Madame De Maintenon 1670 Workshop Pierre Mignard

Total Page:16

File Type:pdf, Size:1020Kb

Madame De Maintenon 1670 Workshop Pierre Mignard anticSwiss 05/10/2021 01:29:33 http://www.anticswiss.com Madame de Maintenon 1670 workshop Pierre Mignard SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Luigi XIV Reggenza +33662098900 Length:68cm Width:58cm Material:olio su tela Price:4200€ DETAILED DESCRIPTION: French School of the seventeenth century workshop of Pierre Mignard (1612-1695) Portrait of Madame de Maintenon 1670, represented by a widow, she mourns her husband Scarron and at that time she was in charge of the children of King Louis XIV. Oil on canvas 49 cm by 39 cm blackened wooden frame of 68 cm by 58 cm Madame de Maintenon (1635-1719) French aristocrat and secret wife of Louis XIV, Madame de Maintenon leaves the image of a wise and mysterious woman which would have had a great influence on the king. Granddaughter of the Protestant poet Agrippa d'Aubigné. High in the Calvinist faith, she saw a turbulent childhood of six years in Martinique. On the death of her father, she is taken in by her godmother, Madame de Neuillant, which immediately converts to Catholicism (1649). At the age of sixteen, the girl was forced to marry Paul Scarron, a disabled poet 25 years her senior. Through this union, she rubs the intellectuals of the time, such as Madame de Sevigne and Madame de La Fayette. Left penniless after the death of Scarron in 1660, she was noticed by Madame de Montespan, mistress of King Louis XIV. Thus it is appointed governess of the children of the couple since 1669. wise and pious woman who does not lack spirit, it will eventually seduce the king, who appoints the Marquise de Maintenon. Lover since 1679, the couple married in secret after the death of Queen Maria Theresa, in 1683. Madame de Maintenon, discreet queen but the moral unwavering, would have had a great influence on the king. Some historians wonder even the role that it played in the revocation of the Edict of Nantes. After the death of Louis XIV, in 1715, she retired to Saint-Cyr, where she established a school for girl in 1686. Madame de Maintenon remained there until his death in 1719. Pierre Mignard (1612-1695 ) between Pierre Mignard in 1624 in the studio of painter Jean Boucher in Bourges. Back in Troyes, he worked with a sculptor named François Gentil before leaving for Fontainebleau - capital of the arts of the time - where he studied Primaticcio, Rosso Fiorentino and Martin Fréminet. In 1635 he moved to Rome where he met Nicolas Poussin, perhaps the painter Sassoferrato Avolara and Anna, daughter of an architect, he falls in love but not married in 1660 to the following obstacles various. Became famous in Rome, he is naturally recalled to France by Louis XIV in 1657. On the 1 / 3 anticSwiss 05/10/2021 01:29:33 http://www.anticswiss.com way to Paris, he met Molière in Avignon with his brother Nicolas. Mignard divided his career between the portrait especially from the aristocratic society of the kingdom and the great decorative compositions. He painted including the Palace of Versailles. In June 1687 he was knighted by the king in 1690 on the death of Charles Le Brun appoints his first painter, actually the director of royal manufactures and brings to the Royal Academy of Painting and Sculpture at the post director. We owe him the portraits of Bossuet, Jacques de cord Evieu, the Princess Palatine, Duchess of Châtillon, Countess of Fiesco, Julie Angennes, Mademoiselle de Montpensier, Mademoiselle de Valois and Grand Duchess of Tuscany, Madame de la Sabliere, the Duchess of Brissac, the Duchess of Ventadour, Madame de Montespan, of Mademoiselle de la Valliere, Madame de Sevigne, Mademoiselle de Grignan, Miss Fontanges and Madame de Tencin. He also painted ten times Louis XIV. https://www.anticswiss.com/en/fine-art-antiques/madame-de-maintenon-1670-workshop-pierre-mignard-4456 2 / 3 anticSwiss 05/10/2021 01:29:33 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
    The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view.
    [Show full text]
  • Madame De Ludres-Entourage of Pierre Mignard-17Th
    anticSwiss 02/10/2021 04:52:15 http://www.anticswiss.com Madame de Ludres-entourage of Pierre Mignard-17th SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Luigi XIV Reggenza +33662098900 Length:104cm Width:79cm Material:olio su tela Price:4800€ DETAILED DESCRIPTION: Madame de Ludres, Chanoinesse de Pousse in Mary Magdalen repentant French School of the 17th century-circle Pierre Mignard (1612-1695) Canvas 79 cm by 63 cm. Important frame of 104 cm by 87 cm Our painting is a revisited version of the painting of Pierre Mignard exposed to Versailles. Our Madame de Ludres is depicted here repentant, she cries and especially unlike the portrait of Mignard her hair completely covers his chest. Also note the absence of the skull in our table. Madame de Ludres, Canoness of Pousse (1647-1726) Marie-Elisabeth (known as Isabelle), Marquise de Ludres, born in 1647 in Ludres in Lorraine, and died in 1726 in Nancy, is a mistress of King Louis XIV, rival of Madame of Montespan. Pierre Mignard (1612-1695) Born in Troyes, Pierre Mignard apprenticed in Bourges, from 1622, to the painter of altar paintings Jean Boucher, then to Paris at Simon Vouet's. These two painters, who had formerly made the trip to Italy, perhaps communicated to Mignard the desire for a trip beyond the mountains, a rule for the artists of the generation of 1590, abandoned by the artists of his generation (Philippe de Champaigne, La Hyre). From his long stay in Italy, mainly in Rome, from 1634-1635 to 1657 (he made a trip to Parma, Modena and Venice in 1654-1655), we know very little about it; if the artist is strongly Romanized, he still befriends the painter and theorist Charles-Alphonse Du Fresnoy, author of De arte grafica.
    [Show full text]
  • Nicolas Mignard (Troyes 1606 - 1668 Paris) Portrait De Gabriel Teste (1588-1658)
    Nicolas Mignard (Troyes 1606 - 1668 Paris) Portrait de Gabriel Teste (1588-1658) près une première initiation Dès 1637, on retrouve Mignard à Avignon à la peinture dans sa ville où il épouse la fille d’un maître-paumier. Anatale, Nicolas Mignard aurait Il y poursuit sa carrière jusqu’en 1660, fréquenté l’atelier de Simon Vouet à travaillant pour les institutions religieuses Paris avant de poursuivre sa formation et membres de la noblesse. En 1657, il à Fontainebleau. Il est documenté accueille son frère Pierre (1612-1695) et lui à Avignon dès 1632 où il reçoit ses procure quelques commandes locales. En premières commandes dont une série 1660, à la suite du passage de Louis XIV de toiles sur l’histoire de Théagène et dans la région, Mazarin — qui devait déjà Chariclée pour la galerie que Paul Fortia connaître Nicolas Mignard depuis son de Montréal venait de faire construire séjour avignonnais en qualité de vice-légat dans son hôtel particulier. Ce capitaine de en 1634-1636 —, le fait venir à Paris où la Marine royale est un ami du cardinal il exécute de nombreux portraits, parmi Alphonse de Richelieu, archevêque de lesquels plusieurs effigies du roi. Les traits Lyon (1582-1653). Selon Félibien1, lors de Mazarin, du Grand Condé et du comte d’un séjour de ce dernier à Avignon, de Soissons seront aussi saisis par le peintre. Paul Fortia de Montréal présente le jeune Dans la capitale, Mignard connaît une peintre au cardinal qui le prend dans ascension très rapide au sein de l’Académie sa suite lors de son départ pour Rome royale de peinture et de sculpture.
    [Show full text]
  • "Assomption", Tableau Signé/Daté N. MIGNARD INVENTOR PINXIT
    "Assomption", tableau signé/daté N. MIGNARD INVENTOR PINXIT. AN 1633. Chœur de la cathédrale Notre-Dame des Doms, Avignon, Vaucluse. Nicolas Mignard Autoportrait Huile sur toile H : 67 cm ; L : 53 cm Musée Calvet - Avignon L’identité du modèle a pu être établie par comparaison avec un Portrait de Nicolas Mignard par son fils Paul (1641-1691), conservé au musée des Beaux-Arts de Lyon. Nicolas Mignard, dit Mignard d'Avignon, baptisé le 7 février 1606 à l'église Sainte-Madeleine de Troyes en Champagne, mort à Paris le 20 mai 1668, est un peintre baroque et graveur français. Frère de Pierre Mignard dit "Mignard le Romain", et père de Pierre II Mignard, dit "le chevalier Mignard" et de Paul Mignard, il est le fils d'une famille d’artisans : chapelier, passementier et bonnetier. Après des études d'art dans sa ville natale, il se rend à Fontainebleau où le château attire et retient de nombreux peintres distingués, avant de s’installer à Paris, où il aura pour maître Simon Vouet (1590-1649 infos), le peintre le plus important du règne de Louis XIII, revenu de Rome après y être resté 15 ans. Puis c’est à Lyon qu’il s’installe quelques temps avant de rejoindre, vers 1633, Avignon*, où il va passer une grande partie de son existence. * ce choix d’Avignon et de la Provence avait déjà été celui d’artistes peintres troyens, comme Jacques Macadré, venus s’installer à Aix après avoir été jetés sur les routes par la récession économique de la capitale de la Champagne, de 1575 environ à 1626 ("La peinture à Troyes au XVIe siècle", maîtrise de Monique Barbier).
    [Show full text]
  • Documentation Pratique55ab1a
    Aujourd’hui Ville aux mille couleurs, Troyes fut longtemps considérée comme une « belle endormie ». De fait, elle apparaît maintenant comme extirpée de sa gangue de grisaille et Although it now enjoys a reputation as the “city of a thousand colours”, Troyes was de sa somnolence consécutives à la fois au centralisme opéré par le pouvoir long considered something of a “sleeping beauty”. dès le milieu du XVIIe siècle ainsi qu’au développement d’une ère industrielle par nature dévolue aux performances économiques plus qu’à la mise en valeur des For a long time, the city was enveloped in a sombre, grey shroud – the result of richesses patrimoniales. Du moins à cette époque (XIXe et 1ére moitié du XXe). both centralised power from the mid-17th century onwards, and the effects of industrial development, where financial performance took precedence over heritage Son principal défaut du jour : être trop discrète ! Car désormais drapée dans and beauty. This was particularly true of the 19th and early 20th centuries. Yet ses atours d’origine, Troyes, d’ailleurs labellisée depuis 2009 « Ville d’art et today, Troyes seems to have emerged from this dark period in its history. d’histoire », resplendit des multiples richesses artistiques léguées par ce siècle d’or entre tous que fut pour elle « le beau XVIe ». C’est en effet d’un concentré If the city can be criticised for anything now, one might say that it is too reserved! de toutes les disciplines artistiques, architecture, peinture, sculpture, vitrail Troyes is once again resplendent in its original attire, and was made an official que la Renaissance a doté cette ville déjà choyée par un Moyen-Âge intellec- “City of Art and History” in 2009.
    [Show full text]
  • LE GRAND CONDÉ Le Rival Du Roi-Soleil ?
    4 septembre 2016 _ 2 janvier 2017 LE GRAND CONDÉ Le rival du Roi-Soleil ? Dossier de Presse juin 2016 Commissariat Mathieu Deldicque, conservateur du patrimoine au musée Condé, assisté d’Astrid Grange Prêteurs Exposition organisée avec la participation exceptionnelle du musée de l’Armée. Le musée de l’Armée offre une des collections d’histoire militaire les plus riches au monde avec près de 500 000 pièces, de l’âge du bronze au XXIe siècle. Créé en 1905, il est situé au cœur de l’Hôtel des Invalides à Paris et propose une programmation culturelle ouverte à tous avec expositions, concerts, projections, conférences, événements et spectacles. En 2015, il a accueilli près de 1,4 million de visiteurs, ce qui le classe au 5e rang des musées français les plus fréquentés. Besançon, musée des Beaux-Arts et musée du Temps Chaalis, abbaye royale, musée Jacquemart-André Chambord, Domaine national Corsaint, église Saint-Maurice Dole, musée des Beaux-Arts Londres, Victoria and Albert Museum Modène, Archivio di Stato Paris, Bibliothèque Mazarine Paris, Bibliothèque nationale de France Paris, musée Carnavalet-Histoire de Paris Paris, Mobilier national Paris, musée des Arts décoratifs Paris, musée d’Orsay Paris, musée du Louvre Versailles, musée national des châteaux de Versailles et de Trianon Mécènes de l’exposition Scénographie SOMMAIRE COMMUNIQUÉ DE PRESSE . 4 PARCOURS DE L’exPOSITION . 6 Scénographie Première partie . L’héroïsme et la gloire, malgré tout Deuxième partie . L’intimité et l’apothéose Quelques œuvres phares de l’exposition BIOGRAPHIE DU GRAND CONDÉ . 20 VISUELS DISPONIBLES POUR LA PRESSE . 22 AUTOUR DE L’exPOSITION .
    [Show full text]
  • Molière-Avignon Et Les Mignard
    Georges Forestier Molière l’Avignonnais et ses amis, Mignard d’Avignon et Mignard le Romain Paru dans Cahiers Jean Vilar, n°118, 2015, p. 4-9. Sept cités grecques se sont disputé l’honneur d’avoir donné naissance à Homère. Une bonne vingtaine de villes françaises disposées le long d’un arc descendant de Nantes à Toulouse et remontant de Carcassonne à Dijon, en passant par la vallée du Rhône peuvent se vanter d’avoir accueilli Molière durant les douze années que dura son activité de comédien dans la moitié sud de la France (1646-1658). L’une d’elles, Pézenas, joli bourg endormi doté de peu d’atouts touristiques, a pris les devants en se proclamant dès le XIXe siècle patrie d’adoption de Molière, allant jusqu’à dénicher un vieux fauteuil présenté comme celui dans lequel il se serait assis toutes les fois qu’il allait chez le barbier ; les légendes locales le montrent même observant le monde autour de lui et faisant des lectures de pièces qu’en fait il écrivit quinze ans plus tard. Il est vrai que Molière et sa troupe séjournèrent à deux reprises plusieurs mois à Pézenas où se tinrent deux longues sessions des États généraux du Languedoc au tournant de 1650-1651 et de 1655-1656 et qu’ils passèrent quelques semaines à l’automne 1653 tout à côté, dans le joli petit château de La-Grange-des-Prés du prince de Conti. Il n’en reste pas moins que Pézenas y est allé au culot afin d’attirer l’attention sur elle, et que les deux cités qui pourraient se prétendre à bon droit « patrie d’adoption de Molière » du fait de la régularité avec laquelle sa troupe y séjourna sont Lyon et Avignon, deux villes, il est vrai, qui n’ont pas besoin d’entonner les trompettes de la renommée moliéresque pour exister.
    [Show full text]
  • Exhibition Checklist Woven Gold: Tapestries of Louis Xiv
    EXHIBITION CHECKLIST WOVEN GOLD: TAPESTRIES OF LOUIS XIV At the J. Paul Getty Museum, Getty Center December 15, 2015 – May 1, 2016 In the hierarchy of court art, tapestry was regarded, historically, as the preeminent expression of princely status, erudition, and aesthetic sophistication. Extraordinary resources of time, money, and talent were allocated to the creation of these works meticulously woven by hand with wool, silk, and precious- metal thread, after designs by the most esteemed artists. The Sun King, Louis XIV of France (born 1638; reigned 1643–1715), formed the greatest collection of tapestries in early modern Europe. By the end of his reign, the assemblage was staggering, totaling some 2,650 pieces. Though these royal hangings were subsequently dispersed, the largest, present repository of Louis’s holdings is the Mobilier National of France. With rare loans from this prestigious institution, Woven Gold: Tapestries of Louis XIV explores and celebrates this spectacular accomplishment. This exhibition was organized by the J. Paul Getty Museum in association with the Mobilier National et les Manufactures Nationales des Gobelins, de Beauvais et de la Savonnerie. We gratefully acknowledge the Hearst Foundations, Eric and Nancy Garen, and the Ernest Lieblich Foundation for their generous support. Catalogue numbers refer to Woven Gold: Tapestries of Louis XIV by Charissa Bremer-David, published by The J. Paul Getty Museum numbers refer to the GettyGuide® audio tour Louis XIV as Collector, Heir, Patron By the end of Louis XIV’s reign, the French Crown’s impressive holdings of tapestries had grown by slow accumulation over centuries and by intense phases of opportunistic acquisition and strategic patronage.
    [Show full text]
  • Molière and Perrault on the Sister Arts by Michael Call According to an Early
    The Poet’s Vision and the Painting’s Speech: Molière and Perrault on the Sister Arts by Michael Call According to an early biographer, Nicolas Poussin once stated that the allegorical figure in the background of his self-portrait represented “the love of painting and friendship” (Cropper and Dempsey 182). In this pre-Lessing era of ut pictura poesis when poetry and painting were the axiomatic sister arts, painting certainly counted many friends among the writers, some of them rather unlikely. Of the many literary works produced in the mid- seventeenth century in praise of painting and painters, few, though, are as unexpected as Molière’s 1669 La Gloire du Val-de-Grâce: the playwright’s longest non-theatrical work, the poem represents a striking anomaly in the Molière corpus with regards to subject matter and style. While this uncharacteristic foray into the visual arts and the genre of didactic poetry can be justified as a gesture of friendship—the poem was written in defense of the artist Pierre Mignard, a close acquaintance of the playwright—such a cursory explanation fails to appreciate how the unusual features of Molière’s poem constitute a careful and deliberate response to a rival pair of painters and poets and to the contemporary identity crisis of French painting. The uncertain relationship between La Gloire du Val-de-Grâce and the rest of the Molière corpus—in fact, the poem’s marginalization—is concretely apparent in the anthologizing of Molière’s work. While the La Grange edition of Molière’s complete works, published in 1682, situated the poem in chronological order among the plays, more modern editions, including the Despois and Mesnard edition of 1873-1927 and the 1971 Pléiade edition edited by Georges Couton, relegate the poem to an appendix.1 By comparison, these two editions place 1 It should be noted that the recently-issued Pléiade edition (2010), edited by Georges Forestier and Claude Bourqui, again places the poem in chronological order.
    [Show full text]
  • Apollo and Columbia: Landscape As Power in Washington D.C. and Versailles
    University of Arkansas, Fayetteville ScholarWorks@UARK Landscape Architecture Undergraduate Honors Theses Landscape Architecture 12-2020 Apollo and Columbia: Landscape as Power in Washington D.C. and Versailles. Beau Cameron Burris Follow this and additional works at: https://scholarworks.uark.edu/larcuht Part of the Architectural History and Criticism Commons, Landscape Architecture Commons, and the Urban, Community and Regional Planning Commons Citation Burris, B. C. (2020). Apollo and Columbia: Landscape as Power in Washington D.C. and Versailles.. Landscape Architecture Undergraduate Honors Theses Retrieved from https://scholarworks.uark.edu/ larcuht/11 This Thesis is brought to you for free and open access by the Landscape Architecture at ScholarWorks@UARK. It has been accepted for inclusion in Landscape Architecture Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. APOLLO AND COLUMBIA: LANDSCAPE AS POWER IN WASHINGTON DC AND VERSAILLES BEAU BURRIS DR. KIM SEXTON FAY JONES SCHOOL OF ARCHITECTURE + DESIGN DEPARTMENT OF LANDSCAPE ARCHITECTURE Burris 1 INTRODUCTION Burris 2 A palace stands on a knoll ten miles outside of Paris. Its limestone facade is brilliant in midday, its gilded roof gleams like fire. Grand boulevards lined with plane trees radiate out in all directions from a court of marble bounded by golden gates. Here, the glory of monarchy seems to spill into the streets. It runs through massive fountains and into a mile-long canal dug by hand. It nourishes thousands of carefully pruned trees which bathe the land in deep, rich green. This place—glittering, pompous, exuberant, extravagant—is the Château de Versailles (fig.
    [Show full text]
  • Samuel FB Morse's "Gallery of The
    A New Look Samuel F. B. Morse’s Gallery of the Louvre Natio Nal Gallery of art July 3, 2011 – July 8, 2012 The exhibition is made possible by the generous support of the Terra Foundation for American Art and is organized in partnership with the National Gallery of Art. Kw No N today primarily as the inventor of the telegraph, Samuel F. B. Morse fiG. 2 Hubert Robert, Project for the (1791 – 1872) began his career as a painter. Born in Charlestown, Massachusetts, he Transformation of the Grande Galerie of the attended Yale University, graduated in 1810, and moved to Boston. There he became Louvre, 1796, Musée du Louvre, Paris. Photo the private pupil and friend of the painter Washington Allston, who introduced him credit, Réunion des to a traditional program of study that encompassed drawing, anatomy, and art theory. Musées Nationaux / Art Resource, NY; photo, With Allston’s encouragement, Morse went to London, where he met Benjamin Jean-Gilles Berizzi West and was accepted as a student at the Royal Academy of Arts. Morse’s first major painting there, The Dying Hercules (1812 – 1813, Yale University Art Gallery), earned high praise. Returning home in 1815, full of optimism and national pride, Morse confronted an artistic climate unfavorably disposed to history painting in the grand manner and was forced to turn to portrait painting for financial support. Throughout the late 1810s and 1820s, he painted portraits of clients in cities and towns along the Atlantic seaboard. His practice as a portraitist and his ambitions to advance a strong national art came together in his first great picture,The House of Representatives (fi G.
    [Show full text]
  • Primary Teachers' Notes, the Marquise De Seignelay and Two Of
    PRIMARY TEACHERS’ NOTES PRIMARY TEACHERS’ NOTES THE MARQUISE DE SEIGNELAY AND TWO OF HER SONS PIERRE MIGNARD Open daily 10am – 6pm Charing Cross / Leicester Square Fridays until 9pm www.nationalgallery.org.uk 1 PRIMARY TEACHERS’ NOTES ‘THE MARQUISE DE SEIGNELAY AND TWO OF HER SONS’ BY PIERRE MIGNARD (1612 – 1695) The picture is 194 x 155 cm. It was painted in oils on canvas in 1691 These notes have been produced by National Gallery Education for teachers using ‘The Marquise de Seignelay and Two of her Sons’ across the primary curriculum. In these notes you will find: information about the painting; information about the artist; suggestions for classroom activities; curriculum links. Open daily 10am – 6pm Charing Cross / Leicester Square Fridays until 9pm www.nationalgallery.org.uk 2 PRIMARY TEACHERS’ NOTES Cross-curricular work produced in schools, based on ‘The Marquise de Seignelay and Two of her Sons’, will be shown in an exhibition at the National Gallery in 2006 as part of the Gallery’s Take One Picture project. An online exhibition will also be shown on the Take One Picture website (www.takeonepicture.org.uk). Schools wishing to have their work considered should contact National Gallery Education in September 2005 to register their interest. Continuing Professional Development courses, entitled Framing the Curriculum, take place throughout the academic year 2004/05. As well as looking at ‘The Marquise de Seignelay and Two of her Sons’ in detail, they focus on general principles of working with images in the classroom. For more details and to book a place on a course please telephone 020 7747 2844.
    [Show full text]