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Paul Stolper

London, UK

Paul Stolper Gallery is a contemporary London art gallery and a leading publisher of contemporary editions. Established in 1998, the gallery works directly with artists to publish limited edition prints and sculptures while also running an exhibition programme in the gallery throughout the year.


Milestone exhibitions have included Damien Hirst's ‘Schizophrenogenesis’, 2014 installation, scaled up medicine bottles, boxes, ampoules, syringes, scalpel, and pills that all play with concepts of scale, combining to form an ‘Alice in Wonderland’ playground of pharmaceuticals, 'The Souls' 2010 an installation of 140 foil block butterfly prints, and 'New Religion' 2005, an installation of prints, sculptures, and painting.  Others include Sarah Lucas and Julian Simmons’s ‘Dream Fourteen’, 2021, Marcus Harvey’s ‘Half Nelson’, 2018, Mat Collishaw’s ‘Urban Legends’,2018, Brian Eno’s ‘Light Music’ 2016, Gavin Turk's 'Transit Disaster' 2012, Peter Saville and Anna Blessmann's 'In Course of Arrangement', Angus Fairhurst 'Unprinted', 2014, Don Brown's 'Yoko' 2012, and Keith Coventry's 'Copper + Silk' 2009.


Individual publications include Jeremy Deller’s seminal screenprint ‘History of the World’ (1998), the basis for the wall painting at his Turner Prize winning exhibition at Tate Britain (2004), the ‘Venice’ 2009, ‘Paris’ 2011 and ‘London’ 2012 Suites by Sir Peter Blake, 'Snap' 2011including Cerith Wyn Evans, Sarah Lucas, Abigail Lane, Juergen Teller amongst others.


Works published by the gallery have been included in the following collections: Government Art Collection, Tate Britain, British Council, MoMA New York and Arts Council.


Susie Hamilton 'With Beaten Gold' (detail)


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Literature is one of the main inspirations for my work and these monotypes all have poems or plays as a source. Moreover they all depict landscape and are mostly inhabited by the figure of the rider, an image from many of my earlier series of paintings. I have painted riders as ecstatic, combative or wandering through forests and deserts. And it is this last image that informs my Gawain prints where Sir Gawain, on his way to meet the terrifying Green Knight, goes on a desolate winter journey through Wales and encounters alarming creatures and severe cold. The figure in my prints is dwarfed, solitary, surrounded by cellular forms which represent some of the uncanny events of his ride. 

In the largest group of rider prints I have fused the image of the heroic Samurai, taken from films and documentaries, with those of fighters and warriors from Marlowe’s Tamburlaine, Shakespeare’s history plays and Macbeth. I respond to the quality of vitality bordering on wildness and violence in these plays: the wild energy in nature and in human nature with its tragic counterpart of destructiveness and death. Marlowe’s Tamburlaine elevates its hero in gorgeous language full of reds and golds and whirling, cosmic imagery. What Ben Jonson called Marlowe’s ‘mighty line’ enacts the aspiring visions of the conqueror. However the energy and poetic colour of the blank verse are mixed up with appalling violence and pain. And both the glittering splendour and the dark anguish of battle inform my prints in which mess and blots and smoky layers and rolls of colour undo form and cohesion, in which men and horses, victims and victors, are in tangled conflict. Both sequences of prints referring to lines from Marlowe and Shakespeare combine glamour, brutality and menace and are inhabited by damaged shapes of the wounded, and sinister silhouettes of horsemen emerging from mists, smoke and fiery vapour. 

The Andrew Marvell print, ‘Silver Feet’ is a peaceful contrast to the dramatic furies of Macbeth or Tamburlaine. The poem from which it comes, ‘A Nymph Complaining for the Death of Her Faun’ is, however, an elegy, it is the monologue of the nymph lamenting the death of her pet white deer, shot by ‘wanton troopers’. The deer appears almost like an apparition, a creature of stainless innocence and vulnerability, against a background of dark forest which conveys a sense of foreboding. 

Susie Hamilton

Susie Hamilton

Silver Feet II


Image size 30 x 30cm

Monotype. Oil on Somerset Satin 250gsm

Paul Stolper Gallery

Signed and dated


$ 820