Part of Brunk Auctions’ late summer line-up is a single-owner collection from Maryland, which includes as a highlight a portrait of a young American boy that was painted in Paris by pre-eminent portraitist, John Singer Sargent. The firm’s senior specialist for fine art, Nan Zander, was kind enough to share with us and our readers why this portrait was exceptionally special and the timing of its sale particularly relevant.

Brunk Auctions is selling John Singer Sargent’s portrait of Peter Augustus Jay on September 10. Why is the timing of the portrait’s sale significant?

I think it’s fair to say that Sargent in Paris is on everyone’s mind at the moment because of the Metropolitan Museum of Art’s show “Sargent & Paris,” which closed in early August. The awareness and scholarship that a significant exhibition brings to the art market has always been important. It both validates and invigorates interest and appreciation, which can affect the market positively. It’s so important to point out the real significance of artists who might not be in today’s headlines, but who changed the face of art history.

What do we know about the sitter?

Peter Augustus Jay was a direct descendant of founding father John Jay, the First Chief Justice, a governor of New York state, negotiator of the Treaty of Paris, among many other important roles. His lineage is distinguished on both sides, as his mother was a direct descendant of John Jacob Astor. As an adult, Jay served his country with numerous roles in the US Diplomatic Corps.

Did Sargent paint other members of their family? If so, do you know where those are?

He did paint other Jay family members, at least three others, one of which is in the collection of the John Jay Homestead, in Katonah, N.Y. As a long-time (former) resident of Katonah, I know the Homestead well. It is a beautiful and beloved Westchester County landmark and historic site, where Jay’s descendants lived until the mid 1950s.

How does this portrait fit into the greater context of Sargent’s milieu?

Among the various genres that Sargent is known for, his most iconic work is a portrait. “Madame X” was painted in Paris between 1883 and 84, and the painting secured Sargent’s place in the artistic pantheon. While it is a given that commissioned portraits have always been vital to artists making a living, one assumes also that Sargent enjoyed it as well, choosing portraiture even on his own time. I think this portrait, even at this early point in the artist’s career, is absolutely representative of his brilliance.

How does this Sargent portrait rate compared to other Sargent portraits that have come to auction, both in recent years and more historically?

As far as I can tell, six paintings of children by Sargent have achieved over $1 million at auction. The top two are similar in style to this one — “Portrait of a Child,” unsigned and undated, achieved $2,647,250 in 2006. And “Jacques Barenton” from 1883, which achieved $2,209,500 in 2002. Neither of the two prior works have nearly as distinguished a sitter, and perhaps I am prejudiced, but in some ways this is a more compelling image — young Master Jay looks directly at the viewer, with innocence, happiness, perhaps a touch of mischief, but certainly a dewy glint in his eye that draws you in to his world. Last year, I spent a glorious Sunday at the Wadsworth Atheneum. One of my favorite galleries there has a wall devoted to Sargent’s portrait of Ruth Sears Bacon, painted in 1887. It is also a beautiful young child dressed in and surrounded by vibrantly painted white fabric. On the day that I visited, members of the Hartford Symphony were playing chamber music in the courtyard, which was wafting up through the building to the gallery I was in. As I entered that gallery, the musicians were playing an arrangement of American folk music, and I stood alone with Sargent’s masterwork. It was one of the most transporting artistic experiences I have ever had. I truly see Peter Augustus Jay as equally evocative and important.

Portrait of Peter Augustus Jay by John Singer Sargent, 1880, signed and dated upper left, oil on canvas, 18¼ by 15 inches, in a fine period ornate carved gilt wood frame, possibly original, 28 by 24¾ inches.

What’s the estimate for it? What are you basing that on?

We are offering this portrait with an estimate of $1,000,000 to $1,500,000. It is important to note that it was purchased for $2,200,000 in 2015.

Is it one of the highlights of your career, to date?

It is absolutely a personal highlight. I have been very lucky and had many highlights, and they keep coming, but Sargent masterworks are few and far between. I told the story recently of having studied portrait painting with a well-known artist in Rockport, Mass., after high school, and I stayed with her for a month. Every night after dinner, we would go into the studio and look at Sargent’s portrait, “Princess de Beaumont.” It was, of course, my teacher’s most prized possession and we would study the light, and the brushstroke, and the depth of his blacks and whites, and generally soak it up. It was a formative experience for me. Having the honor of helping this beauty — Jay’s portrait — find a new home and add immeasurably to someone else’s artistic experience is priceless.

—Madelia Hickman Ring