1 Malcolm Baker, « Museums, Collections and their Histories », dans Malcolm Baker, Brenda Richardson (dir.), A Grand Design. The Art of the Victoria and Albert Museum, New York, Harry N. Abrams, 1997, p. 19.
2 Michael Conforti, « The Idealist Enterprise and the Applied Arts », dans Malcolm Baker, Brenda Richardson (dir.), A Grand Design…, op. cit., p. 24.
3 Clive Wainwright, « The Making of the South Kensington, Part III. Collecting abroad », Journal of the History of Collections, 14/1, 2002, p. 54-55 ; Helen Davies, « John Charles Robinson’s Work at the South Kensington Museum, Part I. The Creation of the Collections of Italian Renaissance Objects at the Museum of Ornamental Art and the South Kensington Museum 1853-1862 », Journal of the History of Collections, 10/2, 1998, p. 169-188 et ead., « John Charles Robinson’s Work at the South Kensington Museum, Part II. From 1863 to 1867: Consolidation and Conflict », Journal of the History of Collections, 11/1, 1999, p. 95-115.
4 Cité dans Clive Wainwright, « The Making of the South Kensington, Part III. Collecting abroad », art. cité, p. 56.
5 Clive Wainwright, « Shopping for the South Kensington. Fortnum and Henry Cole in Florence 1858-1859 », Journal of the History of Collections, 11/2, 1999, p. 171-185.
6 Clive Wainwright, « The Making of the South Kensington, Part III. Collecting abroad », art. cité, p. 50.
7 Helen Davies, « John Charles Robinson’s Work at the South Kensington Museum, Part I… », art. cité, p. 98.
8 Monica Preti-Hamard, Philippe Sénéchal (dir.), Collections et marché de l’art en France, 1789-1848, Rennes, Presses universitaires de Rennes, 2005.
9 AVA. ED 84/35. Le poste d’art referee est créé dès 1857. Ses missions sont redéfinies avec la nomination de Robinson en 1863. Elles consistent dans la recommandation d’acquisitions et de prêts, en Angleterre et à l’étranger, la négociation d’acquisitions, l’information sur les ventes à venir et la suggestion des objets à y acquérir ainsi que leur description, l’envoi de rapports mensuels sur le déroulement de ses missions, et la rédaction de catalogues des collections du musée.
10 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report from March 1st 1864.
11 Ibid. : « the result of my explorations, whilst it in some mesure, appears to confirm these statements, nevertheless leads me to think, that Spain has not yet despoiled of its treasures or art. »
12 Ibid. : « Spain might yet be made to yield a productive and interesting harvest. »
13 Véronique Gerard Powell, « La llegada de El Greco al mercado de arte francés (1830-1900) », dans María Dolores Antigüedad del Castillo Olivares (dir.), Colecciones, expolio, museos y mercado artístico en España en los siglos XVIII y XIX, Madrid, Universitaria Ramón Areces, 2011, p. 265-285. L’auteur étudie la présence croissante du Greco sur le marché de l’art français et la formation des premières collections privées de peinture espagnole entre 1830 et 1900.
14 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Letter from Piot to Robinson.
15 Elizabeth A. Pergam, « John Charles Robinson in 1868: a Victorian Collector’s Collection on the Block », Journal of Art Historiography, 18, 2018.
16 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report from March 1st 1864 : « Whatever may be the relative artistic wealth of Spain at the present time in specimens available for purchase, it is certainly more difficult there than elsewhere to find out and acquire such objects whereas for instance in Italy, Germany and France, everything is known and noted, where every town and village has been searched to exhaustion, and the machinerie of acquisition, if I may so term it, organized in the most complete and pratical manner, in Spain comparatively but little of the kind has been done. There are there, as a rule, no dealers, no local guides, no middle men, and possessors of works of art are either completely ignorant of their interest and importance, and so never think of calling attention to them, or else on the other hand, delude themselves with exaggerated ideas of their value, this last being a natural result of the hasty and isolated excursions of continental dealers, and the inconsiderate offers of wealthy travellers. »
17 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Adresses of dealers and other persons.
18 Helena Pérez Gallardo, « Spanish Architecture Seen by Foreign Photographers of the Nineteenth Century », dans Micheline Nilsen, Nineteenth-Century Photographs and Architecture: Documenting History, Charting Progress and Exploring the World, Farnham, Ashgate, 2013, p. 201-215.
19 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report from March 1st 1864 : « the innate pride and reserve of the Spanish people indispose them to invite the attention of strangers to their possessions. »
20 Ibid. : « where, as a rule all classes are willing to barter away their artistic possessions ». Sur le commerce de l’art italien dans les années 1860 et la structuration d’un réseau marchand et savant autour de Giovanni Morelli, Henry Layard, James Hudson et William Blundel Spence, voir John Fleming, « Art dealing and the Risorgimento I », The Burlington Magazine, 115/838, 1973, p. 4-17; et id., « Art dealing in the Risorgimento II », The Burlington Magazine, 121/917, 1979, p. 492-508 ; et Jaynie Anderson, Collecting Connoisseurship and the Art Market in Risorgimento Italy. Giovanni Morelli’s Letters to Giovanni Melli and Pietro Zavaritt (1866-1872), Venezia, Istituto veneto di scienze, lettere ed arte, 1999.
21 Catalogue des objets d’art et d’antiquités, des tableaux, dessins, médailles des xve et xvie siècle de la collection de M. Eug. Piot, dont la vente aura lieu Hôtel Drouot, les lundi 25, mardi 26, mercredi 27, jeudi 28, vendredi 29 et samedi 30 avril 1864, Paris, impr. de A. Lainé et J. Havard, 1864.
22 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report from March 1st 1864 : « peculiar propensity to destroy and depreciate everything which has once ceased to have a positive use or comeliness, […] so that a vast number of the most interesting and important works of art have perished […] ».
23 Voir, par exemple, Francisco Fernández Pardo, Dispersión y destrucción del patrimonio español, Madrid, Fundación Universitaria Española, 2007, 5 vol.
24 Oscar E. Vázquez, Inventing the Art Collection: Patrons, Markets and the State in Nineteenth-Century Spain, University Park, Pennsylavia State University Press, 2001, p. 71-72 : « The laws of desamortización gave birth to a Janus-faced monster in the historiography of Spain. One interpretation sees in the government’s suppression of convent an insatiable and destructive administrative monster that devoured all religious and clerical properties while creating massive disorganization that resulted in the loss of innumerable artworks. The second interpretation sees a more useful administrative creature contenting itself with the transfer of thousands of artworks from dark, ill-climatized, and inaccessible monasteries and convents to public exhibition halls centrally located in the principal capitals of the various provinces. The latter view had also been affirmed by the nineteenth-century French in defense of their earlier pillaging of convents for Spanish art. »
25 Jean-Charles Davillier, L’Espagne, par le baron Ch. Davillier, illustrée de 309 gravures dessinées sur bois par Gustave Doré, Paris, Hachette, 1874, p. 161.
27 Michael Conforti, « The Idealist Enterprise and the Applied Arts », op. cit., p. 24.
28 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report of March 1st 1864 : « a Spanish gentleman of position, an intelligent amateur of art. »
29 AVA. Robinson reports. MA/3/1. Vol. I. Part V. 24 February 1864-30 March 1864. Report of March 1st 1864 : « At the present day in Spain, there is no longer any disposition to dispose of objects of art, the property of the churches and religious corporations, all necessity for doing so having passed away, and from the endeavours I made on various occasions with this object I am convinced that it will be henceforth mere waste of time to try to bring about such negociations, and that the attempts even are likely to be very ill received. »
30 AVA. Robinson reports. MA/3/21. Vol. V. Part II. 10 August 1866-19 December 1866. Report of October 23rd 1866 : « There exists however another authoritative board in Madrid which could probably surmount all obstacles; this is the “Real Academia de San Fernando”: this academy has here so far been a very august institution, with very little better than nominal function, the academicians being mainly great personages of the court, artists being in a small minority. Lately however, efforts have been made to reanimate this institution and it has recently acquired a kind of semi official supervision over all the ancient monuments and public works of art in the country. Local corresponding members and committees are also being appointed in the provincial cities. It was to this body, that reference was recently made from Santiago, in regard to the moulding the “Puerta della Gloria”, and I have learnt here, that but further fact of the matter having been laid before a committee of this academy, of which señores Carderera and Madrazo, personal friends of my own, were members, the chapter of Santiago would have ultimately withdrawn their consent. Whatever we do in future in the matter of reproduction in Spain will probably come within the cognisance of this body, and it is therefore most desirable that it should be animated with good will towards us. »
31 Carlos López Bravo, El patrimonio cultural en el sistema de derechos fundamentales, Séville, Universidad de Sevilla, 1999, p. 94-95.
32 Real Orden de 10 de Abril de 1866.
33 Arana Cobos Itziar, « Valentín Caderera: comisionado, acádemico y coleccionista », dans Immaculada Socias Batet (dir.), Conflictes, bèl·lics, espoliaciones, col·leccions: Aquesta publicació és el resultat de les Jornadas Internacionals sobre col·leccionisme celebrades a la Universitat de Barcelona el 22 i 23 d’abril de 2008, Barcelona, Universitat de Barcelona, 2009, p. 87-115.
34 AVA. Robinson reports. MA/3/21. Vol. V. Part II. 10 August 1866-19 December 1866. Report of October 23rd 1866 .
35 Charlotte Drew, « The Colourful Career of Sir John Charles Robinson: Collecting and Curating at the Early South Kensington Museum », Journal of Art Historiography, 18, 2018.
36 Rainer Liedtke, « Agents for the Rothschilds: A Nineteenth-Century Information Network », Jahrbuch für Europäische Geschichte, 16, 2015, p. 33-46.
37 Gordon Waterfield, Layard of Nineveh, Londres, John Murray, 1963.
38 Cristina del Prado Higuera, El todo Madrid. La corte, la nobleza y sus espacios de sociabilidad en el siglo XIX, Madrid, Fundación universitaria española, 2012, p. 143-144.
39 Ashley Clarke, « Layard and Diplomacy », dans Frederick M. Fales, Bernard Hickey (dir.), Austen Henry Layard tra l’Oriente e Venezia, Roma, « L’Erma » di Bretschneider, 1987, p. 93-100 ; et Gordon Waterfield, Layard of Nineveh, op. cit., p. 317.
40 Elizabeth Mansfield, s. v. « Dilke, Emilia », dans Philippe Sénéchal, Claire Barbillon (dir.), Dictionnaire critique des historiens de l’art actifs de la Révolution française à la Première Guerre mondiale, 2009 (https://www.inha.fr/fr/ressources/publications/publications-numeriques/dictionnaire-critique-des-historiens-de-l-art.html). Sir Charles Wentworth Dilke est un homme politique britannique. Sa femme, Lady Emilia Francis Dilke est historienne de l’art et critique d’art. Elle consacre plusieurs travaux à l’art français des xvie et xixe siècles.
41 Jaynie Anderson, Collecting Connoisseurship and the Art Market in Risorgimento Italy…, op. cit., p. 177-187.
42 Austen Henry Layard [non signé], « Velasquez », Quarterly Review, 133/266, 1872, p. 451-487 ; et Gordon Waterfield, Layard of Nineveh, op. cit., p. 322. Layard révise également pour son éditeur John Murray le chapitre du Handbook of Spain consacré à l’art espagnol publié par Richard Ford en 1846.
43 Cecilia Riva, « An Art World Insider: Austen Henry Layard and the Nineteenth-Century European Art Trade », Journal for Art Market Studies, 2, 2018, p. 11-12.
44 Sur la tradition du connoisseurship et la « méthode expérimentale » de Morelli, voir Michela Passini, L’œil et l’archive. Une histoire de l’histoire de l’art, Paris, La Découverte, 2017, p. 33-41.
45 Sarah Symmons, « The Spanish Diary of Enid Layard », Boletín del Museo del Prado, 18/36, 2000, p. 85-100.
46 Marjorie Trusted, « In all Cases of Difference adopt Signor Riaño’s View. Collecting Spanish Decorative Arts at South Kensington in the Late Nineteenth Century », Journal of the History of Collections, 18/2, 2006, p. 225-236 et ead., « Gayangos’s legacy: his Son in Law Juan Facundo Riaño (1829-1901) and the Victoria and Albert Museum », dans Cristina Álvarez Millán, Claudia Heide (dir.), Pascual de Gayangos: a Nineteenth-Century Spanish Arabist, Édimbourg, Edinburgh University Press, 2008, p. 205-222 ; María Rosario Caballero Carrillo, Inicios de la historia del arte en España: la Institución de Libre Enseñanza (1876-1936), Madrid, CSIC, 2002 ; Martín Almagro Gorbea, s. v. « Riaño y Montero, Juan Facundo », Diccionario Biográfico Español, 43, Madrid, Real Academia de la Historia, 2012, p. 270-273 ; et Ignacio Peiró Martín, Gonzalo Pasamar Alzuria, La Escuela Superior de Diplomática: los archiveros en la historiografía española contemporánea, Madrid, ANABAD, 1996.
47 NALA. Henry Cole Diaries: typed transcripts, 1870. Henry Cole a consigné les étapes de son séjour en Espagne dans son journal.
48 Elizabeth James, The Victoria & Albert Museum: A Bibliography and Exhibition Chronology, 1852-1996, Londres/Chicago, The Victoria and Albert Museum/Dearborn, 1998 ; et Ann Eatwell, « Borrowing from Collectors: the Role of the Loan in the Formation of the Victoria & Albert Museum and its Collections (1852-1932) », Journal of the Decorative Arts Society, 24, 2000, p. 21-28. Entre 1872 et 1874, le South Kensington Museum organise trois expositions : The Loan Exhibition of ancient and modern jewellery and personal ornaments (1872), The Special Loan Exhibition of decorative art needlework made before 1800 (1873) et The Special Loan Exhibition of enamels on metal (1874).
49 NALA. Henry Cole Diaries: typed transcripts, 1870. « April 1870, Saturday 16 ».
50 NALA. Henry Cole Diaries: typed transcripts, 1870. « April 1870, Monday 18 ».
51 Gonzalo M. Borrás Gualis, « Art History in Spain: a Generational History », dans Matthew Rampley (dir.), Art History and Visual Studies in Europe. Transnational Discourses and National Frameworks, Leiden/Boston, Brill, 2012, p. 473-474.
52 Layard tente également de convaincre les Espagnols de fonder un Fine Arts Club qui offrirait un cadre de réunion et d’exposition aux collectionneurs.
53 Miguel Ángel Álvarez Ramos, Los viajes literarios de Pascual de Gayangos (1850-1857) y el origen de la archivística española moderna, Madrid, CSIC, 2007 ; Cristina Álvarez Millán, Claudia Heide (dir.), Pascual de Gayangos. A Nineteenth-Century Spanish Arabist…, op. cit. ; Gonzalo Anes y Álvarez de Castrillón (dir.), Pascual de Gayangos en el bicentenario de su nacimiento, Madrid, Real Academia de la Historia, 2010 ; et Pascual Gayangos y Arce, Catalogue of the manuscripts in the Spanish Language in the British Museum, Londres, by order of the Trustees, 1875-1893, 4 vol.
54 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals. Confidences of a Collector of Ceramics and Antiques throughout Britain, France, Holland, Belgium, Spain, Portugal, Turkey, Austria, Germany from the Year 1869 to 1885, Londres, John Lane, 1911, p. 91-92 : « 23rd [March 1870]. […] We went to see Mr. Zuloaga, an artist in metal of great merit, and who possesses many specimens of porcelain and faience [sic]. Our visit to him was very interesting but not so much so as one we paid afterwards to Mme Riaño, a daughter of the author Mr. Gayangos, whose rooms are beautifully fitted up and arranged, and are full of china and pottery not only interesting but extremely decorative. She has some excellent Buen Retiro figures, and many things I should like to carry away. Mme Riaño is one of the most charming people I have met in Madrid. She is very intimate with Enid. She has lived a great deal in England and speaks English perfectly. »
55 BL. Layard Papers. Add MS 46153. Journals of Lady Layard, vol. 1 : « Wednesday 8th February 1871 ».
56 Ibid. : « Friday 10th February 1871 ».
57 Manuel Espadas Burgos, Alfonso XII y las origenes de la Restauración, Madrid, CSIC, 1990 [1975], p. 181. Ces personnalités sont des partisans de la cause alfonsine. Manuel Remón Zarco del Valle y Espinosa de los Monteros occupe la fonction de Bibliotecario Mayor de la Real Biblioteca.
58 AIVDJ. Correspondencia del conde de Valencia de Don Juan. Caja Armería Varios.
59 BL. Layard Papers. Vol. 72, Correspondence April 1873-October 1873, feuillet 92. Letter from Valencia de Don Juan to Layard : « Monday, April 29th, 1873 ».
60 AVA. Juan Facundo Riaño. Reports of professional referee. Pt. 5, 1874-1875 : « Madrid, April 30th 1875. Report on the 131 photographs of a selection of tapestries at the Royal Palace Madrid ».
61 AGP. Personal de Empleados, Caja 1114, Expediente 30 et Caja 16812, Expediente 27.
62 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., 2 vol.
63 Ibid., p. 85 : « Barcelona, March 13th. […] I never saw so much hopeless rubbish in my whole life. »
66 Ibid., p. 91-92 : « Madrid. March 23rd. […] We had a hunt among the curiosity shops, of which there are not very many, nor are they good. Some of the best things are kept by the landlord of the Fonda de París, who sells them through a kind of commission agent attached to this house, named Calvetti [Cavaletti], a brother of the London dealer, and an Italian. We took this man with us on the following day (Thursday) and went with him into some of the shops, but found little. »
67 Ibid., p. 107 : « Madrid. April 19th. […] There is not much for a stranger to buy; for the shops are ill supplied. But for a resident, who is known to collect, it is a very good place, as many of the Grandees are selling by degrees, and the dealers come and announce this when there is anything desirable to be had, and make the bargains between the parties. Henry Layard has acquired several fine things already, and will doubtless add to them very shortly. There is a system of communication now between the Master of the Hotel de Paris at Madrid and the dealers in most towns, by which he gets a great many of the best articles; and in the provincial towns this man, Fallula [Fallola] by name, has branch hotels who all work for him in the same direction. »
68 Lorenzo Díaz, Madrid: bodegones, mesones, fondas y restaurantes. Cocina y sociedad, 1412-1990, Madrid, Espasa Calpe, 1991 [1990], p. 42. L’Hôtel de París a fermé en 2006.
69 Isabel González Turmo, Sevilla. Banquetes, tapas, cartas y menús, 1863-1995: antropología de la alimentación, Séville, Área de Cultura-Ayuntamiento de Sevilla, 1996, p. 33-35.
70 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., p. 98-99 : « Antiquities are dear and bad at Seville ! »
71 Beatriz Maestre de León, La Cartuja de Sevilla, fábrica de cerámica, Séville, Pickman S. A., 1993.
72 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., p. 97 : « 2nd [April 1870]. […] He [Carlos Pickman] supplies the whole of Spain with his wares, which are of the character of the most ordinary English productions without the slightest pretension to taste. The son, Richard Pickman, has a feeling for art and is working very successfully at reproductions of the ancient tiles. He has also a small collection of interesting specimens of various descriptions of china. »
75 Ibid., p. 103 : « 10th. [April 1870]. I need give no description. Suffice is that the Court of Lions (which for 40 years I had longed to see) was all that I expected it, and it was happiness to sit and look at it and listen to the hum of swarming bees, which made a pleasant sound now that the fountain is silent. »
78 Ibid., p. 114 : « 19th [April 1871]. In the afternoon when driving with Enid we met in Jesusa’s shop a great collector of Buen Retiro, Don Juan Conde de Valencia [sic], who engaged us to come and see his things. Went to visit the Conde de Valencia; he has some of the finest things I ever saw. Magnificent groups of Buen Retiro, and a few other pretty pieces, but the Buen Retiro unrivalled. Went to see some Dresden China and Marseille Ware at a private house we were taken by conde de Valencia. Prices absurd. »
79 Ibid., p. 93-94 et 115-116.
80 María Jesús Sánchez Beltrán, La porcelana de la Real Fábrica del Buen Retiro, Madrid, Electa, 1998 ; et Carmen Mañueco Santurtún, Cerámica de Alcora (1727-1827). Colección del Museo Arqueológico Nacional, Madrid, Ministerio de Educación, Cultura y Deporte, 2003.
81 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., p. 93.
84 Luc Boltanski, Arnaud Esquerre, « La “collection”, une forme neuve du capitalisme. La mise en valeur économique du passé et ses effets », Les Temps Modernes, 679, 2014, p. 21.
85 BINHA. Archives 27. Lettre de Goyena à Davillier : « Sevilla, le 14 septembre 1871 ».
86 BINHA. Archives 27. Lettre de Goyena à Davillier : « Sevilla, le 15 janvier 1872. […] El Retiro no merece el disfavor que tiene en Francia: yo le hize a usted esa pregunta porque me vendían dos bustos, mitad del natural, y un grupo de niños borrachos, y pedían frs 800 por las tres piezas. »
87 BINHA. Archives 27. Lettre de Valencia de Don Juan à Davillier : « Madrid, 19 de Abril 1875. […] pero esto no interesa sino a los maníacos de la localidad. »
88 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., p. 148 : « 2nd [April 1872] ».
89 BINHA. Archives 27. Lettre de Goyena à Davillier : « Sevilla, 14 Febrero 1873. […] hoy le escribo para excitarlo a sacudir su pereza y para que me diga si tienen precio en esa las obras de Capo di Monte, porque compré una buena, formada con un F de oro. La adquiere para hacer cambio por un cuadro: esto no ha cuajado y como yo no colecciono la porcelana, se la llevaría a los amateurs de Paris, si por lo que usted me diga, veo que vale la pena. »
90 BINHA. Archives 27. Lettre de Goyena à Davillier : « Sevilla, 28 Enero 1874. […] Nuestra conocida Lady Schreiber escribió a Pickman que le comprará una sillería de coro. Naturalmente Pickman me ha dado la comisión y ya he visto sept ! Pero todo barroco e indigno de hacer el viaje a Londres. »
91 BINHA. Archives 27. Lettre de Goyena à Davillier : « Sevilla, 23 Febrero 1874. […] Mucho me alegraré que vaya a esa Lady Schreiber y le guste mi desgraciado templete, objeto que tengo indijestado. »
92 Montague J. Guest (dir.), Lady Charlotte Schreiber’s Journals…, op. cit., p. 94-95 : « 28th. [March 1870] In the morning we had a visit from M. Zuloaga. We were anxious to obtain from him all the information he could give us on the subject of Spanish china and faience; he has promised to draw up a little memoir for me on this matter. He appears to have more ceramic information than anybody I have met with in the country. It appears that a friend of his possesses a mountain which they find to be full of kaolin with a substratum of petuntse. It is somewhere in the neighbourhood of Toledo, and he talks of setting up a manufactory on the spot. »
93 BL. Layard Papers. Journals of Lady Layard, vol. I. Add MS 46153 : « Wednesday 23rd April 1870 ».
94 BINHA. Archives 27. Lettre de Valencia de Don Juan à Davillier : « Madrid, 18 de Enero 1872 ».
95 BINHA. Archives 27. Lettre de Valencia de Don Juan à Davillier : « Madrid, 25 de Enero 1872. Mi querido amigo, en vista de sus indulgentes renglones del 20, fui ayer a ver a Zuloaga y sin nombrar a usted para nada me informé de sus propósitos sobre el plato de cristal. No lo vende por ahora porque está tratando de que el gobierno se lo cambie por un terreno en que fundar una fábrica de porcelana. Esto dará a usted una idea de que lo aprecio en miles de duros. El color del plato es verde. Al despedirme me dijo que si me lograba el terreno, que es lo más probable, se decidiría a venderlo y me avisaría. »
