Stephen Wilson

Stephen Wilson

Luscious Threads Text and photography copyright © 2018 DTR Modern Galleries

BOOK CURATOR & EDITOR

Stephen Wilson copyright © 2018: in each of the Stephen Wilson works of art, and photography and editorial provided by the artist, is the property of Stephen Wilson.

DESIGN

Book copyright © 2018 Scala Arts Publishers, Inc. First published in 2018 by Scala Arts Publishers, Inc. 1301 Avenue of the Americas 10th Floor New York, NY 10019 www.scalapublishers.com New York – London DTR Modern Galleries 458 West Broadway Street New York, NY 10012 www.dtrmodern.com Boston – Palm Beach – New York – Washington, DC Distributed outside of the premises of DTR Modern Galleries in the booktrade by ACC Publishing Group 6 West 18th Street Suite 4B New York, NY 10011 ISBN: 978-1-78551-174-5 Library of Congress Cataloguing-in-Publication Data: a catalog record for this book is available from the publisher.

All rights reserved.

Ghia Truesdale

Jason Fairchild PHOTOGRAPHY

Chris Edwards Photography (pages 13, 52, back endpapers) Paige Winn Photography (pages 68–69) Monique Floyd Photography (pages 7, 44–45) All other photography Stephen Wilson Studio front cover Jimmy Choo Cherry Blossoms, 2017 18 1/4" x 18 1/2" 1Jimmy Choo box, direct embroidery, appliqué Collection of Rob and Pamela Sands, Gulf Stream, Florida back cover Orange Crush (detail), 2016 58" x 32" Embroidery, appliqué, quilted fabrics on board front endpapers Gucci Moonlight Landing (detail), 2017 57 1/4" x 40 1/2" Gucci box, direct embroidery, velvet, embroidered butterflies half-title page The Winged Victory, 2017 38" x 38" Embroidery on board

No part of the contents of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of DTR Modern Galleries and Scala Arts Publishers, Inc.

page 2

“Stephen Wilson: A Stitch in Time” © Bruce Helander, Art Hive Magazine, Summer 2017, Edition #22 (May 31, 2017)

opposite

“Opulence Reclaimed: Stephen Wilson’s Luxury” © Marisa Pascucci

Blue Abstract (detail), 2017 42" x 32" Embroidery, appliqué, quilted fabrics on board

Fragile Heart (detail), 2017 22 1/4" x 18 1/2" Gucci box, packing stickers, spray paint, embroidery, appliqué Collection of Annie Milligan, Bryn Mawr, Pennsylvania back endpapers Greco Winged Victory, 2017 38" x 38" Embroidery on board, ultramarine pigment, gold leaf www.stephenwilsonstudio.com Instagram @stephenwilsonstudio @luxurybystephenwilson

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Stephen Wilson

Luscious Threads Text and photography copyright © 2018 DTR Modern Galleries

BOOK CURATOR & EDITOR

Stephen Wilson copyright © 2018: in each of the Stephen Wilson works of art, and photography and editorial provided by the artist, is the property of Stephen Wilson.

DESIGN

Book copyright © 2018 Scala Arts Publishers, Inc. First published in 2018 by Scala Arts Publishers, Inc. 1301 Avenue of the Americas 10th Floor New York, NY 10019 www.scalapublishers.com New York – London DTR Modern Galleries 458 West Broadway Street New York, NY 10012 www.dtrmodern.com Boston – Palm Beach – New York – Washington, DC Distributed outside of the premises of DTR Modern Galleries in the booktrade by ACC Publishing Group 6 West 18th Street Suite 4B New York, NY 10011 ISBN: 978-1-78551-174-5 Library of Congress Cataloguing-in-Publication Data: a catalog record for this book is available from the publisher.

All rights reserved.

Ghia Truesdale

Jason Fairchild PHOTOGRAPHY

Chris Edwards Photography (pages 13, 52, back endpapers) Paige Winn Photography (pages 68–69) Monique Floyd Photography (pages 7, 44–45) All other photography Stephen Wilson Studio front cover Jimmy Choo Cherry Blossoms, 2017 18 1/4" x 18 1/2" 1Jimmy Choo box, direct embroidery, appliqué Collection of Rob and Pamela Sands, Gulf Stream, Florida back cover Orange Crush (detail), 2016 58" x 32" Embroidery, appliqué, quilted fabrics on board front endpapers Gucci Moonlight Landing (detail), 2017 57 1/4" x 40 1/2" Gucci box, direct embroidery, velvet, embroidered butterflies half-title page The Winged Victory, 2017 38" x 38" Embroidery on board

No part of the contents of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of DTR Modern Galleries and Scala Arts Publishers, Inc.

page 2

“Stephen Wilson: A Stitch in Time” © Bruce Helander, Art Hive Magazine, Summer 2017, Edition #22 (May 31, 2017)

opposite

“Opulence Reclaimed: Stephen Wilson’s Luxury” © Marisa Pascucci

Blue Abstract (detail), 2017 42" x 32" Embroidery, appliqué, quilted fabrics on board

Fragile Heart (detail), 2017 22 1/4" x 18 1/2" Gucci box, packing stickers, spray paint, embroidery, appliqué Collection of Annie Milligan, Bryn Mawr, Pennsylvania back endpapers Greco Winged Victory, 2017 38" x 38" Embroidery on board, ultramarine pigment, gold leaf www.stephenwilsonstudio.com Instagram @stephenwilsonstudio @luxurybystephenwilson

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T E D VA S S I L E V

GALLERIST’S STATEMENT As an art lover, I am proud to publish with Scala Arts Publishers, Inc., Stephen Wilson: Luscious Threads, the first full-scale trade monograph to explore this contemporary conceptual artist’s luxurious detail and exquisite puzzling of materials and themes.

As a gallerist, my goal is to bring to the public the most celebrated artists— contemporary and up-and-coming. I so enjoy seeing what an artist is up to—his (or her) nascent trend or burgeoning philosophy. And it inspires me as well when I can encourage the artist to root out and identify core driving forces that impel the confluence of a recognized oeuvre. Through the eye of Stephen Wilson’s needle, traditional craft and contemporary culture intertwine as inextricably as DNA strands.

Wilson produces wholly original works of art by combining classical reiterative methods with new technologies and hand-embellishment. Blending luxury-branded fabrics, digital renderings, 3D-printed sculptures, and laser-engraved acrylics, Wilson has retooled and repurposed the artist’s medium.

When Stephen Wilson first invited me to visit his Charlotte, North Carolina atelier to see his 2D “Skull” and “Butterfly” art projects, it struck me that his approach was unlike any other artist—both in his use of tools and his choice of canvas. Wilson’s veritable visual nectar delighted me, as did the tactile manna of his seductively detailed embroidery pieces that expressed indelible excitement and temptation— like thoroughbreds champing to jettison bit and bridle. I noticed the artist used icons whose themes are integral to the heritage of art language, like the skull— a reminder of our own mortality that appears throughout art history—and the butterfly in Dutch masters. Like pop art master Andy Warhol and contemporary artists Damien Hirst, Joseph Cornell, Richard Prince, and Jeff Koons, Wilson appeared to have unwittingly met a means to reinterpret universal art themes.

Photo: Monique Floyd, 2017

His reiterative use of butterflies and skulls brought to my mind immediately a revered Renaissance term: sprezzatura—the Italian word for “a studied carelessness” minted by Baldassare Castiglione in The Book of the Courtier (1528); Wilson “conceals art and presents everything said and done as something brought about without laboriousness…almost without giving it any thought.”1 Wilson’s sprezzatura enables refined complex renderings to seem as easy and enjoyable as a sip of 1996 Cristal with my Sunday morning New York Times; with the force of Pandora, his playful embroidered “Boxes” unleash the excitement of a child rushing to open a gift. Readily identifiable as a Wilson, his resplendent confections resonate and compel us to think outside the proverbial box. The “capacity for lightness” in Wilson’s brand of sprezzatura “transcends mere style: it can reflect a true [appreciation] for living and savoir faire, the ability to handle complex matters with a light touch.” 2

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opposite Sprezzatura (detail), 2017 36" x 36" Acrylic paint, pigment, embroidery on twill-wrapped board, embroidered butterflies

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T E D VA S S I L E V

GALLERIST’S STATEMENT As an art lover, I am proud to publish with Scala Arts Publishers, Inc., Stephen Wilson: Luscious Threads, the first full-scale trade monograph to explore this contemporary conceptual artist’s luxurious detail and exquisite puzzling of materials and themes.

As a gallerist, my goal is to bring to the public the most celebrated artists— contemporary and up-and-coming. I so enjoy seeing what an artist is up to—his (or her) nascent trend or burgeoning philosophy. And it inspires me as well when I can encourage the artist to root out and identify core driving forces that impel the confluence of a recognized oeuvre. Through the eye of Stephen Wilson’s needle, traditional craft and contemporary culture intertwine as inextricably as DNA strands.

Wilson produces wholly original works of art by combining classical reiterative methods with new technologies and hand-embellishment. Blending luxury-branded fabrics, digital renderings, 3D-printed sculptures, and laser-engraved acrylics, Wilson has retooled and repurposed the artist’s medium.

When Stephen Wilson first invited me to visit his Charlotte, North Carolina atelier to see his 2D “Skull” and “Butterfly” art projects, it struck me that his approach was unlike any other artist—both in his use of tools and his choice of canvas. Wilson’s veritable visual nectar delighted me, as did the tactile manna of his seductively detailed embroidery pieces that expressed indelible excitement and temptation— like thoroughbreds champing to jettison bit and bridle. I noticed the artist used icons whose themes are integral to the heritage of art language, like the skull— a reminder of our own mortality that appears throughout art history—and the butterfly in Dutch masters. Like pop art master Andy Warhol and contemporary artists Damien Hirst, Joseph Cornell, Richard Prince, and Jeff Koons, Wilson appeared to have unwittingly met a means to reinterpret universal art themes.

Photo: Monique Floyd, 2017

His reiterative use of butterflies and skulls brought to my mind immediately a revered Renaissance term: sprezzatura—the Italian word for “a studied carelessness” minted by Baldassare Castiglione in The Book of the Courtier (1528); Wilson “conceals art and presents everything said and done as something brought about without laboriousness…almost without giving it any thought.”1 Wilson’s sprezzatura enables refined complex renderings to seem as easy and enjoyable as a sip of 1996 Cristal with my Sunday morning New York Times; with the force of Pandora, his playful embroidered “Boxes” unleash the excitement of a child rushing to open a gift. Readily identifiable as a Wilson, his resplendent confections resonate and compel us to think outside the proverbial box. The “capacity for lightness” in Wilson’s brand of sprezzatura “transcends mere style: it can reflect a true [appreciation] for living and savoir faire, the ability to handle complex matters with a light touch.” 2

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opposite Sprezzatura (detail), 2017 36" x 36" Acrylic paint, pigment, embroidery on twill-wrapped board, embroidered butterflies

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While originality and quality are innate to Wilson, I wanted him to encounter the root source of his inspiration, so I encouraged him to consider more universal themes in art. As his work gradually became more representational, Wilson’s medium came to be his message—his taproot.

His choice of canvas—the surface area of “ The Box” vs. “The Wall”—is comparable to “street” artists like Jean-Michel Basquiat, Keith Haring, or lately Banksy, who express their artistic brinksmanship in roughshod and violent urges upon blank public walls. So too, Wilson vandalizes public display spaces as he festoons every luxurious surface with his opulent graffiti—on fine brands’ packaging: Hermès, Dior, Cartier, Jimmy Choo, or Bergdorf ’s windows—he explores the branding, its symbol.

Just as urban artists like Mr. Brainwash exploit and explore the iconography of the sign with spray paint and stencils, Wilson renders in luscious designer threads.

As a street artist may increase the value of a public wall—Banksy’s “Art Buff ” fetched a respectable sum when it subverted a building’s exterior3 at the Folkestone Triennial in 2014—so, too, Wilson reclaims and repurposes what might otherwise become rich people’s refuse or, at best, a storage box. “Trash” elevated to collectors’ item serves to poke at a nagging first world problem: how do we evaluate what we treasure? And is not the process of repurposing our stealthiest method to survival?

Since our collaboration commenced, conceptually Wilson’s methods have become ever more refined. Notably, his hand-embellishments multiplied as he began to serialize designs on a 3D printer then dress them up with couture fabrics.

Comparable to Warhol’s Polaroids, or David Hockney’s fax machine, Wilson’s toolkit allows him to pioneer his vision reiteratively. Historically, artists have explored themes using whatever was available to them; I wanted to serve as a catalyst to witness Wilson connect the dots of his thematic explorations as he seized new technology and tested it out with his raw and branded materials— orthodox yet unorthodox. The challenge is that everyone joins the dialogue with funny and funky ideas—representational vs. conceptual; nowadays, it is a difficult subject matter. Deep down, Wilson was a conceptual artist rendering the concept through a representational code—visual convention, a preordained system—and with it he’s making a splash where others have failed. Behind the luxe branded veil resides the concept.

above Mini Drip BLUE / GOLD, 2017 17 1/2" x 9 1/2" Deconstructed embroidery, spray paint opposite Mini Drip PURPLE II, 2017

The longer we worked together, the more inspiration Wilson found in the timeless themes that have spellbound artists for generations. Since our first exhibition of Wilson’s work at DTR Modern Galleries, his restrained Disorder Series evolved into the robustly nuanced Americana installation. Designer Ralph Lauren’s American fashions provided a natural segue for Wilson into Americana, resonating with Warhol imagery ( John Wayne, Sitting Bull, Annie Oakley, etc.), resulting in Wilson’s Americana installation that is—quantifiably—a monumental mural of 33 million stitches depicting American iconography and Wild West aesthetics in hundreds of small cameos that comprise a single larger image.

Drawn in as I was by Wilson’s Luxury Series, his sculptures, relief work, and abstracts, his pop art was an anticipated next step for DTR Modern Galleries given his collaboration with Robert Mars and our eponymous monograph Robert Mars: Futurelics, Past is Present.4 Most especially, Wilson’s pieces suffused with light have evolved into Shine a Light When it’s Gray Out, opening Spring 2018. With inspiration from the leading Italian fashion designer, Brunello Cucinelli, and Lin-Manuel Miranda’s Broadway smash hit Hamilton, the luxe and light source in Shine a Light When it’s Gray Out emanates most powerfully from the artist’s baby daughter. Myself a father besotted hook-line-and-sinker by my own daughter, I get why Wilson’s newest series delights with its originality and radiance. Similarly, as I wholeheartedly believe with regard to American sculptor, Alexander Calder, who trail-blazed the mobile art movement, Stephen Wilson, too, “leads where others will follow”5 in the opulent and discordant world of appropriated and transformational graffiti art. At the forefront of technology, Wilson develops new directions for its use, advancing it, not just taking advantage of it as others may do in his whitewater wake.

In closing, I want to thank Stephen Wilson, and his atelier manager, Kassidy Greiner, as well as gallerist Irina Toshkova. The book is duly enriched by the essays contributed by Bruce Helander, Eleanor Heartney, Donald Kuspit, and Marisa Pascucci. I must underscore that this book could not have come together without our collaborator Jennifer Norman and her Scala Arts Publishers, Inc. teammates, Hannah Bowen, Tim Clarke, and Claudia Varosio, together with publishing curators Ghia Truesdale and Gail Spilsbury, book designer Jason Fairchild, and Mary Cryan.

And, as ever, I am very grateful to my committed staff at DTR Modern Galleries: Lauren Nasella, Bryan Walsh, Suzanne King, Julia Morris, Jennie Buehler, Josh Findlay, Helen Schorsch, and Ben Moody.

—Ted Vassilev, DTR Modern Galleries

Ted Vassilev is the owner of DTR Modern Galleries, with locations in Boston, New York, Palm Beach, and Washington, DC.

Baldassare Castiglione, The Book of the Courtier (Venice: Aldine Press, 1528).

Joseph Luzzi, My Two Italies (New York: Farrar, Straus & Giroux, 2014), p. 143.

Melanie Gerlis, “Off the Wall: Urban Art Scrubs Up,” Financial Times, September 23–24, 2017, weekend edition, Collecting, Art & Design section, p. 2.

Robert Mars: Futurelics, Past is Present (New York: Scala Arts Publishers, Inc. and DTR Modern Galleries, 2017).

Virginia Blackburn, “Mobile Art,” Financial Times, September 23, 2017, “How to Spend It, Smart Arts” weekend magazine feature, p. 39. Includes an interview with gallery owner Ted Vassilev; image is of DTR Modern Galleries’ “Landscape Mobile” by Roy Lichtenstein.

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19 1/2" x 6 1/2" Deconstructed embroidery The Hopkins Family Collection, Charlotte, North Carolina

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While originality and quality are innate to Wilson, I wanted him to encounter the root source of his inspiration, so I encouraged him to consider more universal themes in art. As his work gradually became more representational, Wilson’s medium came to be his message—his taproot.

His choice of canvas—the surface area of “ The Box” vs. “The Wall”—is comparable to “street” artists like Jean-Michel Basquiat, Keith Haring, or lately Banksy, who express their artistic brinksmanship in roughshod and violent urges upon blank public walls. So too, Wilson vandalizes public display spaces as he festoons every luxurious surface with his opulent graffiti—on fine brands’ packaging: Hermès, Dior, Cartier, Jimmy Choo, or Bergdorf ’s windows—he explores the branding, its symbol.

Just as urban artists like Mr. Brainwash exploit and explore the iconography of the sign with spray paint and stencils, Wilson renders in luscious designer threads.

As a street artist may increase the value of a public wall—Banksy’s “Art Buff ” fetched a respectable sum when it subverted a building’s exterior3 at the Folkestone Triennial in 2014—so, too, Wilson reclaims and repurposes what might otherwise become rich people’s refuse or, at best, a storage box. “Trash” elevated to collectors’ item serves to poke at a nagging first world problem: how do we evaluate what we treasure? And is not the process of repurposing our stealthiest method to survival?

Since our collaboration commenced, conceptually Wilson’s methods have become ever more refined. Notably, his hand-embellishments multiplied as he began to serialize designs on a 3D printer then dress them up with couture fabrics.

Comparable to Warhol’s Polaroids, or David Hockney’s fax machine, Wilson’s toolkit allows him to pioneer his vision reiteratively. Historically, artists have explored themes using whatever was available to them; I wanted to serve as a catalyst to witness Wilson connect the dots of his thematic explorations as he seized new technology and tested it out with his raw and branded materials— orthodox yet unorthodox. The challenge is that everyone joins the dialogue with funny and funky ideas—representational vs. conceptual; nowadays, it is a difficult subject matter. Deep down, Wilson was a conceptual artist rendering the concept through a representational code—visual convention, a preordained system—and with it he’s making a splash where others have failed. Behind the luxe branded veil resides the concept.

above Mini Drip BLUE / GOLD, 2017 17 1/2" x 9 1/2" Deconstructed embroidery, spray paint opposite Mini Drip PURPLE II, 2017

The longer we worked together, the more inspiration Wilson found in the timeless themes that have spellbound artists for generations. Since our first exhibition of Wilson’s work at DTR Modern Galleries, his restrained Disorder Series evolved into the robustly nuanced Americana installation. Designer Ralph Lauren’s American fashions provided a natural segue for Wilson into Americana, resonating with Warhol imagery ( John Wayne, Sitting Bull, Annie Oakley, etc.), resulting in Wilson’s Americana installation that is—quantifiably—a monumental mural of 33 million stitches depicting American iconography and Wild West aesthetics in hundreds of small cameos that comprise a single larger image.

Drawn in as I was by Wilson’s Luxury Series, his sculptures, relief work, and abstracts, his pop art was an anticipated next step for DTR Modern Galleries given his collaboration with Robert Mars and our eponymous monograph Robert Mars: Futurelics, Past is Present.4 Most especially, Wilson’s pieces suffused with light have evolved into Shine a Light When it’s Gray Out, opening Spring 2018. With inspiration from the leading Italian fashion designer, Brunello Cucinelli, and Lin-Manuel Miranda’s Broadway smash hit Hamilton, the luxe and light source in Shine a Light When it’s Gray Out emanates most powerfully from the artist’s baby daughter. Myself a father besotted hook-line-and-sinker by my own daughter, I get why Wilson’s newest series delights with its originality and radiance. Similarly, as I wholeheartedly believe with regard to American sculptor, Alexander Calder, who trail-blazed the mobile art movement, Stephen Wilson, too, “leads where others will follow”5 in the opulent and discordant world of appropriated and transformational graffiti art. At the forefront of technology, Wilson develops new directions for its use, advancing it, not just taking advantage of it as others may do in his whitewater wake.

In closing, I want to thank Stephen Wilson, and his atelier manager, Kassidy Greiner, as well as gallerist Irina Toshkova. The book is duly enriched by the essays contributed by Bruce Helander, Eleanor Heartney, Donald Kuspit, and Marisa Pascucci. I must underscore that this book could not have come together without our collaborator Jennifer Norman and her Scala Arts Publishers, Inc. teammates, Hannah Bowen, Tim Clarke, and Claudia Varosio, together with publishing curators Ghia Truesdale and Gail Spilsbury, book designer Jason Fairchild, and Mary Cryan.

And, as ever, I am very grateful to my committed staff at DTR Modern Galleries: Lauren Nasella, Bryan Walsh, Suzanne King, Julia Morris, Jennie Buehler, Josh Findlay, Helen Schorsch, and Ben Moody.

—Ted Vassilev, DTR Modern Galleries

Ted Vassilev is the owner of DTR Modern Galleries, with locations in Boston, New York, Palm Beach, and Washington, DC.

Baldassare Castiglione, The Book of the Courtier (Venice: Aldine Press, 1528).

Joseph Luzzi, My Two Italies (New York: Farrar, Straus & Giroux, 2014), p. 143.

Melanie Gerlis, “Off the Wall: Urban Art Scrubs Up,” Financial Times, September 23–24, 2017, weekend edition, Collecting, Art & Design section, p. 2.

Robert Mars: Futurelics, Past is Present (New York: Scala Arts Publishers, Inc. and DTR Modern Galleries, 2017).

Virginia Blackburn, “Mobile Art,” Financial Times, September 23, 2017, “How to Spend It, Smart Arts” weekend magazine feature, p. 39. Includes an interview with gallery owner Ted Vassilev; image is of DTR Modern Galleries’ “Landscape Mobile” by Roy Lichtenstein.

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19 1/2" x 6 1/2" Deconstructed embroidery The Hopkins Family Collection, Charlotte, North Carolina

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opposite We Push Away the Unimaginable, 2018 36" x 36" Oil and acrylic on board, embroidered butterflies right When You’re Gone Who Remembers Your Name, 2018 30" x 40" Oil paint and pigment on board, diamond dust, embroidered butterflies

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opposite We Push Away the Unimaginable, 2018 36" x 36" Oil and acrylic on board, embroidered butterflies right When You’re Gone Who Remembers Your Name, 2018 30" x 40" Oil paint and pigment on board, diamond dust, embroidered butterflies

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All pieces in this series feature butterflies aloft over different backgrounds. Creating dynamic backgrounds was the first step.

Divided between oil and pigment, they share a common theme—turbulence, furthering the illusion of loft—an updraft away from Wilson’s backgrounds that seem to undulate beneath the butterflies.

Photos: Monique Floyd, 2017

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All pieces in this series feature butterflies aloft over different backgrounds. Creating dynamic backgrounds was the first step.

Divided between oil and pigment, they share a common theme—turbulence, furthering the illusion of loft—an updraft away from Wilson’s backgrounds that seem to undulate beneath the butterflies.

Photos: Monique Floyd, 2017

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Appias nero

Ornithoptera alexandrae

Pontia protodice

Phoebis philea

Chrysoritis thysbe

Eueides isabella

Ornithoptera rothschildi

Papilio zelicaon

(Orange albatross)

(Queen Alexandra’s birdwing)

(Checkered white)

(Orange-barred sulphur)

(Common opal)

(Isabella’s longwing)

(Rothschild’s birdwing)

(Anise swallowtail)

Morpho peleides

Gonepteryx rhamni

Ancyluris miranda

Parnassius apollo

Graphium sarpedon

Phoebis sennae

Melanargia russiae

Morpho rhetenor

(Blue morpho)

(Brimstone)

(Frilled majestic)

(Apollo)

(Blue triangle)

(Cloudless sulphur)

(Esper’s marbled white)

(Rhetenor blue morpho)

Chrysiridia rhipheus

Polyommatus bellargus

Apatura iris

Papilio cresphontes

Siproeta stelenes

Actias selene

Cethosia cyane

Ornithoptera goliath

(Madagascan sunset moth)

(Adonis blue)

(Purple emperor)

(Giant swallowtail)

(Malachite)

(Indian moon moth)

(Leopard lacewing)

(Goliath birdwing)

Polyura schreiber

Protogoniomorpha parhassus

Diaethria anna

Danaus plexippus

Speyeria cybele

Kallima inachus

Danaus plexippus

Aporia crataegi

(Blue Nawab)

(Mother-of-pearl)

(Anna’s eighty-eight)

(Monarch)

(Great spangled fritillary)

(Indian leaf)

(Monarch)

(Black-veined white)

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46

Appias nero

Ornithoptera alexandrae

Pontia protodice

Phoebis philea

Chrysoritis thysbe

Eueides isabella

Ornithoptera rothschildi

Papilio zelicaon

(Orange albatross)

(Queen Alexandra’s birdwing)

(Checkered white)

(Orange-barred sulphur)

(Common opal)

(Isabella’s longwing)

(Rothschild’s birdwing)

(Anise swallowtail)

Morpho peleides

Gonepteryx rhamni

Ancyluris miranda

Parnassius apollo

Graphium sarpedon

Phoebis sennae

Melanargia russiae

Morpho rhetenor

(Blue morpho)

(Brimstone)

(Frilled majestic)

(Apollo)

(Blue triangle)

(Cloudless sulphur)

(Esper’s marbled white)

(Rhetenor blue morpho)

Chrysiridia rhipheus

Polyommatus bellargus

Apatura iris

Papilio cresphontes

Siproeta stelenes

Actias selene

Cethosia cyane

Ornithoptera goliath

(Madagascan sunset moth)

(Adonis blue)

(Purple emperor)

(Giant swallowtail)

(Malachite)

(Indian moon moth)

(Leopard lacewing)

(Goliath birdwing)

Polyura schreiber

Protogoniomorpha parhassus

Diaethria anna

Danaus plexippus

Speyeria cybele

Kallima inachus

Danaus plexippus

Aporia crataegi

(Blue Nawab)

(Mother-of-pearl)

(Anna’s eighty-eight)

(Monarch)

(Great spangled fritillary)

(Indian leaf)

(Monarch)

(Black-veined white)

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LUXURY

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LUXURY

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