Silver, parcel-gilt, London hallmarks for 1965-66, mark of John Greville.

Chalice and paten, silver, parcel-gilt, both inscribed. The bowl has a flared wall, the lower edge cuts sharply to the stem and the floor of the bowl is domed and is supported on a trumpet shaped foot with a narrow waist. The surface is plain and softly planished; the interior of the bowl and the foot, gilt.

Given by Miss Bertha Barnardiston

This chalice was originally presented to St John's Church, Bury St Edmund's in memory of Miss Mary Barnardiston but was refused on account of the inscription.

Transcript of the receipt from the Reverend John Peach, St John's Vicarage, 37 Well Street, Bury St. Edmunds, Suffolk, 07/02/1966

Whereas we, the Vicar and Churchwardens of the Parish of St. John, Bury St. Edmunds, were the donees of a chalice and paten donated to us by Miss Bertha Barnardiston on Friday, 10th September 1965, in memory of the late Miss Bertha Barnardiston; and whereas a faculty in respect thereof has been refused by the Chancellor of the Diocese by reason of the inscription thereon, we hereby renounce all right and title to the said chalice and paten, now returned to the donor.

Signed: John Peach, Vicar
D. Simpson, V.G. Mallender, Churchwardens
7th February 1966

Transcipt of the letter from Miss Bertha Barnardiston to Hugh Wakefield, Circulation Department, V&A, 12/02/1966

Dear Mr Wakefield,

It was such a pleasure to meet you the other day, and to know that you would like the Barnardiston chalice and paten for the Victoria and Albert Museum. I enclose the form of gift, and also a signe renunciation from the vicar and churchwardens at St. John's, Bury St. Edmunds.

As I told you I offered a memorial to the church which my aunt attended, to be given anonymously and take whatever form they liked. The vicar asked for a chalice. Being, it seems, more hallowed than businesslike, he then omitted to ask the Diocesan Chancellor for the necessary Faculty, and omitted to show the designs to his churchwardens or P.C.C..... The Chancellor first heard of the gift through the press. If he was highly indignant I wouldn't blame him. Anyway he refused a Faculty on the grounds of the inscription. As there is no theological or doctrinal error in the inscription, and it states a simple, accepted, fact, you can draw what conclusion you like.

For my part, I am content that such a lovely piece of modern craftsmanship should be appreciated by as many people as possible, and give as much pleasure as possible, instead of being shut up in a church safe, and brought out for a small number of church-goers.

Thank you for accepting this gift,

Yours sincerely,
(Signed) Bertha K. Barnardiston

The Modern Church
In the late Victorian period two architects turned- craftsmen, Henry Wilson and C.R. Ashbee, initiated a decisive shift towards fine craftsmanship in church silver. This led to a sharp fall in the standing of commercial manufacturers but provided a steady source of work for many designer-silversmiths that has lasted into the present day. This revival of craftsmanship came out of the Arts and Crafts movement, one of the greatest social and artistic forces of the age. Favouring small studio workshops and simplicity of form, the movement set the pattern for church silver throughout the 20th century, whether for major cathedral commissions or for parish churches. Cathedral Church of St Michael, Coventry, 1954-62

Reason For Production: Commission

John Grenville studied painting at the Farnham School of Art between 1938 and 1940 and after war service, silversmithing at the Central School of Arts and Crafts from 1945 until 1947. In the 1950s he ran a London workshop and in 1966, he moved to Broxford in Suffolk. He executed many church silver commissions for East Anglican dioceses in an elegant, modernist style.

CIRC.79&A-1966