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S. C.

Arteni

Notes on Artists’ Materials

14th I.S.F. Congress, Section Lipids in Art,


Brighton, England, 1978

SolInvictus Press 2018


Giovanni Antonio Pellegrini, Allegory of Painting
http://www.wga.hu/frames-e.html?/html/p/pellegri/2paintin.html
Michiel van Musscher, Painter
http://www.thearttribune.com/IMG/jpg/Musscher_Peintre.jpg
Note

I corrected two errors found in the original printed


Proceedings
Francisco Pacheco, Arte De La Pintura, Vol II, Madrid, 1956,
editor F. J. Sánchez Cantón
Francisco Pacheco, Arte De La Pintura, Vol II, Madrid, 1956,
editor F. J. Sánchez Cantón (the footnotes mention errors
and misprints in the Cruzada Villaamil edition and in some
later editions based on Cruzada Villaamil’s publication)
ADDENDA
National Gallery Technical Bulletin Volume 21, 2000
The Discovery and Identification of an Original Varnish on a
Panel by Carlo Crivelli
Jill Dunkerton and Raymond White

…In the case of Carlo Crivelli's ‘The Dead Christ supported by Two
Angels’ (dated to about 1470–5)…study revealed the presence of a heat-
bodied walnut oil with a resinous component, which exhibited a modest
amount of a pimaradiene component, sandara-copimaric acid. This
represents the residues of what must have been a sandaracopimaric acid-
rich resin, when in a fresh state. In essence, it is reasonable to conclude
that this varnish is composed of a Cup-ressaceae resin, combined with
walnut oil, which had been heat-bodied…
…Some glassy inclusions within the body of varnish are worthy of
discussion. At first it was thought that some local and isolated clumps of
these must represent the incorporation of sand or ground glass as an
extender or bodying agent or, possibly, as a siccative agent. However,
infra-red analysis of such particles unequivocally demonstrated their
organic nature and the partially Fourier self-deconvoluted (FSD) spectrum
compared favourably with that of a polycommunic acid polymer, such as
that found in resins exuding from trees that are members of the
Cupressaceae subfamily. Apart from some loss in intensity of the c. 890
cm-1 exocyclic- methylene band and an increase in overall carbonyl
content, much as would be expected in an old sample, a polycommunic
acid polymer basis seems most likely. This lends additional support to the
principal evidence from GC-MS analysis of the residual monomeric
indicators. These inclusions appear to result from ground sandarac resin
that has not been sufficiently heated to cause scission of the polymer and
decarboxylation (so somewhat reducing polarity of the oligomers) to have
permitted homogeneous incorporation of the resin particles with the
walnut oil.
…The fact that the sandarac and walnut oil varnish was probably not
subjected to prolonged heat may account for its remarkably undiscoloured
state. This would explain why it was never removed…
https://artuk.org/discover/artworks/the-dead-christ-supported-by-
two-angels-115544/search/keyword:carlo-crivelli/page/2
National Gallery Technical Bulletin Volume 33, 2012
Colourless Powdered Glass as an Additive in Fifteenth- and
Sixteenth-Century European Paintings
Marika Spring

…References in historic documentary sources to the use of


colourless powdered glass as a paint additive have long been
noted and discussed…
Palomino (1724) includes a recipe for a linseed oil drier where an
ounce of litharge, an ounce of ground glass and a head of garlic
were boiled together with half a pound of oil. This was followed by
a similar recipe for ‘A drier for blues and whites’ made from walnut
oil to which was added ‘some ground glass and a little bit of
litharge and white lead ground with the same oil, and another bit
of red lead, in the proportion of about one ounce of each
ingredient for half a pound of walnut oil’, boiled together over a
water bath. Here the glass forms a relatively minor component of
the boiled oil recipe, and again can probably be interpreted as
true glass.

Palomino continues immediately with ‘other driers that may be


used on the palette’ which are ‘excellent for all colours’, including
one ‘made of glass, very well ground with linseed oil or walnut oil,
and tempered like any other colour, and reground very well. It can
be kept like other colours, in little pouches…and some may be
taken out and placed on the palette when needed’…

…The particle size of the glass must also be an important factor


in considering both whether it could act as a siccative and its
effect on the working and optical properties of the paint…
…it is… interesting that artists added a material to their paint that
did not function as a pigment but would have modified the
working and handling properties, and perhaps also the drying
properties, and that it can be traced back as far as the early
Netherlandish artists such as van Eyck and van der Weyden, who
were famous for their ability to manipulate oil paint to achieve the
remarkable detail and impressive effects that can be seen in their
paintings…

Antonio Palomino, El Museo Pictorico, vol II, 1724


http://bdh-rd.bne.es/viewer.vm?id=0000040411&page=1
Antonio Palomino, El Museo Pictorico, vol II, 1724
http://bdh-rd.bne.es/viewer.vm?id=0000040411&page=1
Glue-size Painting

Dieric Bouts the Elder, The Entombment, glue on linen


http://www.bbc.co.uk/arts/yourpaintings/paintings/the-entombment-
115574
Dieric Bouts the Elder, The Entombment, glue on linen, detail
http://www.wga.hu/support/viewer/z.html
Justus van Ghent, Adoration of the Magi, distemper on canvas
http://www.flickr.com/photos/uncle_buddha/2945206027/sizes/l/in/
photolist-5ufX9g-bBF738-bBF7uV-9sLUdk-9dJea1-8Le4Pg/
Quinten Massys,
The Virgin and Child with Saints Barbara and Catherine,
glue on linen
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-virgin-and-
child-with-saints-barbara-and-catherine-116017
Andrea Mantegna, The Holy Family with Saint Mary Magdalen,
distemper on canvas
http://www.metmuseum.org/collections/search-the-
collections/436967
Andrea Mantegna, The Holy Family with Saint John,
glue on canvas
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-holy-family-
with-saint-john-115634
Andrea Mantegna, Madonna and Child with Saints Joseph,
Elizabeth and John Baptist, glue on canvas
https://www.kimbellart.org/collection-object/madonna-and-child-
saints-joseph-elizabeth-and-john-baptist
Andrea Mantegna, Madonna and Child with Saints Joseph,
Elizabeth and John Baptist, glue on canvas, detail
https://www.kimbellart.org/sites/default/files/styles/responsive_12
00/public/tms/AP1987_04_CON_DET_WEB.jpg
Andrea Mantegna, Samson and Delilah, glue size on linen
http://www.bbc.co.uk/arts/yourpaintings/paintings/samson-and-
delilah-115286
Andrea Mantegna, The introduction of the cult of Cybele at Rome,
glue on linen
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-introduction-
of-the-cult-of-cybele-at-rome-115671
Andrea Mantegna, Ecce homo, 1500, glue and gold on canvas
https://www.facebook.com/photo.php?fbid=561796367217034&se
t=a.228074600589214.58573.220841181312556&type=1&theater
Lorenzo Costa, The story of Moses (The Israelites gathering
Manna), glue on linen
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-story-of-
moses-the-israelites-gathering-manna-115853
Lorenzo Costa, The story of Moses (The Dance of Miriam),
glue on linen
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-story-of-
moses-the-dance-of-miriam-115852
Pieter Bruegel the Elder, The Wine of Saint Martin’s Day,
glue-size tempera on linen
http://www.codart.nl/images/BrueghelTheWineOfSaintMartinsDay
PrivateCollectionMadrid.jpg

The Wine of Saint Martin’s Day


Pieter Bruegel the Elder
Glue-size tempera on linen
Technique and state of conservation
The painting is a work on linen of the tuchlein type, painted in
glue-size tempera on an unprepared ground, which was a
common technique used in Flanders in the 15th and 16th
centuries despite the fact that relatively few examples have
survived. The original support is of a type commonly used at this
period, made from a fine, regularly woven linen of a pale tone and
with a taffeta weave. The support has been treated with nothing
more than a coat of animal size. This was the normal method of
preparation for paintings with this type of support, which were
generally hung on the wall without a stretcher.
The paint is applied in a simple manner in one or two layers,
given that tempera did not allow for the use of impasto or glazes.
The pigments used are similar to those found in the tuchlein of
The Adoration of the Magi in the Musées Royaux des Beaux-Arts,
Brussels, attributed with some doubts to Pieter Bruegel the
Elder… and also to those found in a work of mediocre aesthetic
quality in the Museo del Prado (P-2470), attributed to Pieter
Brueghel the Younger. A visual comparison of the two tuchleins in
the Museo di Capodimonte, The Parable of the Blind Men, signed
and dated 1568, and The Misanthrope, which are the only two
works in this technique universally accepted as by Pieter Bruegel
the Elder, reveals a notably similar technique and manner of
painting…
…The tuchlein of The Wine of Saint Martin’s Day has almost no
under-drawing due to the manner in which works on this support
were executed, i.e. directly or “alla prima”. Among the few
corrections are some minor ones to the wooden support of the
scaffolding that some of the figures are attempting to climb in
order to get closer to the right side of the barrel, and to one of the
rear hooves of Saint Martin’s horse. The back of the barrel has an
interesting pentimento: before painting the barrel’s outline,
Bruegel completed the lower part of the figure in the white shirt
and waistcoat who raises a beer jug in order to drink from it. This
part of the figure was concealed by the red pigment used to
define the form of the barrel and has only now become visible due
to the paint becoming transparent as a result of wear to the
picture surface.
It is not surprising that the painting is not in perfect condition,
precisely because it was painted using this very fragile, delicate
technique, and its physical state is in fact similar to other 16th-
century tuchleins that have survived to the present day. The fact
that the paint has not adhered well to the support – again typical
of these works – has resulted in losses to the entire pictorial
surface (particularly notable in the area of Saint Martin and his
horse), while the extremely large re-lining applied in the 20th
century has caused distortions to the original support that have
affected some of the figures. The adhesive used for the re-lining
has penetrated the highly porous support and paint surface and
this fact, together with an earlier application of polyester varnish,
has altered the matte, velvety appearance that should be typical
of tuchleins, resulting in a darkened and inappropriately shiny
surface. An x-ray taken at the Prado allows for a better
appreciation than is possible with a surface examination of the
way in which the artist applied some of the paint strokes,
particularly in the outlines and above all the draperies, using
rapid, confident brushstrokes typical of Bruegel the Elder. The x-
ray also allows for an appreciation of the painting’s true physical
state and reveals that many of the areas of surface paint loss are
relatively minor. This is clearly evident in the landscape at the
upper left with a port city and boats not visible to the naked eye,
as well as much of the city gate and the building to its left.
Gabriele Finaldi
Deputy Director for Collections and Research
Pilar Silva Maroto
Head of the Department of Spanish Painting (1100-1500) and
Flemish Painting and Northern Schools (1400-1600)
Museo Nacional del Prado, September 2010
http://www.museodelprado.es/en/research/estudios/el-vino-de-la-
fiesta-de-san-martin-pieter-bruegel-el-viejo/tecnica-y-estado-de-
conservacion/
Study of Post-Byzantine Icon Varnishes by Chromatographic and
Spectroscopic Methods
C. Vieillescazes, P. Archier and M.S. Pistre
…One of the rare ancient texts describing post-Byzantine painting
technique is the Painter’s Manual (Erminia) written by Dionysios of
Fourna, a disciple of the master Panselinos, between 1728 and 1733…

…So, the purpose of the present study was to evaluate the recipes of the
Erminia. To this end, 25 varnish samples were studied, from icons
coming from five monasteries (Simon Petra, Meghisti Lavra, Nea Skiti,
Xenophontos, Xeropotamou). The oldest icon can be dated to the
sixteenth–seventeenth century; most of them belong to the seventeenth
to eighteenth centuries and one is from the early nineteenth century.
Only four of them are dated exactly. There is a high possibility that the
varnishes are the original ones, used by the hagiographers, since the
icons are not known to have been restored in the past…

…The study showed, first, the resinous nature of these varnishes and
second, the presence of oil in some cases…
…In summary, in 20 icons colophony was identified in the varnish (by
the presence of its degradation markers: 7-oxodehydroabietic and
dehydroabietic acid), while in two samples Venice turpentine was
identified…
…Sandarac was not identified in any sample; this result is particularly
interesting, because it contradicts some aspects of the recipes of
Dionysios of Fourna…

http://www.icon-network.org/Study-of-Post-Byzantine-Icon.html
https://createdwithlovvve.files.wordpress.com/2014/05/img_3822.j
pg

Vernice protettiva della pittura, che viene data all’icona una volta finita.
È un’antica ricetta conservata per secoli nei monasteri dell’Athos, a
base di olio di lino cotto con aggiunta di resine e sali minerali.
https://createdwithlovvve.wordpress.com/2014/05/07/olifa/
Boiled Oil

The Netherlands

Composition: Linseed oil, siccatives


http://www.talens.com/brands/talens/auxiliaries/oils-for-oil-colour/talens-
boiled-linseed-oil-026/
Boiled linseed oil
Linseed oil boiled with oil-soluble siccatives.
http://www.schmincke.de/products/mediums/oilpainting/binding-
mediums.html?L=1
France

Boiled linseed oil


http://www.jerrysartarama.com/images/products/oils/sennelier/mediums/oil_
color_driers/0072032000000-st-01-boiled-linseed-oil.jpg
HISTORY
This is the classic drying oil made with litharge (lead oxide). Since
earliest times, litharge was cooked with vegetable oil, such as
linseed or walnut oil, to clarify it while removing impurities and
imparting faster drying characteristics. Cooking the oil for long
periods and at high temperatures allowed greater amounts of
litharge to be dissolved in the oil while at the same time darkening
the oil. Our dark drying oil is cooked at the lowest temperature
possible to effect solution of the lead while making the palest
drying oil possible.
SOURCE
Dark Drying Oil is prepared by heating akali-refined linseed oil
(derived from the dried ripe seeds of the flax plant [Linum
usitatissimum, Linaceae]) at the lowest possible temperature (less
than 180 °C [356 °F]) for several hours to dissolve litharge (lead
monoxide).
https://www.naturalpigments.com/dark-drying-oil-black-oil.html
Our pale drying oil is made by heating raw linseed oil at a
low temperature to slightly polymerize it and adding liquid
driers.
https://www.naturalpigments.com/pale-drying-linseed-
oil.html
Traité des couleurs servant à la peinture à l’eau (1692)

The manuscript was discovered in the Bibliothèque Méjanes,


Aix-en-Provence

www.e-corpus.org/notices/102464/gallery/
https://www.facebook.com/MuseoItalia/photos/a.13323340342
5217.35373.128222747259616/641505655931320/?type=3&the
ater
TRADITIONAL MATERIALS FOR PAINTING

Cape Town, South Africa

IAS STACK LEAD WHITE


Lead white has been made since antiquity using variations of the process known as
the “stack process” or “Old Dutch” method, which creates lead carbonate on coils of
lead.
The Italian Artshop Stack lead White is made in the traditional way, using coils of
lead suspended over vinegar and buried under horse manure. It is a stringy and
thixotropic paint that the Old Masters prized for its opacity. It is a warm white that
creates a light in your painting like no other white.
A high degree of opacity and amazing brush qualities make this paint an absolute
pleasure to paint with. Our Stack Lead white is made entirely by hand and the
process takes months to produce just a single tube of this marvellous product. The
stack process is the only way to produce the flake white used by the Old Masters, a
white that is a joy to paint with when you try it.
https://italianartshop.vendecommerce.com/italian-artshop-oils/products/ias-stack-
lead-white-30ml
Rublev Colours Lead Oil Ground contains ground calcite, lead
white and titanium white in just the right proportions to make a
paint film that remains flexible and tough with some absorbency.
The blend of linseed oil provides penetration into the support to
ensure good adhesion yet maintain sufficient holdout to form a
good foundation for paint layers. It provides good leveling
properties, so brush and knife marks are minimized. It can be
applied with a brush or knife right out of the can without thinning.
Rublev Colours Lead Oil Ground has a high concentration of
pigments so only two coats are usually necessary, but more coats
create smoother surfaces. Apply directly onto panels without
sizing or on canvas sized with PVA or rabbit skin glue. Rublev
Colours Lead Oil Ground is an excellent foundation for oil and
alkyd paint.
https://www.naturalpigments.com/art-supply-
education/cat/grounds-art-info/post/lead-oil-grounds-painting/
Lead White #1
Our lead white is made with pale linseed oil and basic lead
carbonate (made according to modern processes) without
stearates or fillers to alter the characteristics of the pigment. As a
result you get higher pigment volume concentration (PVC) than
other brands of lead white (flake white)—as high as 50%. This
means most brands of flake white do not weigh nearly as much
as Rublev Colours 50 ml tube. Yet, Rublev Colours Lead White is
not overly stiff and mixes well with all other oil colors.
https://www.naturalpigments.com/lead-white-1-50ml.html
DETAILS
Lead White #2 (also known as flake white or Cremnitz white) is
an opaque white that is smooth and brushes long in the direction
of the brushstroke. The consistency straight out of the tube
is ropey yet retains its shape as you manipulate it while being
soft yet sculptural.
Our lead white is made with pale walnut oil and basic lead
carbonate (made according to modern processes) without
stabilizers (e.g. stearates, waxes, etc.) or fillers to alter the
characteristics of the pigment. As a result you get higher pigment
volume concentration (PVC) than other brands of lead white
(flake white)—as high as 50%. This means most brands of flake
white do not weigh nearly as much as Rublev Colours 50 ml tube.
Yet, Rublev Colours Lead White is not overly stiff and mixes well
with all other oil colors.
https://www.naturalpigments.com/lead-white-2-oil-paint.html
Binder: Linseed oil
Lead-Tin Yellow (Type I) is a semi-opaque lemon yellow, fine
grained and medium tinting strength. Our lead-tin yellow is made
according to historical recipes…
https://www.naturalpigments.com/lead-tin-yellow-oil-paint.html

Binder: Linseed oil


Lead-Tin Yellow Dark (Type II) is an opaque ocherous yellow,
fine grained with medium tinting strength. Our lead-tin yellow is
made according to historical recipes.
https://www.naturalpigments.com/lead-tin-yellow-dark-oil-
paint.html
Binder: Linseed oil

Lazurite
Rublev Colours Lazurite is a deep blue color from genuine
precious lapis lazuli stones used in historical painting. It is a
transparent, medium grained color with good tinting strength. It is
a very long paint and makes soft, cool tints with white.
https://www.naturalpigments.com/lazurite-50ml.html
Venetian Medium is based on research that 16th century Venetian painters added
powdered glass to their paint. Contains leaded crystal glass powder, pale bodied
linseed oil and turpentine, with small amounts of wax and lead.

Use Venetian Medium as a glazing medium that is fast drying and offers the glaze
brilliance due to the crystal glass particles. Spread thinly onto the surface and paint
directly into it as a couch or add directly to paint nut. Smooths the edges of brush or
knife strokes. Venetian Medium is fast setting and dries to a satin finish.

Directions

Spread thinly onto the surface and paint directly into it or mix directly into paint on
the palette to give colors a flowing consistency that holds brush strokes yet dries to
a satin finish. Use to “oil out” or as a painting couch by rubbing a thin layer onto
completely dried paint. Gives paint a longer, flowing consistency.
https://www.naturalpigments.com/venetian-medium.html
Oleogel is a firm thixotropic gel made with linseed oil and fumed
silica. Add to thicken colors for creating impasto effects that do
not sink. Contains no driers, so it is safe to use in oil painting
without worry of cracking.
https://www.naturalpigments.com/oleogel.html
Walnut Oil Gel
Walnut Oil Gel is a thixotropic painting medium made with walnut
oil and pyrogenic silica. Walnut Oil Gel is a clear pale amber gel
that adds transparency and thixotropic body to oil, resin-oil or
alkyd paint. Add directly to your paint to give it transparency
without thinning its consistency. Add pigments or extenders to
thicken it for creating impasto effects that do not sink in.
https://www.naturalpigments.com/walnut-oil-gel.html
El último fabricante de colores de España
Francisco Pizzorno
08/06/2017 17:52

Hace unos 70 años, en la calle Augusto Figueroa del madrileño barrio de


Chueca, el padre y el tío de nuestro protagonista comenzaban con
el oficio de la fabricación artesanal de colores al óleo. En aquella
tienda, que se llamaba La Paleta Española, llegaron a trabajar unos 13
empleados. Además de óleo se elaboraba también témpera y hasta
tenían una carpintería donde se hacían bastidores y caballetes para los
artistas del pincel. Cerca de allí, en la calle de Alcalá, funcionaba la
Escuela de San Fernando y los alumnos se proveían de material en la
tienda.
Hoy, Antonio Sánchez, hijo y sobrino de aquellos artesanos, conserva el
oficio y el alma de los inicios familiares, ahora bajo el nombre de
Bellas Artes, un pequeño local sobre la calle Pérez Galdos, a un paso de
donde se encontraba la tienda original. Pero hoy Antonio trabaja solo; es
el último fabricante de colores al óleo artesanales en toda España,
según nos asegura Fabiola L. Sorolla -bisnieta del famoso pintor
levantino- clienta habitual y admiradora del oficio y de la calidad única de
los colores que este hombre se empeña en conservar.
«Mi padre y su hermano lo hacían todo manual», cuenta Antonio.
«Echaban el pigmento y el aceite sobre este mármol y lo mezclaban
con una piedra que se llamaba molón. Luego, con una espátula,
llenaban de pasta cada tubo manualmente». Unos años después
compraron una empastadora, una tricilíndrica para refinar el color y una
entubadora. Esas tres máquinas, que fueron un avance en aquellos años,
tienen hoy forma de reliquias, pero son las mismas con las que Antonio
sigue fabricando hasta 42 tonalidades.
Son las 8.30 de la mañana, comienzan a abrir algunos bares por el
barrio de Chueca. A esa hora Antonio ya levantó la persiana y tiene una
serie de materiales desparramados sobre el mostrador, son para Fabiola.
La pintora confiesa que prefiere ir temprano «a lo de Antonio». Controla
su tiempo porque sabe que con él, el saludo evoluciona en charlas de
expertos y luego, de amigos.
Los dos entendidos en la materia cierran los detalles del último
pedido que necesita ella para su taller. Entre los bastidores que
selecciona Fabiola están los preferidos de Antonio: son los que le fabrican
ahora, en otro taller, los hijos de aquellos que trabajaban en la carpintería
que tenía la tienda inicial de su padre, hijos de algunos de aquellos 13
empleados de antaño que también continuaron con el oficio. «Estos
bastidores son una gozada» dice, y lo disfruta. «Nada que ver con los
otros». Para él es tan evidente y valiosa la diferencia de calidad y
terminación del material que por momentos sincera cierta queja con
aquellos que deslizan la consulta por las versiones más baratas.
Fabiola rebusca entre las pinturas de una antigua caja de madera que
hace unos años le restauró el mismo Antonio para dar con los colores
precisos y armar la paleta. Se dispone a pintar las flores sobre un lienzo
de lino en su taller de pintura y grabado cerca de Las Ventas y, mientras
lo hace, da cuenta de que la diferencia de calidad se nota de verdad.
«Cuando uno arrastra con el pincel sobre el lienzo, lo que se nota es esa
cremosidad que te dura; no queda transparente sino pasta, pasta fuerte».
Además de pintar y contarnos la pasión que cada día la envuelve junto
a los alumnos en su taller, se vence ante el romanticismo que aún
desprende la tienda de Antonio. «Ya no es sólo por sus colores. Es la
tienda, él, la maquinaria, todas las cajitas. Yo espero que no se pierda
esta tienda y que no deje de haber alguien que siga fabricando algo a
mano. Si se pierden los oficios, perdemos una parte de nosotros».
Hoy, Antonio puede mantener precios competitivos gracias a que el
producto va directo del fabricante al cliente; si no, confiesa, sería
imposible. Pero además la tienda tiene ciertos artículos exclusivos que
los entendidos saben buscar. «Tengo clientes japoneses que buscan aquí
el Tierra de Sevilla, porque es un color que lo hacemos solamente
nosotros y les parece fabuloso». Es el color con el que pintaba las pieles
Velázquez y ya no se encuentra en ningún sitio, salvo en este rincón de
Madrid.
«Algunos clientes me preguntan '¿Y qué vamos a hacer si usted no
sigue?'. Algunas mujeres hasta se me ponen a llorar». Fabiola se aferra a
la misma y única esperanza de varios clientes: Antonio tiene una hija y
hay muchos votos para que continúe con el oficio, aunque su padre no
está tan seguro de que ella quiera. «Yo les digo que me voy, me voy
porque... me voy ya ¿no?» y lanza una sonrisa envidiable. «He hecho 76
años. ¡Fíjate si podría estar jubilado ya! Pero no, yo sigo aquí, me
entretengo, charlo con los clientes... Hasta que el cuerpo aguante».

Calle Pérez Galdós, 10, 28004 Madrid, Spain

http://www.elmundo.es/papel/historias/2017/06/08/5939379e22601d161f8
b45ac.html

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