Paintings

There were extensive proposals for restoration of and improvements to the Grade I listed church. There were five objectors, but none were parties opponent. The church contains a scheme of paintings on plaster panels, lining the nave and chancel walls, executed in 1941-42 by Duncan Grant and Quentin and Vanessa Bell. One of the concerns was as to the conservation of the paintings. The Deputy Chancellor was satisfied however that adequate expert advice was being sought about the conservation work. Another item of contention was the retention of the front pipework of the old organ, which was being replaced by a digital organ. The petitioners argued that this would provide a sense of continuity with the previous organ arrangements. The Deputy Chancellor was satisfied with all the proposals and granted a faculty.

The Chancellor granted a faculty for the removal of a mural from the west front of the church, a brick building consecrated in 1933 and unlisted. The mural represented the Last Judgment, and had been  painted by a local artist. The mural had never been popular and was not thought to be of great merit. The mural had faded, and its subject-matter, showing towers ablaze, was a cause for concern, in view of the Grenfell Tower fire. The Chancellor considered that the removal of the mural and the restoration of the brickwork on the west front 'would be a benefit from the point of view of heritage and mission'.

The Chancellor refused to grant leave to appeal against his decision to grant a faculty to authorise the sale of a painting entitled 'Devout Men taking the body of St. Stephen".

The Chancellor granted a faculty to authorise the sale of a painting entitled 'Devout Men taking the body of St. Stephen", being satisfied that there was a financial need for the sale.

The main issue was a proposal to sell two paintings which had been stored in the church for some years. The Church Buildings Council advised against sale of the two paintings, which were nineteenth century and of religious subjects, on the grounds of their connection with the church and their religious subject-matter. A professional valuation had put a value of £125-£150 on each painting. The Chancellor determined to grant a faculty for the sale. The paintings had been stored several years and were deteriorating and were unlikely to be displayed again, the connection with the church was tenuous and the paintings were of very modest value.