Ira Stehmann Fine Art

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Ira Stehmann Fine Art The focus of her work lies on photography. Her strength lies in conceptual work and the selection, evaluation and documentation of artworks.

For more than 25 years Ira Stehmann has been an adviser and mediator for contemporary art, liaising with both private and institutional collectors and individual customers. In the course of her career she has traced, evaluated, acquired, archived and documented thousands of photographs as well as arranging the resale of works. As a freelance exhibition curator and experienced specialist in the art market Ira Stehmann advises private collectors, museums and companies. She has been working in this capacity, for example for the Nicola Erni Collection, since the beginning of the new millennium. She has built up a private library of several hundred art books, with a particular emphasis on publications in the field of photography. Ira Stehmann has edited and co-edited numerous works on contemporary photography that have been brought out by renowned art publishers. Ira Stehmann has excellent contacts to museums, private collectors and artists’ estates in New York, London and Paris and has been managing the estate of Jeanloup Sieff in Paris since the early 2000s. In addition, she has been the sole representative for the works of the well-known photographer Chistopher Thomas since 2007. She has been an adviser and provided exhibition concepts for companies such as Credit Suisse (Germany) AG, Frankfurt/Munich, Allianz AG, Munich, Hypo Vereinsbank, Munich, Paul Hartmann AG, Heidenheim, The Nicola Erni Collection, Argos Beteiligungsverwaltung GmbH, Munich, KBB Verwaltungs-GmbH, Böblingen, Richter & Partner, Munich/Frankfurt/Stuttgart, Get Mobile AG, Munich, Boston Consulting Group, Hamburg/Munich, and Truffle Bay Management Consulting, Munich, among many others. Ira Stehmann studied at a number of different European institutions: Art History in London and Munich, Business Management at the European Business School (EBS) in Oestrich-Winkel, London and Paris, as well as semesters studying in Florence and Parma. After working at an auctioneers, she became freelance in 1993. Between 2001 and 2010 Ira Stehmann was a partner at curators GmbH in Munich.

The doors are open – welcome to Munich HIGHLIGHTS 2026!After weeks of preparation, it is wonderful to finally see this y...
15/10/2026

The doors are open – welcome to Munich HIGHLIGHTS 2026!
After weeks of preparation, it is wonderful to finally see this year’s presentation come together within the historic surroundings of the Munich Residenz.
At Booth 31, Ira Stehmann Fine Art brings together some very exiting distinctive photographic positions: Albarrán Cabrera, Steffen Diemer, Corina Gertz, Miho Kajioka, Marcus Schaefer, Christopher Thomas, Miriam Tölke and Neeltje de Vries.

Seen together, their works reveal very different ways of approaching the photographic image. From memory, identity and the human body to materiality, abstraction and our perception of reality, each artist opens a different perspective – and creates conversations that only truly emerge when the works meet in the same space.

And that is perhaps what we enjoy most about an art fair: seeing familiar works anew, exploring connections between them, and, above all, having the opportunity to experience art together.

We look forward to the conversations, encounters and discoveries of the coming days and would be delighted to welcome you at Booth 31.
Come and see us in Munich! ❤️

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

A glimpse of what awaits you at Munich HIGHLIGHTS.Tall palm trees reach into an amber-coloured sky, their silhouettes ex...
06/10/2026

A glimpse of what awaits you at Munich HIGHLIGHTS.
Tall palm trees reach into an amber-coloured sky, their silhouettes extending beyond the frame. Seen from below, a familiar landscape becomes strangely elusive – less the representation of a particular place than the recollection of one.

The Mouth of Krishna #1060 (2026) by is one of the works we will be presenting at this year’s Munich HIGHLIGHTS.
For Anna Cabrera and Angel Albarrán, photography is deeply connected to memory and perception. Their images deliberately leave space for the viewer: what we recognise within them is inevitably shaped by places we have known, experiences we have had and images we carry within ourselves.
But experiencing an Albarrán Cabrera work in person also means encountering photography as a physical object. For this work, pigments are applied to delicate Japanese gampi paper mounted over gold leaf. As light interacts with the surface, colour, texture and luminosity subtly shift – adding another dimension that cannot quite be conveyed on a screen.

Part of their ongoing series The Mouth of Krishna, the work occupies that fascinating territory between reality and imagination that has long been central to the duo’s practice.

We look forward to sharing this work – alongside many more – with you in Munich.

ALBARRÁN CABRERA
The Mouth of Krishna #1060, 2026
Pigment print on gampi paper over gold leaf
25 x 17 cm
Edition of 20 + 2 APs
Signed, titled, dated and numbered in pencil on verso

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

A wonderful evening in Paris celebrating one of the great masters of photography.During my recent days in Paris, one of ...
04/10/2026

A wonderful evening in Paris celebrating one of the great masters of photography.
During my recent days in Paris, one of the highlights was the opening of PENN & FASHION at the Maison Européenne de la Photographie – a beautifully curated exhibition dedicated to Irving Penn and his extraordinary contribution to fashion photography.

Spanning more than six decades, from 1947 to 2008, the exhibition unfolds chronologically, tracing the evolution of Penn’s unmistakable visual language: from the legendary Paris haute couture photographs of the 1950s to his later work for Vogue and his remarkable creative dialogue with Issey Miyake. Seeing these works together reveals how consistently Penn reduced an image to its essentials: silhouette, volume, texture and gesture. Fashion changed dramatically over the decades, yet the precision and elegant simplicity of his compositions remain astonishingly timeless.

I was especially delighted to see the important contribution of the Nicola Erni Collection, which has loaned 72 works to the exhibition, alongside exceptional loans from the Irving Penn Foundation and the Miyake Issey Foundation.

And it was a particular pleasure to share this special evening with Mia Fonssagrives-Solow, Tom Penn, President of the Irving Penn Foundation, and Stefan Puttaert, CEO of the Nicola Erni Collection.

Congratulations to Pascal Hoël and Frédérique Dolivet on this thoughtfully considered exhibition.

If you are in Paris in the coming months, this is one not to miss!

PENN & FASHION
📍 Maison Européenne de la Photographie, Paris
📅 30 September 2026 until 17 January 2027

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Distinct voices in photography come together in a carefully curated presentation at Munich HIGHLIGHTS.This October, Ira ...
29/09/2026

Distinct voices in photography come together in a carefully curated presentation at Munich HIGHLIGHTS.

This October, Ira Stehmann Fine Art returns to Munich HIGHLIGHTS, presenting works by , Steffen Diemer, Corina Gertz, Miho Kajioka, Marcus Schaefer Atelier, Christopher Thomas, Miriam Tölke and Neeltje de Vries.

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

Four women, matching men’s suits, and almost nothing to distract from the people themselves: Created by Peter Lindbergh ...
22/09/2026

Four women, matching men’s suits, and almost nothing to distract from the people themselves: Created by Peter Lindbergh Foundation 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 💌

There is something almost monumental about this Peter Lindbergh image from 1988: Three women dressed in COMME des GARÇON...
15/09/2026

There is something almost monumental about this Peter Lindbergh image from 1988: Three women dressed in COMME des GARÇONS 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 Peter Lindbergh Foundation’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 💌

Peter Lindbergh changed fashion photography not by adding more, but by stripping much of it away.This 1987 photograph of...
08/09/2026

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 Peter Lindbergh Foundation , 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 💌

Fashion steps out of the studio and into the streets of Paris.Shot for Vogue Paris and featuring Jean Paul Gaultier’s Au...
01/09/2026

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, Peter Lindbergh Foundation’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 💌

How much of what we see belongs to the photograph and how much do we bring to it ourselves?This question lies at the hea...
25/08/2026

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 Albarrán Cabrera, 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 💌

Few photographers have captured the sheer pleasure of being alive quite like Jacques-Henri Lartigue. In our photograph w...
18/08/2026

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 💌

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