Lot Essay
This drawing was drawing by Miss Moore in her album together with lots ... and ... on a page inscribed 'Given to me by Mr Fuseli'.
Lavinia de Irujo was the illegitimate daughter of Don Carlos Martinez de Irujo y Tacó, first Marqués de Casa Irujo and the first Spanish Ambassador in the United States of America. She was born in the Spanish Embassy in London on 11 November 1794 and later liver at
7 Upper Church St., Chelsea, in part then known as Queen's Elm, with Sarah McKean Armitage, daughter of the Hon. Thomas McKean, governor of Pennsylvania, who marriet the Marqués de Irujo in 1798. She is last recorded writing to her half-brother the second Marqués de Irujo on 22 November 1855.
Fuseli did a number of drawings of Lavinia de Irujo between about 1810 and 1815, during her late teens (S. 1656-64); some are inscribed 'Q.E..' for Queen's Elm. A further example was sold at Christie's 17 November 1897, lot 10, repr. However, Professor Weinglass dates lots 3 and 4 to rather later, c. 1815-20, and questions whether S. 1664 does actually show Lavinia de Irujo. See also lots ...
The note on the back of this drawing is presumably a request to Fuseli as Keeper of the Royal Academy for permission to use the library there
Lavinia de Irujo was the illegitimate daughter of Don Carlos Martinez de Irujo y Tacó, first Marqués de Casa Irujo and the first Spanish Ambassador in the United States of America. She was born in the Spanish Embassy in London on 11 November 1794 and later liver at
7 Upper Church St., Chelsea, in part then known as Queen's Elm, with Sarah McKean Armitage, daughter of the Hon. Thomas McKean, governor of Pennsylvania, who marriet the Marqués de Irujo in 1798. She is last recorded writing to her half-brother the second Marqués de Irujo on 22 November 1855.
Fuseli did a number of drawings of Lavinia de Irujo between about 1810 and 1815, during her late teens (S. 1656-64); some are inscribed 'Q.E..' for Queen's Elm. A further example was sold at Christie's 17 November 1897, lot 10, repr. However, Professor Weinglass dates lots 3 and 4 to rather later, c. 1815-20, and questions whether S. 1664 does actually show Lavinia de Irujo. See also lots ...
The note on the back of this drawing is presumably a request to Fuseli as Keeper of the Royal Academy for permission to use the library there