Gallerists and art dealers usually prefer the large format, not least for paintings. They do this for turnover considerations. "Small works - small margin, large works - large margin" is the golden business rule. Yet more modest formats offer some advantages, especially for collectors.

Not only do they require less free wall space or costly storage room. It is also easy to take them with you on your travels, as, for example, the grandparents of an acquaintance who works as an art consultant used to do by packing a few smaller paintings from their collection of classical modernism into the boot of their car when they went to the Swiss mountains for a summer retreat, so as not to have to make do with the pictures on the walls of their hotel room for weeks on end. Thinking a little further, however, smaller works can also serve as mobile nest eggs or possible escape money, as in the case of an art dealer friend with Jewish roots who once remarked, referring to the persecution of her family during the Nazi era, that the small Degas' in her living room were a currency valid everywhere and, freed from their frames, would fit into any cabin trolley.

In the holiday month of August, of all times, while half of Europe is on the road for vacation somewhere, the exhibition Painting for Travellers takes the benefits of the modest format as an opportunity to present some selected works from the gallery's inventory that in terms of size and quality are suitable to make today or in the future as pleasent as, in case of doubt, useful journey companions.

On view are works by Tamina Amadyar, André Butzer, Thomas Helbig, Andy Hope 1930, Markus Selg and Thomas Zipp.