybook are two wall
monuments with urns (nos 7, 8) and one with a profile medallion on a ribbon
suspended from a pointed arch (no 89).
He is thought to have been responsible for the obelisk
erected in 1762 to commemorate Lady Elizabeth Somerset at Stoke Park,
Stapleton, Bristol, designed by Thomas Wright. This is now destroyed (PMSA
national recording project, 1998-99).
Paty had a son, John Paty I, who became a burgess in 1778
and announced that he was continuing the business after his father's death. A
notice in Felix Farley’s Journal for February and March 1779 states that John
‘intended to carry on the business at the Yard Under the Bank in all its
branches - monuments, chimney pieces etc. N.B. Land surveying and plans
accurately drawn, also measuring’. John had no known issue.
Literary References: Gunnis 1968, 294; Priest 2003, passim
Archival References: Paty Copybook, University of Bristol
Library (Priest 2003, 139-86, repr)
James Paty (or Patty) III was the posthumous son of James Paty I and the first cousin of Thomas Paty and James Paty II.
A lease dated August 1786 between Paty and the Bristol corporation for a small messuage in Well Court, near Castle Green, describes him as being about 38 years old. He worked principally as a carver and gilder, but may also have been responsible for a few monuments signed simply ‘James Paty’, erected between 1768 and 1775, when his cousin James Paty II died (1-3).
His name was entered in the city apprentice book on 23 February 1760, when he was bound to Thomas Kilby, a mason.
Paty became a burgess or freeman of Bristol on 9 March 1768, when his address was given as 32 Broadmead. He later moved to Merchant Street.
Several
designs in the Paty Copybook for wall monuments with urns or figures in relief
have been ascribed to Paty on stylistic grounds (13, 53, 6, 88 and 90).
Felix Farley’s Journal recorded the death of ‘Mr Patty,
Carver and Gilder’ on 29 August 1807 in his sixtieth year.
Literary References: Gunnis 1968, 294; Priest 2003, passim
Archival References: Bristol Burgess book, 9 March 1768;
Paty Copybook, University of Bristol library (Priest 2003, 139-86, repr)Forest
of Dean, 1976, 348
Thomas Paty is best known as an architect, but he also had a thriving practice as a monumental mason, was an accomplished carver in stone and wood. He worked with his brother, James Paty II, on a number of urban developments in Bristol. Nothing is known of his background and training, or of his wife, who probably pre-deceased him, for she is not mentioned in his will. There were three children, John Paty II, William Paty and Elizabeth, who married Thomas King of Bath. From 1777 onwards he worked in association with his sons, who returned from London after studying at the Royal Academy, John as a sculptor from 1772 and William as an architect. After their induction, the firm was known as Thomas Paty and Sons. The workshop and family home were in Limekiln Lane.
Paty was the only male member of the immediate family who did not become a freeman of Bristol. This clearly placed him at no disadvantage since the corporation consulted him regularly as an architect and employed him as a stone carver and mason. In 1741-2 he worked under the architect, John Wood the Elder, carving architectural ornaments on the Bristol Exchange (50), and at the same period he was employed at Redland Court, providing all the wood and stone carving in the chapel. A contemporary note on the chapel observes that Paty ‘is generally esteemed one of the best Carvers in England, either in Wood or Stone’, and that ‘all the Ornaments in the Chapel were designed and carved’ by him (Redland Chapel, Church Book, 18 October 1755, fol 29v). He was responsible for the dressed masonry and carving at Clifton Hill House, designed by Isaac Ware in 1746 (55), and at the Royal Fort House, designed by James Bridges, c1758-60, where Paty worked on interior schemes with the plasterer, Thomas Stocking, his next door neighbour and a regular member of his team. Paty was the superintending architect for the Theatre Royal, Bristol between 1764-66, a building inspired by Sir Christopher Wren’s theatre in Drury Lane, London. This commission consisted largely of structural carpentry with appropriate embellishments (54). He was also the mason and carver at St George’s, Kingswood, near Bristol, between 1752 and 1756 (51). In 1768 Henry Hoare engaged him to dismantle the famous Bristol Cross and to move it to Stourhead.
Most of Paty’s wall monuments subscribe to late-18th century taste with their elegantly carved urns, floral swags, mourning women, reeded decoration and classical devices. The exception is the ambitious, but graceful monument to William Hilliard, executed around 1750 (11). This edifice is nearly 20 feet in height and is structured in three stages. The base is a rusticated archway leading into the vault. Above that is a small gadrooned sarcophagus flanked by putti, on which is set an imposing portrait bust, framed by a triangular pediment on consoles. The upper zone has a pyramid supporting an armorial shield.
A letter dated 24 April 1787 gives insights into Paty’s marketing practice. A potential client, Charles Morgan, enquired about a tablet for a kinswoman, Mrs Parry of Herefordshire. Paty sent him two roughly similar designs for decorative urns, set on an oval ground of coloured marbles. He readily admitted that the simpler of the two, which he priced at £12, had already been used for another monument (42). The variant design ‘will be £18 to £22 according to the relief given to the work but if the urn and part under it should be thought too plain it may be ornamented so as to make the monument look much better, which may be done from thirty shillings to five guineas’ (Glamorgan Archive Service, Cardiff (D/D Xgc 54). The embellishments and price were variable, as the letter explained.
Between 1775 and 1779, when his brother died, Thomas and John Paty II worked on the development of a number of new streets in Bristol. Their workshops remained separate throughout. They played a major role in the development of the Georgian city, where their repetitive designs satisfied a market for quiet, conservative elegance. The Patys laid out Clare, High, Bridge, Union and Bath Streets. Between 1763 and 1769 Thomas rebuilt Bristol Bridge and the adjoining church of St Nicholas, where he designed and executed a gothic tower and a spire for the church.
Paty’s assistants included James Allen of Bristol, who was apprenticed to him in 1752 and Michael Sidnell, who assisted him at the Redland chapel. His sons John and William no doubt received some training with him before joining the Academy schools.
He appears to have died in reasonably comfortable circumstances: his will, dated 2 May 1789, a couple of days before his death, specified that his daughter, Elizabeth, should received £800 and her husband, Thomas King, £250. John Paty was to receive a sum equivalent to the value of a house that Paty had already given to his other son, William. The sons continued the business from Limekiln Lane for a short time before John’s premature death on 10 June 1789.
Paty appears to have been responsible for many of the designs in the Paty Copybook, though positive identification is impossible since they are unsigned and his technique is similar to his son, William’s. They include 15 with funerary urns (nos 5, 9, 10, 22, 26, 29, 30, 42, 43, 44, 46, 48, 49, 60, 71), one with a putto leaning on an urn (no 87) and one with an heraldic shield (no 102). There is a proposal for the principal front of the Merchant Venturers’ Hall (no 125) and a design for a chimneypiece in the gothic taste, inscribed ‘Statuary; £40.0’ (no 133). Several other attributed designs for monuments appear in Henry Wood’s Monumental Masonry.
Paty’s brief obituary in the European Magazine for May 1789 described him as an ‘Architect and Statuary [of] Bristol’ and the Bristol Journal called him an architect ‘whose extensive virtues, professional abilities and strict integrity, will in this city ever be rever’d’ (BJ, 9 May 1789). His great achievement as a carver is the interior of the Redland Chapel.
In addition to the monuments listed below there are modest memorials by Paty in a number of churches in the Bristol area.
IR
Literary References: Euro Mag, May 1789, 424; Gunnis 1964, 294-5; Nason 1983, 886-888; Beard 1981, 274; Whinney 1988, 256; Dale-Jones and Lloyd 1989, 56; Lloyd 1989, 44; Colvin 1995, 742-3; Priest 2003, passim
Archival References: Paty/Morgan, 1787 (quoted in Lloyd 1989, 44); Paty Copybook
Additional MS Sources: St George, Kingswood, Book of Commissioners, 1751-64; St George, Kingswood, Chamberlain's cash accounts, 1752-64
Collections of Drawings: Paty Copybook; Wood’s Monumental Masonry, nos 153, 226, 227, 230, 234, 235 (some perhaps by William Paty).
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John Paty (1754 - 89).
Born on 10 December, 1754, the son of Thomas Paty of
Bristol, he joined the Royal Academy Schools on 11 June 1772, giving his age as
17. He became a freeman of Bristol on 7 December 1778. He and his brother
William Paty had an extensive business as monumental masons and tablets signed
by them are to be found in many churches in Bristol and the neighbouring
counties. After his premature death on 10 June 1789, his brother William
continued the business alone.
Literary References: Hutchison 1960-62, 138; Gunnis 1968,
294
Archival References: Bristol Burgess Book (microfiche
FC/BB/1 (t) 8 (279), 7 December 1778 (described as John Paty ‘RA’).
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Thomas Paty (1758 - 1800).
Like his father, Thomas Paty, William was an architect, who
also supplied funerary monuments. He studied briefly at the Royal Academy
Architectural Schools in 1775 and may have worked in the office of a London
architect, but he was back in Bristol by 1777, when his father started to
advertise his firm as Thomas Paty and Sons. After the death of his father and
brother John in 1789 he continued the family business alone from Limekiln Lane
and College Place. Paty married Sarah Hickes, the daughter of Alderman Hickes,
a ‘foreigner’ from Gloucestershire in January 1784. The marriage did not give
him free access to the burgess list and on 9 December 1790 he paid a fine of 15
guineas to become a freeman of Bristol. He had two children, George William
Paty, who did not follow his father’s profession and a daughter, Marie.
Paty was one of the three Bristol surveyors appointed under
the act of 1788 and he played an important part in the development of Bristol,
particularly Great George Street, where he designed a number of houses. He
appears also to have designed many of the terraces in Clifton and was
responsible for Blaise Castle House on the outskirts of Bristol, 1795-6. He
rebuilt Christ Church, considered by Howard Colvin to be his best building,
between 1785 and 1790.
Most of Paty’s wall-monuments are in the south-west of
England though he built up a connexion with the West Indies, sending several to
Barbados (6, 11, 22, 36). Like his father, he employed a repertoire of
elegantly carved classical motifs on his monuments, including urns, paterae,
portrait medallions and mourning women garlanding obelisks. He used variegated
marbles, indicated on his designs with colour-washes, and often backed his
compositions with an inverted shield ground. A number of designs in the Paty
copybook are thought to be by William: they include nine for wall tablets with
urns (nos 3, 16, 25, 46, 47, 49, 63, 68, 69) and three with heraldic shields
(nos 95, 97, 102). The Copybook also includes ground and first floor plans for
an unidentified house (no 126) and several refined Adamesque chimneypieces (nos
128, 129, 131, 132, 135, 136).
Paty, who was the last surviving sculptor member of his
family, died in December 1800, aged 48, and was commemorated with a tablet in
St Augustine’s, Bristol. His former pupil and assistant, James Foster of
Bristol, was established in independent practice, so the workshop, Paty
Copybook, architectural practice and goodwill were sold to an outsider, Henry
Wood. In the business-like manner characteristic of the family, a notice in
Felix Farley’s Bristol Journal on Saturday 4 April 1801 directed all to whom Paty
owed debts to take their demands to his banker, and those who owed sums to him
to pay them to Paty’s brother-in-law, Thomas King of Bath.
Literary References: Gunnis 1968, 295; Whinney 1988, 459
n.23; Dale-Jones and Lloyd 1989, 56; Colvin 1995, 372, 743-4, 1071-2; Priest
2003, passim
Will: PROB 11/1352
Collections of Drawings: Paty Copybook
Miscellaneous Drawings: sketches of proposals for monuments
with some estimates of costs, including one signed by William Paty, Bristol RO,
Ashton Court Papers AC/F/9/5
The Monument to Rothesia Ann Barrington (died 1745).
St Andrew's Parish Church, Shrivenham, Berks.
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An unedited list of works by the Paty family - this information needs checking!
The Exchange, Bristol (1741–43).
Monument to Rothesia Ann Barrington (died 1745); St. Andrew's parish church, Shrivenham, Berkshire
Monument to William Jones in Church of St Nicholas and the Blessed Virgin Mary, Stowey, Somerset
Royal Fort, Bristol (1758–61).
Fonmon Castle, Vale of Glamorgan (1762), with Thomas Stocking
Bristol Bridge (1763–69), with James Bridges.
St Nicholas, Bristol (1763–69), with James Bridges.
Theatre Royal, Bristol (1764–66).
Monument to Sir Robert Cocks (died 1765); St. Peter's parish church, Dumbleton, Gloucestershire.
Monument to Thomas Esbury (died 1766); St. Mary's parish church, Hawkesbury, Gloucestershire.
Monument to Edward Peach (died 1770); St. Mary's parish church, Woodchester, Gloucestershire.
St Michael on the Mount Without, Bristol (1775–77).
Monument to John Nelmes (died 1742, monument erected 1778); St. Mary the Virgin, Wotton-under-Edge, Gloucestershire.
Plaque to the Fitzherbert family in the Church of St Mary and St Ethelbert, Luckington, Wiltshire.
1–5 Beaufort Buildings, Bristol (1780).
Monument to Thomas Hobby (died 1781); St. Michael's parish church, Hill, Gloucestershire.
Monument to Priscilla Thorne (died 1783); St James Church, Swimbridge, Devon.
Monument to Samuel Peach (died 1785); St. Mary's parish church, Olveston, Gloucestershire.
Monument to Arthur Tucker (died 1785); St. Michael's parish church, Winterbourne, Gloucestershire.
3–10 Bath Street, Bristol (c. 1792).
Possibly work at Ston Easton Park, Somerset.
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The Monument to Mary Singleton.
Gloucester Cathedral.
1761.
Inscribed J & J Bryan Sculp.
Joseph Bryan I 1682-1730
John Bryan I 1716-1787
Joseph Bryan II 1718-1779
John Bryan II fl c1795
A family of masons and carvers who had quarries at Painswick in the Cotswolds. The principal members were John Bryan I and Joseph Bryan II, sons of Joseph Bryan of Painswick.
John I is described as ‘late of this town, carver’ on his large pyramidal monument at Painswick: he left bequests to his two daughters, Anne Bryan and Mrs Loveday.
Joseph II established himself in
Gloucester. His son, John II, married his first cousin Anne, the daughter of
John I, and inherited the business. He went into partnership with George Wood
of Gloucester c1795.
On 20 May 1760 Joseph II advertised in the Gloucester Journal that he ‘wanted a sober Mason that can work mouldings etc. in Free-stone ... . Apply Joseph Bryan in the City of Gloucestershire or to John Bryan in Painswick’.
The same newspaper reported on 31 January 1785 ‘On Monday last died, in her 70th year of her age, Mrs Bryan, mother of Mr. Bryan, stone cutter, in this city’.
The journal also noted, on 26 December 1808, that on
‘Thursday died Mrs. Bryan, relict of Mr. John Bryan, statuary, of the Black Friars
in this City’.
Masonry-work executed by the firm included the tower of Great Whitcombe church, 1749, the rebuilding of the spire of Painswick church after it was destroyed by lightning in 1763 and the spire of St Nicholas, Gloucester, 1784.
Their tablets and churchyard memorials have charming and well-carved details, while a delightful and intelligent use is made of coloured marbles. The polychrome wall-monument to Mary Singleton, †1761, in Gloucester Cathedral has a sarcophagus-shaped inscription tablet below a pyramid carved with a gloria: under the sarcophagus is a circular armorial panel, set off by confidently executed consoles (4).
John Webb’s wall-monument (†1795) in
Gloucester Cathedral has a large concave inscription tablet ornamented with
Adamesque scrolls, paterae and crossed torches: above is a pyramid carrying
knotted ribbons, a shield and a striated sarcophagus end, decorated with an
oval relief of a rising phoenix (27).
Literary References: Gunnis 1968, 66; Colvin 1995, 176-7
Archival References: GPC
1746. Elizabeth Charlett - Fladbury, Worc.
1750. Elizabeth Whitehead - Barnwood, Glouc
1754. Muriel Oldisworth - Fairford Glouc.
1761. Mary Singleton - Gloucester Cathedral.
1770. Samuel (1759), Radulf (1758) and John Selfe 1763. St John the Baptist, Cirencester.
1770. Noble Pitts, Much Marcle, Hereford.
1772.William and Collis Smart, St Peter Winchcombe
1775. Alexander Colston, Fairford, Glouc.
1776. Abigail Carter, Elderfield Glouc.
1777. Benjamin Baylis and five family members, Gloucester Cathedral
1778. John Stephens. Stroud, Glouc.
1779. Rev Thomas Coxe (signed by Joseph Bryan Il) Rodmarton,
1779. Thomas Cope. Rodmarton.
1782. John Browne. Salperton, Glouc.
1782. Joseph Boughton. Westbury on Severn
1784. James Pitt. Maisemore, Glouc.
1785. Guise family. Rendcom Gloc - destroyed.
1786. Mrs Hughes. Cheltenham.
1787.Mary Smith. Bishops Cleeve Glouc.
1788.Mary Morse. Gloucester Cathedral
1789. Edward Sheppard. Minchinhampton
1790. Ann Coxe (by John Bryan II). Kemble, Glouc.
1793.Frances Turner. Chadlington, Oxon.
1793. Mary Milborne. Abergavenny.
1794. John Buckle. Elmstone Hardwicke, Glouc.
1794 Rev John Kipling. Staverton, Glouc.
1795. John Webb and family members. Gloucester Carthedral
1799..Edward (1771), Mary (1753) and Sarah Wilbraham. Cirencester.
1800. John Selfe. Cirencester. Glouc.
1800. Thomas Parker. Barnwood
1801. Lucy Dolphin (signed by Joseph Bryan). Upper Slaughter.
1801 Rev D Pritchett. St Davids Lampeter
1801. Richard Brereton (co-sculptor: George Wood, of Gloucester).
1802? Mary Probyn (co-sculptor: George Wood, of Gloucester). Pershore Abbey.
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Monument to Vice Admiral Henry Pye -
1760.
Faringdon. Oxford.
A very fine monument with a particularly good portrait relief of Henry Pye.
Not mentioned in the Biographical Dictionary..... Yale 2009.
Although easily mistaken for a work by Henry Cheere - I suggest possibly from the workshop of the Bryans of Gloucester or Patys of Bristol.
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