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»The Metropolitan Museum’s abandoned portrait of George Washington could fetch $2.5 million at auction
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    The Metropolitan Museum’s abandoned portrait of George Washington could fetch $2.5 million at auction

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    The Metropolitan Museum of Art in New York has removed a rare portrait of the first president of the United States, George Washington, to be sold at auction to raise money for the museum’s acquisition fund. The painting, by famed American portraitist Gilbert Stuart, is estimated to sell for between $1.5 million and $2.5 million at an auction in New York next month.

    According to Christie’s, the portrait is one of the earliest of Stuart in Washington after the president sat for him in the fall of 1795. Those portraits are known today as the Vaughan series, named after the recipient of the painting long believed to be the original. Only 14 of the portraits are known to exist today, according to Christie’s. The Met has another example, in addition to the painting that is sold at Christie’s. This other version, known as the Gibbs-Channing-Avery portrait, is considered one of the earliest and best replicas, according to the Met’s website. Only four of them Vaughan the portraits are in private hands, according to Christie’s.

    “The Met retires works of art annually, following a thorough review focused on similar or duplicate objects,” a museum spokesperson said in a statement shared with The Journal of Art. “The museum is fortunate to have a rich collection of Gilbert Stuart paintings, including the first in the series of portraits of George Washington known as Vaughan group Funds from this sale will enable the museum to further prioritize the acquisition of outstanding works of art.”

    The painting put up for sale at Christie’s was previously owned by the Philips family, English textile merchants who lived in the Manchester area but supported the American side during the American Revolution. The portrait passed through the family until 1923, when it was acquired by London dealer Frank T. Sabin, before passing to the powerful Duveen Brothers, who then sold the painting to Richard De Wolfe Brixey, a New York businessman, for $18,000.

    When Brixey died in 1943, he bequeathed the painting to the Met. According to a 1944 article in The New York Times, Brixey bequeathed a total of eight paintings to the museum with an appraised value of $37,850. Adjusted for inflation, that would be about $652,914 today. Other works at the Met from the Brixey collection include Portrait of a young woman (around 1490-1500) by Lorenzo di Credi and Midshipman Augustus Brine (1782) by John Singleton Copley, which can be seen on the museum’s Fifth Avenue.

    The portrait of Washington is the most important lot in the Important Americana sale at Christie’s New York on January 18 and 19. Stuart’s auction record was set in 2018 during one of multiple live auctions of Peggy and David Rockefeller’s vast collection when one of Vaughan Portraits of Washington brought $11.5 million against an estimate of $800,000 to $1.2 million.

    While withdrawing membership can be a controversial move for museums, the sale of works within a collection to fund future acquisitions falls under guidelines set by the Associated of Art Museum Directors (AAMD). Last month, a Balthus painting on loan from the Art Institute of Chicago sold at Sotheby’s in New York for nearly $14.7 million. with fees. The Met last year retired and consigned Pablo Picasso’s first Cubist sculpture. Female head (Fernande)which grossed $48.4 million with fees at Sotheby’s New York in May 2022.

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Through abstraction, she transforms familiar impressions of landscapes into immersive visual experiences, encouraging audiences to discover their own emotional connections with the worlds she creates. A Journey Through Color, Light, and the Natural World In Whispering Forest III, mixed media on canvas, 120 × 80 cm, Sonja Kalb presents an evocative interpretation of the natural world, where color, texture, and movement come together to suggest the mysterious atmosphere of a forest. Rather than portraying a recognizable landscape, the artist creates an imaginative environment that captures the sensations of being surrounded by dense vegetation, shifting light, and organic forms. The composition offers a compelling balance between visual complexity and atmospheric tranquility, inviting viewers to explore its many layers. A rich spectrum of greens dominates the painting, ranging from deep forest shades to brilliant turquoise and softer emerald tones. These colors establish an immediate connection with the vitality of nature, suggesting flourishing vegetation and the constant renewal of the environment. Kalb introduces darker passages throughout the composition, creating a sense of depth and mystery. These shadowed areas contrast with lighter turquoise sections, producing the impression of sunlight filtering through a dense canopy of leaves. The painting’s vertical orientation reinforces its connection to the forest. Elongated marks and downward gestures resemble tree trunks, hanging branches, and the natural patterns formed by vegetation. Yet these associations remain deliberately ambiguous. Kalb allows recognizable suggestions to emerge without defining them completely, preserving the freedom of abstraction and encouraging viewers to participate in the interpretation of the work. One of the painting’s most captivating qualities is its intricate surface. Broad, energetic brushstrokes intersect with delicate marks, translucent passages, and areas of concentrated pigment. These contrasting techniques establish a visual rhythm that moves between spontaneity and careful consideration. Certain sections appear densely layered, while others reveal glimpses of lighter colors beneath the surface. This interaction creates a sense of continuous transformation, reflecting the complexity and unpredictability of natural growth. Toward the lower portion of the canvas, pale blue and turquoise tones introduce a softer atmosphere. These luminous areas suggest an opening within the forest, perhaps a clearing, a reflection of water, or a moment when daylight reaches the ground. Scattered accents of pink, violet, and reddish orange provide unexpected points of contrast, recalling the presence of flowers, fallen leaves, or other fleeting details within the landscape. Their placement adds warmth and visual interest without disrupting the painting’s overall harmony. Kalb’s use of color extends beyond the description of natural surroundings. Green becomes a vehicle for expressing vitality, regeneration, and emotional balance, while darker tones introduce introspection and uncertainty. The luminous turquoise passages suggest openness and renewal, creating a subtle dialogue between the familiar and the unknown. Through these relationships, the painting communicates an atmosphere that feels simultaneously peaceful and alive with movement. The title Whispering Forest III introduces an additional poetic dimension. The idea of a whisper suggests something intimate, almost imperceptible, encouraging viewers to consider the quieter expressions of nature. The forest is not presented as a static setting but as a living environment filled with subtle activity. Each brushstroke seems to contribute to an imagined conversation between light, foliage, atmosphere, and the changing seasons. There is also an intriguing relationship between concealment and discovery. Certain shapes appear to emerge from the layers of paint before dissolving into surrounding colors. This visual uncertainty encourages prolonged observation, as different details become apparent with each encounter. The painting rewards curiosity, allowing its atmospheric qualities to unfold gradually rather than revealing a single, fixed interpretation. Ultimately, Whispering Forest III demonstrates Kalb’s ability to translate the sensory richness of nature into a distinctive abstract language. Through expressive gestures, luminous color relationships, and richly developed textures, she creates an environment that feels both expansive and deeply personal. The work celebrates the forest not simply as a physical place, but as a source of imagination, emotional resonance, and quiet contemplation. It invites viewers to experience nature through feeling and perception, discovering beauty within the ever-changing relationships between color, movement, and light.

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