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Ira Stehmann Fine Art

@irastehmann

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Gallerist, curator & editor
Exclusive rep. of @jeanloupsieffofficial 🌍, @fernandfonssagrives & @vivianmaierarchive 🇩🇪
Executive board member @dgph_ev

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Distinct voices in photography come together in a carefully curated presentation at @munichhighlights.

This October, Ira Stehmann Fine Art returns to Munich HIGHLIGHTS, presenting works by @albarrancabrera, @steffendiemer, @corinagertz, @mihokajioka, @marcusschaeferatelier, @christopherthomasstudio, @mir._art and @neeltje_devries.

Spanning generations, geographies and artistic approaches, these eight positions reflect the breadth of contemporary photography. Their works engage with questions of memory and identity, the human body, perception and materiality, each offering a distinct perspective on photography and its possibilities.

What unites these artists is not a single aesthetic language, but an understanding of photography that goes beyond the mere recording of what lies before the camera. Their works explore how we see, remember and experience the world – translating these experiences into images that resonate beyond the moment.

Over the coming weeks, we will share selected works and stories from this year’s presentation. But most of all, we look forward to bringing these distinctive artistic voices together and to welcoming you in person at the magnificent Munich Residenz. ❤️

NEELTJE DE VRIES – Sirocco, 2025
CHRISTOPHER THOMAS – Eternity 04, Barcelona, Spain, 2011
MARCUS SCHAEFER – Zeitgleich Verschoben, 2021
ALBARRÁN CABRERA – The Mouth of Krishna #60273, 2016
MIRIAM TÖLKE – Zenith, 2026
STEFFEN DIEMER – Magnolie, WVZ 1330, 2025
MIHO KAJIOKA – #0044, 2026
CORINA GERTZ – DE 26, 2021

Munich HIGHLIGHTS
📍 Munich Residenz
🗓 15–18 October 2026
🎟️ via Munich HIGHLIGHTS
Booth No. 31

Stay tuned – subscribe to our newsletter for selected works, exhibitions and news from Ira Stehmann Fine Art. 💌

#irastehmannfineart #munichhighlights taken in HIGHLIGHTS Internationale Kunstmesse München by @irastehmann

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Four women, matching men’s suits, and almost nothing to distract from the people themselves: Created by @therealpeterlindbergh for Vogue Italia at Pin Up Studios in Paris in 1989, this rare group portrait brings together Ulli Steinmeier, Lynne Koester, Cindy Crawford and Linda Evangelista at a defining moment in fashion photography.

The matching suits establish a shared visual language, but rather than making the women appear uniform, they seem to sharpen our awareness of their differences. Each posture, expression and gaze becomes more pronounced. There are no elaborate props and little theatrical staging. Lindbergh reduces the image to what interested him most: presence and personality.

Created at the height of the emerging supermodel era, the photograph encapsulates something essential about his approach. Even when photographing some of the most recognisable faces in fashion, Lindbergh resisted turning women into polished ideals. Character remained at the centre of the image. Perhaps that is why his photographs have travelled so effortlessly beyond the pages for which they were originally created: fashion may locate them in a particular moment, but the women themselves give them permanence.

PETER LINDBERGH
Ulli Steinmeier, Lynne Koester, Cindy Crawford, Linda Evangelista, for VOGUE Italia, Pin up Studios, Paris, 1989
Gelatin silver print
50 x 60 cm
60 x 90 cm
Combined total edition of 25 for both formats
120 x 159,4 cm – Edition of 3 + 1 AP
Signed, titled, dated, and numbered on certificate

Please DM for more details and price info 💌

#peterlindbergh #irastehmannfineart taken in Paris, France by @irastehmann

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There is something almost monumental about this Peter Lindbergh image from 1988: Three women dressed in @commedesgarcons stand amid the vast machinery of an industrial power station in Nancy. The scale could easily overwhelm them and yet it does precisely the opposite. Poised within the enormous architecture, they project an extraordinary sense of independence and self-possession.

The photograph also speaks to @therealpeterlindbergh’s long-standing collaboration with Rei Kawakubo, which began in 1980 when she invited him to photograph a Comme des Garçons campaign and gave him complete creative freedom. At the time, Lindbergh was deeply fascinated by factories and industrial environments, which reminded him of the stark landscapes of his postwar childhood in Germany. Here, that personal visual memory meets Kawakubo’s radical approach to fashion.

The three figures appear almost like guardians of a disappearing industrial world. Their quiet strength anticipates the image of women Lindbergh would develop throughout the following decade: confident, individual and never reduced to what they are wearing.

PETER LINDBERGH
Michaela Berko, Linda Evangelista, Kristen Owen, Comme des Garçons, Nancy, France, 1988
Gelatin silver print
50.3 x 60.5 cm
Combined edition of 25 across all formats, including the 60 x 90 cm size
Signed, titled, dated, and numbered

Please DM for more details and price info 💌

#peterlindbergh #irastehmannfineart taken in Nancy, France by @irastehmann

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[Fine Art Photography]

Before the book, there were these.

Lots of little prints, tests, changes, images next to each other, on top of each other… slowly figuring out what belonged together and what didn’t.

These were part of the process of making my first photographic monograph „Mapping Subconsciousness“ published by patrickremystudio in 2024.

A selection of the photographs will be shown in Munich at @munichhighlights by @irastehmann this October.

For any purchasing inquiries please get in touch with @irastehmann

#marcusschaeferatelier #mappingsubconsciousness taken in Munich Residenz by @irastehmann

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21 days ago

These images keep coming to mind and needed to post a few more of @rachelwardofficial it was such a wonderful time in Australia just outside Sidney ,incredible when you look back at your own photographs and they still seem timeless and honest just shows you to make things simple! styled by @paulsinclaire @irastehmann by @irastehmann

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Peter Lindbergh changed fashion photography not by adding more, but by stripping much of it away.

This 1987 photograph of Lynne Koester, Marie-Sophie Wilson and Tatjana Patitz for Comme des Garçons already carries many of the qualities that would come to define his work. Against the open landscape of Le Touquet, the three women appear in simple white shirts and dark trousers, their individual expressions and presence taking precedence over elaborate styling or staging.

For @therealpeterlindbergh , fashion was never simply about the clothes. Favouring natural poses, minimal makeup and his unmistakable black-and-white language, he challenged the idealised perfection that had long shaped representations of women in fashion photography. What interested him instead was personality — strength, individuality and the person in front of his camera.

It was an approach that would prove enormously influential and contribute to the visual language of the emerging supermodel era. Looking at this photograph almost four decades later, its sense of modernity remains remarkably intact.

PETER LINDBERGH
Lynne Koester, Marie-Sophie Wilson, Tatjana Patitz, Fashion: Comme des Garçons, Le Touquet, France, 1987
Gelatin silver print
60.5 x 50.5 cm
Combined edition of 25 across all formats, including the 90 × 60 cm size
Signed, titled, dated, and numbered

Please DM for more details and price info 💌

#peterlindbergh #irastehmannfineart by @irastehmann

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24 days ago

[Fine Art Photography]

“3 Eyeballs, 2025“

Size print:
21,6 x 30 cm, 8.5 x 11.80 in

Framed:
41,6 x 50 cm, 16.37 x 19.68 in

Edition of 10 + 2 AP

[Archival pigment print on cotton baryta rag paper]

#marcusschaeferatelier #mappingsubconsciousness

For purchase inquiries please get in touch with @irastehmann by @irastehmann

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Fashion steps out of the studio and into the streets of Paris.
Shot for Vogue Paris and featuring Jean Paul Gaultier’s Autumn/Winter 1991–92 collection, @therealpeterlindbergh’s photograph of Helena Christensen and Marie-Sophie Wilson in Montmartre feels almost like a scene encountered by chance. The models move through the street rather than simply posing within it; fashion becomes part of everyday Parisian life.

However, the image reveals another important side of Lindbergh’s photographic language. He greatly admired documentary photographers such as Dorothea Lange, Henri Cartier-Bresson and Garry Winogrand, and their influence can be felt in his preference for moments that appear spontaneous and unforced.

Against the glamour-driven fashion photography of the period, this approach was quietly radical. Gaultier’s theatrical designs remain unmistakably present, yet Lindbergh allows personality, movement and the life of the street to take over.

The result sits somewhere between fashion photography, street scene and cinematic still. A combination that makes Lindbergh’s work so immediately recognisable.

PETER LINDBERGH
Lionel Vermeil, Helena Christensen, Marie-Sophie Wilson, for VOGUE Paris, Montmartre, Paris, 1991
Gelatin silver print
60 x 50 cm
Combined edition of 25 across all formats, including the 90 x 60 cm size
Signed, titled, dated, and numbered

Please DM for more details and price info 💌

#peterlindbergh #irastehmannfineart taken in Montmartre, Paris by @irastehmann

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Two women. Two perspectives. One shared space.

What happens when interior design and art meet under one roof?

In our Munich showrooms, two independent worlds flow naturally into one another. Victoria’s carefully curated interiors meet Ira’s selection of fine art photography, creating spaces in which furniture, objects and art are not considered separately, but allowed to enter into a dialogue.

What connects us is not only a shared appreciation for exceptional design, craftsmanship and art, but also friendship, trust and the joy of working alongside another woman with a strong vision of her own.

Swipe through for a glimpse into our two worlds: from a @remadeinterior setting featuring @de_sede_official, cushions by @ananeo_design and @lpj_studios, and a candleholder by @luest.metallgestaltung, to a selection of four photographs by @maxvadukul from @irastehmann Fine Art.

Different disciplines, independent businesses, distinct perspectives and a shared belief that the most interesting spaces are created when things aren’t considered in isolation.

Here’s to friendship, collaboration and women creating space for one another — quite literally. ✨ taken in Munich, Germany by @irastehmann

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How much of what we see belongs to the photograph and how much do we bring to it ourselves?
This question lies at the heart of the work of @albarrancabrera, the Barcelona-based artistic duo Anna Cabrera and Angel Albarrán.
In their celebrated The Mouth of Krishna series, photography becomes a space between reality and memory. Rather than offering a fixed narrative, their images act as fragments from which each viewer constructs something deeply personal. A landscape, a reflection, a fleeting figure or a particular quality of light may awaken memories that have little to do with the place photographed — and everything to do with our own experience.

For Albarrán Cabrera, however, an image never ends with what the camera records.

Their meticulous approach to printing is an essential part of their practice. Historical photographic processes including platinum, palladium, cyanotype and gelatin silver coexist with techniques they have developed themselves. Among their most distinctive works are prints made with pigments on delicate Japanese gampi paper, mounted over gold leaf.

The resulting surface subtly changes with the light and with the position of the viewer. Texture, tone, material and reflection become part of the experience of looking.

Perhaps this is what makes The Mouth of Krishna so compelling: the works never tell us exactly what to remember or what to see. Instead, they leave just enough space for our own memories to enter.

ALBARRÁN CABRERA
The Mouth of Krishna #904, 2022
The Mouth of Krishna #528, 2016
The Mouth of Krishna #799, 2019
Pigment print on gampi paper over gold leaf
Edition of 20 + 2 APs
Signed, titled, dated, and numbered on verso

Please DM for more details and price info 💌

#albarrancabrera #irastehmann taken in Munich by @irastehmann

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Few photographers have captured the sheer pleasure of being alive quite like Jacques-Henri Lartigue. In our photograph with Chou Valton a summer moment on the French Riviera becomes something wonderfully timeless. Lartigue’s camera was instinctively drawn to movement, elegance and fleeting moments of happiness. To life precisely as it seemed about to disappear.
He began photographing at only seven years old, documenting his family, early automobiles, aviation, sport, holidays and the fashionable world around him. Long before the idea of the snapshot became central to modern photography, Lartigue was already using his camera with remarkable spontaneity, attempting to preserve the exhilaration of an instant.

The Côte d’Azur became one of the recurring settings of this visual universe. Beaches, friends, fashionable figures and moments of leisure appear without heaviness or ceremony. In this photograph at Garoupe Beach, that effortless quality is particularly palpable: an intimate glimpse of a summer more than ninety years ago that somehow still feels close enough to step into.

Remarkably, Lartigue was not internationally recognised as a photographer until 1963, when, at the age of 69, his work was presented at the Museum of Modern Art in New York. What had begun as an intensely personal record of life was suddenly recognised as an extraordinary chapter in the history of photography.

JACQUES-HENRI LARTIGUE
Chou Valton, Garoupe beach, Cape d’Antibes, July, 1932
Silver gelatin print, printed later
50 x 60 cm – Edition #64
With JHL association blind stamp, title stamp and certificate

Please DM for more details and price info 💌

#jacqueshenrilartigue #irastehmann taken in Antibes, Côte D'azur by @irastehmann

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Through Ira Stehmann’s [@irastehmann] new collaboration with Dutch fine art photographer Neeltje de Vries [@neeltje_devries], questions of female autonomy, freedom, and authenticity come into focus.

Centering agency and self-determination, De Vries reconsiders conventional representations of the female figure. Nudity becomes a means of expressing freedom and vulnerability, while emphasizing the autonomy of the women she photographs.

Rooted in a personal exploration of identity, her photographs balance technical precision with a distinctly contemporary visual language, opening a quiet dialogue around femininity and what it means to inhabit one’s image on one’s own terms.

The gallery will present works by De Vries at HIGHLIGHTS International Art Fair in Munich, October 15–18, 2026.

__ Neeltje de Vries, By the Pool, 2022 Neeltje de Vries, Silver Lining, 2023 Neeltje de Vries, Kate, 2024 © Neeltje de Vries / Courtesy Ira Stehmann Fine Art, Munich by @irastehmann

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