Steve McCurry, ‘India’, 2016, Phillips

Peter Fetterman Gallery: Santa Monica
Varying dimensions from 12 x 16 in. (30.5 x 40.6 cm) to 12 x 18 in. (30.5 x 45.7 cm) or the reverse

Titles include: Dust Storm, 1983; Taj and Train, 1983; Flower Seller, 1996; Boy in Mid-Fight, 2007; Three Men at Holi Festival, 1996; Village Girl, Jaipur, India, 1983; Blue City, 2010; Calcutta Tram, 1996; Jodhpur Fruit Vendor, 1996; Mother and Child at Car Window, 1993; Red Boy, 1996; Bengali Woman and Child, 1982; Camels in Dust Storm, 2010; Flower Offerings, 1996; Rabari Tribal Elder, 2010; Holi Man, 1996; Man Rows Boat at Dusk, 2010; Man and Taj Reflection, 1999; Father and Daughter on Boat, 1996; Welder in Ship-Breaking Yard, 1994

Signature: Each signed and numbered 4/20 in ink on the verso. Colophon, plate list with introduction by Peter Fetterman. Red linen clamshell case with gilt title, enclosed within a wooden case with metallic clasps and handles. Signed, numbered 4/20 in ink and studio blindstamp on a Certificate of Authenticity accompanying the portfolio. Number 4 from an edition of 20 plus 4 artist's proofs.

Phaidon, India: Steve McCurry, cover, pp. 19, 33, 45, 93, 115, 137, 155, 167, 195
Phaidon, Steve McCurry, cover, pls. 6, 7, 25, 27, 34, 39
Phaidon, Steve McCurry: South Southeast, cover, n.p.

Peter Fetterman Gallery, Santa Monica

About Steve McCurry

With his shrewd journalistic approach to photography, Steve McCurry has captured some of the most iconic images of the 20th and 21st centuries. McCurry creates straightforward representational photographs that seek to illuminate areas of the world and create narratives from honest depictions of people and places. The photographer is well known for his contributions to magazines such as National Geographic, which featured Afghan Girl—his infamous 1985 image—on its cover. The woman’s haunting green eyes and her location in a country hidden behind the Iron Curtain contributed to the photograph’s significance. “I think the best way to actually photograph somebody is to really look into their eyes,” McCurry has said. “The eyes are so expressive, they say so much about a person.” In recent years, McCurry has continued his journalistic investigations of the less fortunate in areas closer to his home, photographing abused domestic workers in the United States.

American, b. 1950, Darby, Pennsylvania