Galerie Boisserée

Current Exhibitions


We are excited to announce our ucoming exhibition "SILENCE – STILLE".

We are very much looking forward to your visit.

Are you interested in the exhibition or in singular artworks? We are looking forward to your call or message. Please contact us:
Phone: +49-221-2578519

We offer delivery, hanging or collection by appointment. If you are interested in special artworks, we will be delighted to show you them in detail during a Facetime or Whatsapp video call.

You are also invited to take a glance at our 3D-Galleries, at our website and to leaf through our online catalogues:

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We just published a new gallery-catalogue:

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Be well!

Joannis Avramidis, "Mittlere Figur II"

Joannis Avramidis

(Batumi 1922 - 2016 Wien)

"Mittlere Figur II"

Bronze 1963

80,2 x 12 cm x 16 cm

sign. num. bez.

Auflage 7 Exemplare





Karl Fred Dahmen, "Aufgehender Tag", Weber 008.63 - B 0445

Karl Fred Dahmen

(Stolberg 1917 - 1981 Preinersdorf)

"Aufgehender Tag"

Mischtechnik auf Leinwand 1963

160 x 129 cm

sign. dat. bet.

Weber 008.63 - B 0445


We cordially invite you and your friends to our opening
on Wednesday, the 8th of Novemver 2023, at 6:30 p.m.

The exhibition will be accompanied by a fully illustrated catalogue (60 pages, Euro 10).

You also have the possibility to leaf through the cataloque (PDF) virtually here.

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Joan Hernández Pijuan, "Ornamental sobre siena"

Joan Hernández Pijuan

(Barcelona 1931 - 2005 Barcelona)

"Ornamental sobre siena"

(Ornamente auf Siena-Rot)

Öl auf Leinwand 2001

180 x 150 cm

sign. dat. bez. bet.


Press release (German)

Joannis Avramidis, "Kleine Kreisgruppe"

Joannis Avramidis

(Batumi 1922 - 2016 Wien)

"Kleine Kreisgruppe"

Bronze 1963

40,5 x 40 cm x 40 cm

sign. num.

Auflage 6 Exemplare


Joannis Avramidis

(Batumi 1922 - 2016 Wien)

"Kleine Kreisgruppe"

Bronze 1963

40,5 x 40 cm x 40 cm

sign. num.

Auflage 6 Exemplare



In der Ausstellung "SILENCE – STILLE" zeigt die Galerie Boisserée erstmals eine Zusammenschau der Werke von Joannis Avramidis, Karl Fred Dahmen und Joan Hernández Pijuan. Während die Werke von Dahmen und Pijuan seit langen Jahren zum festen Ausstellungskanon der Galerie gehören, ist die Präsentation von Avramidis' Plastiken ein Novum.

So unterschiedlich die Werke des Bildhauers und der beiden Maler auf den ersten Blick auch sein mögen, so bestechen die Arbeiten durch eine stille und gleichzeitig kraftvolle Aura. Diese in sich ruhende Präsenz, die von den Werken ausgeht, führte zu dem gemeinsamen Ausstellungskonzept unter der sich im Titel wiederspiegelnden gedanklichen Klammer der Stille.

Joannis Avramidis (1922 Batumi – 2016 Wien) konzentrierte sich auf die abstrahierte Darstellung des menschlichen Körpers. Seine Figurengruppen und Köpfe sind auf eine strenge Form reduziert. Trotz ihrer Hermetik bleiben sie über ihre ruhige Ausstrahlung für den Betrachter zugänglich. Die Virtuosität, mit der Avramidis sich zwischen Abstraktion, Formenreduktion und offener Präsenz bewegt, beruht auf einer kontinuierlich erarbeiteten bildhauerischen Formel, die sein Werk in der europäischen Bildhauerei einzigartig macht.

Karl Fred Dahmen bringt seine tatsächliche Umgebung, die von Menschenhand geprägte Landschaft auf die Leinwand. Die Entdeckung landschaftlicher Strukturen führte ihn zu einer erdgebundenen Farbigkeit und eröffnete ihm die Möglichkeit, die Farbfläche in die dritte Dimension aufzubrechen. Die durch den pastosen Farbauftrag erzielte raue Bildoberfläche wird zur Materie, die weit über die Bildgrenzen hinaus in den Raum hineinwirkt.

Joan Hernández Pijuans Arbeiten mit reduzierten, lyrisch anmutenden Linien, erinnern an Ackerfurchen und Wege. Die Häuser, Bäume oder Wolken sind so vereinfacht dargestellt, dass man vor dem Bild spürt, wie stark der Künstler die Landschaft verinnerlicht hat. Seine Bilder sind eine Essenz des täglich gesehenen, seine Darstellungen sind so stark komprimiert, dass der Betrachter sofort eintaucht und den Landschaftsraum selbst zu erleben scheint.

Karl Fred Dahmen, ohne Titel, Weber 010.60 - B 2080

Karl Fred Dahmen

(Stolberg 1917 - 1981 Preinersdorf)

ohne Titel

Mischtechnik auf Leinwand 1960

125 x 110 cm

sign. dat. bez.

Weber 010.60 - B 2080


The gallery will be closed because of Karneval from the 8th until the 13th of February 2024.

The gallery will participate in the IFPDA Print Fair in The Park Avenue Armory in New York from the 15th until the 18th of February 2024.

Joan Hernández Pijuan, "Arquitectura sobre negre"

Joan Hernández Pijuan

(Barcelona 1931 - 2005 Barcelona)

"Arquitectura sobre negre"

(Architektur auf Schwarz)

Öl auf Leinwand 2002

186 x 137 cm

sign. dat. bez. bet.


Please see all of the works from the exhibition here.

Upcoming Exhibitions



The Park Avenue Armory, New York

Tom Hammick, "Garden in a Time of Loss"

Tom Hammick

(geb. 1963 in Tidworth, UK)

"Garden in a Time of Loss"

Farbholzschnitt (Reduktionsmethode) (Farbunikat) 2023

144,5 x 110 cm

sign. num. dat. bez. bet.

Auflage 20 Exemplare


Tom Hammick, "Garden in a Time of Loss II"

Tom Hammick

(geb. 1963 in Tidworth, UK)

"Garden in a Time of Loss II"

Farbholzschnitt (Reduktionsmethode) (Farbunikat) 2023

144,5 x 110 cm

sign. num. dat. bez. bet.

Auflage 20 Exemplare


Tom Hammick, "Garden in a Time of Loss II"

We are showing TOM HAMMICK at
The International Fine Print Dealers Association (IFPDA)
printfair in the Armory, New York

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"It used to worry me that by splitting my time equally between painting and printmaking in two separate studios, I was somehow diminishing my practice. Why not simply paint? Why take the trouble with printmaking? But I don't feel this any more. In my lifetime, the more experimental and ambitious aspects of printmaking has seen the medium rise from something that was rather looked down on, especially in Britain, to one, in many contexts, that now has an equal footing with painting.

Look at the growth in popularity of Munch's printmaking alongside his painting, the dovetailing of Hockney's oeuvre, the work of Kiki Smith, Prunella Clough and Etel Adnan as examples of balanced practices in a variety of mediums. At the same time, the making of other traditionally more craft-based objects – ceramics, both sculptural and utilitarian, weaving and tapestry and the design and making of artisan clothing – are all forms of creativity now in mainstream ascendency. The traditional hierarchy of the visual arts seems to be breaking down.

I am keen on this state of affairs: more democratic and less gendered forms of making are back in the mix, and there is much more cross-fertilisation by artists picking and choosing their means of expression across this wider range of visual options.

For me, painting and printmaking are just different ways of making an image, requiring quite separate and idiosyncratic methods of preparation and execution. And while these forms of picture-making do require dissimilar heads and hearts, I try to cross-check painting's freshness into the mark-making and colour intensity of my etchings and woodcuts; and I enjoy bringing the more zen-like compartmentalised staging processes of printmaking into the way I build a painting.

Perhaps it is the Albers Foundation residency, of which I am the lucky current recipient, up in snow-covered woods in Bethany, Connecticut, that has allowed me to forgive myself for my own schizophrenic double-practice image-making. Being here, I have a growing realisation that the popularity and re-evaluation of Anni Albers' work, showcased a few years ago at Tate Modern in London, is one of the many influences in this new post-MeToo era of a much more diverse art world practice. A walk around galleries, museums and art fairs showcasing contemporary work will demonstrate the beginnings of the dismantling of the old pyramidal visual art leader board, with painting and sculpture at the apex, and various craft-based practices at the base, printmaking included.

This little grouping of selected works from the past four years on Galerie Boisserée's stand at the IFPDA Print Fair 2024 at The Armory in New York, is by definition and necessity an exhibition of woodcuts and etchings. All of the works reproduced here are on the stand, with the exception of a few images of paintings. Their inclusion in this poster catalogue is to contextualise the prints in the wider range of my practice.

In both print and painting, I celebrate the human condition, above all in the realms of love and loss, set in the frame of an existential crisis we all face, in which the Edenic world that has succoured us has been pushed to its knees. That is the interconnected exploration in both print and painting that I am passionate about – how our lives as loving, generous, involved human beings, subject to so much hurt, can look for and even find their validity, their happiness, in a world to which we are doing and have done so much damage."

Tom Hammick
Resident Artist
The Albers Foundation
Bethany Connecticut.
January 2024

Louise Bourgeois, ohne Titel, MoMA 11b/II

Louise Bourgeois

(Paris 1911 - 2010 New York)

ohne Titel

aus "Ode à ma Mère" (Blatt 8)

Radierung 1995

29,8 x 30 cm, Pr. 24 x 18,8 cm

sign. num. dat.

Auflage 170 Exemplare

MoMA 11b/II


René Magritte, "Paysage de Baucis", Kaplan/Baum 5 B

René Magritte

(Lessines 1898 - 1967 Brüssel)

"Paysage de Baucis"

Radierung 1966

38,1 x 28,2 cm, Pr. 22,5 x 16,8 cm

sign. bez.

Auflage ca. 145 Exemplare

Kaplan/Baum 5 B


Sean Scully, "Rust", Scully SS3342

Sean Scully

(geb. 1945 Dublin)


aus "Landlines and Robes"

Farbaquatintaradierung 2018

76,2 x 63,5 cm, Pr. 50,8 x 45,7 cm

sign. num. dat. bet.

Auflage 54 Exemplare

Scully SS3342


Pablo Picasso, "Dormeuse", Bloch, Baer 1083, 1319 IV B a (von B b)

Pablo Picasso

(Málaga 1881-1973 Mougins)


(Schlafende Frau)

Farblinolschnitt 1962/63

44,3 x 62,5 cm, Abb. 27 x 34,8 cm

sign. num.

Auflage 50 Exemplare

Bloch, Baer 1083, 1319 IV B a (von B b)


Andy Warhol, "The new spirit (Donald Duck)", Feldman/Schellmann II.357

Andy Warhol

(Pittsburgh 1928 - 1987 New York)

"The new spirit (Donald Duck)"

aus dem Portfolio "ADS" mit 10 Farbsiebdrucken

Farbsiebdruck 1985

96,2 x 96,2 cm

sign. num.

Auflage 251 Exemplare

Feldman/Schellmann II.357



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