In Sharp Focus: Photorealism from a Distinguished Private Collection at Sotheby’s

In the electric pulse of New York City—where the lines between reality and illusion have always blurred—Sotheby’s presents a captivating exhibition of precision and detail. Running from February 18 to 27, 2026, the Contemporary Discoveries auction invites art lovers to immerse themselves in the world of photorealism. Titled “In Sharp Focus: Photorealism from a Distinguished Private Collection,” it features 17 carefully selected paintings (Lots 422–438) from a renowned private collection, bridging established masters and emerging talents in the genre. Meticulously curated, this collection celebrates the art of capturing the everyday in hyperreal perfection and promises spirited bidding battles in the capital of modern art.

Photorealism emerged in the late 1960s as a direct counterpoint to Abstract Expressionism, defined by its meticulous replication of photographic qualities. Artists like Richard Estes and Robert Cottingham transform urban scenes, reflective surfaces, and ordinary objects into paintings that fool the eye and demand close scrutiny. This auction brings together works by pioneers and lesser-known practitioners alike, highlighting the remarkable diversity within the movement. Among the more atypical or under-the-radar figures are Michel Bez, Fran Bull, Dagmar Fehlau, and Idelle Weber, whose contributions offer fresh perspectives. Shining in full glory, however, are masterpieces by Charles Bell, Roberto Bernardi, Tom Blackwell, Robert Cottingham, Richard Estes, Audrey Flack, Clive Head, Don Jacot, Cheryl Kelley, Ron Kleemann, and Raphaella Spence.

A standout highlight is Charles Bell’s “Viking Strikes” (Lot 423), a tour de force that captures the vibrant, candy-colored universe of a pinball machine with dazzling fidelity. Estimated at $200,000–300,000, it is the auction’s highest-valued work and perfectly embodies Bell’s lifelong fascination with American pop culture and gleaming surfaces.

Bell is represented by two works, including “Red Rider” (Lot 424, est. $40,000–60,000), and frequently painted toys and arcade machines that appear almost photographed—yet possess a depth and luminosity that only oil paint can achieve.

Audrey Flack, one of the few women in the photorealist canon, infuses the sale with feminine elegance through two paintings. Her work often explores themes of beauty, transience, and vanitas motifs, underscoring the vital role of women in this historically male-dominated field. A particular gem here is “Mother Cake” (Lot 438, est. $15,000–20,000)—a dreamy, pink-hued confection.

Urban icons take center stage in Richard Estes’ “D-Train” (Lot 429, est. $20,000–30,000), which captures the New York subway in shimmering reflections, and Tom Blackwell’s “Bergdorf’s and the Park” (Lot 427, est. $30,000–50,000), a loving tribute to Fifth Avenue’s gleaming storefronts with Central Park glowing in the background.

Robert Cottingham’s “Nite” (Lot 426) conjures the glow of nocturnal neon signs, while Clive Head’s “Study for ‘Herald Square, Sunday Morning’” (Lot 431, est. $3,000–5,000) depicts a sunlit New York street scene featuring the Empire State Building—a masterful demonstration of Head’s command of light and space.

Among the discoveries is Ron Kleemann’s “Columbia County Fair, Chatham, N.Y.” (Lot 425, est. $15,000–20,000), a vivid nighttime carnival scene bursting with lights and crowds that evokes the enduring allure of the American dream.

Cheryl Kelley’s “Vintage Chrysler” (Lot 428, est. $6,000–8,000) celebrates classic automobiles in mirror-like chrome perfection, while Roberto Bernardi’s “Spazi Infiniti” (est. $15,000–20,000) plays mesmerizingly with illusory shelving. Raphaella Spence’s “The Judge” (est. $10,000–15,000) and Dagmar Fehlau’s “Broadway” (est. $1,000–2,000) round out the group, alongside works by Don Jacot, Fran Bull, Michel Bez, and I…