Paul Stolper Gallery

Paul Stolper Gallery  |  Stand S2

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

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 in 2004; and Peter Doig's 'Brixton Ritzy' 2023, a portion of the sales of which were donated to the George Padmore Institute, and which was subsequently exhibited at the Royal Academy Summer Exhibition 2024. Said Adrus’s ‘Zeitgeist’ 2022 captures a moment from the poverty-driven Toxteth riots that devastated parts of Liverpool. While paying homage to Warhol’s seminal ‘Birmingham Race Riot’ print, ‘Zeitgeist’ reflects a broader and contemporary zeitgeist spanning the past four decades. A highlight of the gallery's long-standing work with Peter Saville is a selection of ‘Waste Paintings’ created using Photoshop filters. Saville explained, ‘Most filters were developed to replicate known processes of retouching. They weren’t intended to blend one picture into another or create abstract colour fields.’

Highlights of print-focused exhibitions include the 'Dream Fourteen' portfolio, a collaboration between Sarah Lucas and Julian Simmons. These prints are inspired by Lucas’s ‘Muse’ plaster sculptures, which were first exhibited at the 2015 Venice Biennale. Damien Hirst's ‘The Souls’ series (2010) featured a large-scale installation of 140 foil-block butterfly prints, while his ‘New Religion’ series (2005) combined prints, sculptures, and paintings. Other notable print exhibitions include Gavin Turk's ‘Transit Disaster’ (2012), Don Brown's ‘Yoko’ (2012), Keith Coventry's ‘Copper + Silk’ (2009), and Helen Beard's ‘Lyrical Lines’ (2021). In Helen Beard’s recent ‘Dynamo’ exhibition (2024-25), prints and paintings were showcased, emphasising the print as a distinct art form. Beard noted, ‘I love the way that the flattening of the image gives it a totally different energy. Shape becomes more important. And the dynamic composition on the page. The textural element of the work disappears and the only remaining shared energy is the frisson of colours butting up against each other. It is a pared down image that takes on a whole new electrical energy, in its simplest form.’

Other standout exhibitions include Brian Eno’s ‘Turntable II’ (2024), Damien Hirst’s ‘Schizophrenogenesis’ (2014), Lorena Levi’s ‘Mirror Mirror’ (2024), Pablo Picasso’s ‘A Painter’s Studio Should Be a Laboratory’ (2023), Linton Kwesi Johnson’s ‘The Wisdom Man’ (2023), ‘Brian Eno/Dan Flavin’ (2023), Marcus Harvey’s ‘Half Nelson’ (2018), and Peter Saville & Anna Blessmann’s ‘In Course of Arrangement’ (2015).