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Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

ERWIN BECHTOLD

ERWIN BECHTOLD

ERWIN BECHTOLD

ERWIN BECHTOLD

ERWIN BECHTOLD

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition showcases representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works In der Schwebe (1959) and Transparente Tafel (1959) by Erwin Bechtold, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition showcases representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works In der Schwebe (1959) and Transparente Tafel (1959) by Erwin Bechtold, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition showcases representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works In der Schwebe (1959) and Transparente Tafel (1959) by Erwin Bechtold, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition showcases representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works In der Schwebe (1959) and Transparente Tafel (1959) by Erwin Bechtold, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition showcases representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works In der Schwebe (1959) and Transparente Tafel (1959) by Erwin Bechtold, which are on view at the exhibition Art of Another Kind.

1

Erwin Bechtold in his studio, 1958, historical building, Ibiza, photo: Jose Ma. Subirá

Erwin Bechtold in his studio, 1958, historical building, Ibiza, photo: Jose Ma. Subirá

Erwin Bechtold in his studio, 1958, historical building, Ibiza, photo: Jose Ma. Subirá

Erwin Bechtold in his studio, 1958, historical building, Ibiza, photo: Jose Ma. Subirá

Erwin Bechtold in his studio, 1958, historical building, Ibiza, photo: Jose Ma. Subirá

“I am concerned with the opposites and the disturbance factor that destabilizes the balance.“

“I am concerned with the opposites and the disturbance factor that destabilizes the balance.“

“I am concerned with the opposites and the disturbance factor that destabilizes the balance.“

“I am concerned with the opposites and the disturbance factor that destabilizes the balance.“

“I am concerned with the opposites and the disturbance factor that destabilizes the balance.“

Erwin Bechtold, quoted by Rolf Wedewer, ‘Erwin Bechtold’, in: Kritisches Lexikon der Gegenwartskunst, Edition 41, Issue2, München 1998, p. 14.

Erwin Bechtold, quoted by Rolf Wedewer, ‘Erwin Bechtold’, in: Kritisches Lexikon der Gegenwartskunst, Edition 41, Issue2, München 1998, p. 14.

Erwin Bechtold, quoted by Rolf Wedewer, ‘Erwin Bechtold’, in: Kritisches Lexikon der Gegenwartskunst, Edition 41, Issue2, München 1998, p. 14.

Erwin Bechtold, quoted by Rolf Wedewer, ‘Erwin Bechtold’, in: Kritisches Lexikon der Gegenwartskunst, Edition 41, Issue2, München 1998, p. 14.

Erwin Bechtold, quoted by Rolf Wedewer, ‘Erwin Bechtold’, in: Kritisches Lexikon der Gegenwartskunst, Edition 41, Issue2, München 1998, p. 14.

Erwin Bechtold was born in Cologne (Germany) in 1925.
Bechtold currently lives and works in Ibiza. In 1949 he completed his studies as a master printer but abandoned the profession to dedicate himself to the world of art. He moved to Paris, where he had the opportunity to work with Fernand Léger. While living in the French capital he made a brief trip to Barcelona that would eventually become a more lasting stay. In 1954 he discovered Ibiza and the island became his future home, though he has never interrupted his relations with Barcelona or the European art centres. In the environment of the Catalan avantgarde, he became one of the pioneers of Informel in Spain. 

Erwin Bechtold was born in Cologne (Germany) in 1925.
Bechtold currently lives and works in Ibiza. In 1949 he completed his studies as a master printer but abandoned the profession to dedicate himself to the world of art. He moved to Paris, where he had the opportunity to work with Fernand Léger. While living in the French capital he made a brief trip to Barcelona that would eventually become a more lasting stay. In 1954 he discovered Ibiza and the island became his future home, though he has never interrupted his relations with Barcelona or the European art centres. 
In the environment of the Catalan avantgarde, he became one of the pioneers of Informel in Spain. 

Erwin Bechtold was born in Cologne (Germany) in 1925.
Bechtold currently lives and works in Ibiza. In 1949 he completed his studies as a master printer but abandoned the profession to dedicate himself to the world of art. He moved to Paris, where he had the opportunity to work with Fernand Léger. While living in the French capital he made a brief trip to Barcelona that would eventually become a more lasting stay. In 1954 he discovered Ibiza and the island became his future home, though he has never interrupted his relations with Barcelona or the European art centres. In the environment of the Catalan avantgarde, he became one of the pioneers of Informel in Spain. 

Erwin Bechtold was born in Cologne (Germany) in 1925.
Bechtold currently lives and works in Ibiza. In 1949 he completed his studies as a master printer but abandoned the profession to dedicate himself to the world of art. He moved to Paris, where he had the opportunity to work with Fernand Léger. While living in the French capital he made a brief trip to Barcelona that would eventually become a more lasting stay. In 1954 he discovered Ibiza and the island became his future home, though he has never interrupted his relations with Barcelona or the European art centres. In the environment of the Catalan avantgarde, he became one of the pioneers of Informel in Spain. 

Erwin Bechtold was born in Cologne (Germany) in 1925.
Bechtold currently lives and works in Ibiza. In 1949 he completed his studies as a master printer but abandoned the profession to dedicate himself to the world of art. He moved to Paris, where he had the opportunity to work with Fernand Léger. While living in the French capital he made a brief trip to Barcelona that would eventually become a more lasting stay. In 1954 he discovered Ibiza and the island became his future home, though he has never interrupted his relations with Barcelona or the European art centres. In the environment of the Catalan avantgarde, he became one of the pioneers of Informel in Spain. 

Bechtold, Erwin, In der Schwebe, 1959, mixed media on canvas, 60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas
60 x 73 cm

Bechtold, Erwin, In der Schwebe, 1959, mixed media on canvas, 60 x 73 cm, Installation_view_1

The three works shown in the exhibition, "Sechs plus Drei" (1958), "Transparente Tafel" (1959), and "In der Schwebe" (1959), are characterized by gradually overlapping areas of colour that are crossed and at the same time interconnected by scratched lines or grattages, similar to a negative relief. The painting surfaces, subtly structured in this way, are divided into an open central section and a receding peripheral zone. 

The three works shown in the exhibition, "Sechs plus Drei" (1958), "Transparente Tafel" (1959), and "In der Schwebe" (1959), are characterized by gradually overlapping areas of colour that are crossed and at the same time interconnected by scratched lines or grattages, similar to a negative relief. The painting surfaces, subtly structured in this way, are divided into an open central section and a receding peripheral zone. 

The three works shown in the exhibition, "Sechs plus Drei" (1958), "Transparente Tafel" (1959), and "In der Schwebe" (1959), are characterized by gradually overlapping areas of colour that are crossed and at the same time interconnected by scratched lines or grattages, similar to a negative relief. The painting surfaces, subtly structured in this way, are divided into an open central section and a receding peripheral zone. 

The three works shown in the exhibition, "Sechs plus Drei" (1958), "Transparente Tafel" (1959), and "In der Schwebe" (1959), are characterized by gradually overlapping areas of colour that are crossed and at the same time interconnected by scratched lines or grattages, similar to a negative relief. The painting surfaces, subtly structured in this way, are divided into an open central section and a receding peripheral zone. 

The three works shown in the exhibition, "Sechs plus Drei" (1958), "Transparente Tafel" (1959), and "In der Schwebe" (1959), are characterized by gradually overlapping areas of colour that are crossed and at the same time interconnected by scratched lines or grattages, similar to a negative relief. The painting surfaces, subtly structured in this way, are divided into an open central section and a receding peripheral zone. 

2

Erwin Bechtold showing his works, Museo de Arte Contemporáneo, Barcelona, 1961, photo: Catalá Roca

Erwin Bechtold showing his works, Museo de Arte Contemporáneo, Barcelona, 1961, photo: Catalá Roca

Erwin Bechtold showing his works, Museo de Arte Contemporáneo, Barcelona, 1961, photo: Catalá Roca

Erwin Bechtold showing his works, Museo de Arte Contemporáneo, Barcelona, 1961, photo: Catalá Roca

Erwin Bechtold showing his works, Museo de Arte Contemporáneo, Barcelona, 1961, photo: Catalá Roca

At that time Ibiza was a meeting point for artists and intellectuals from all over the world and it was there that he founded the Ibiza 59 group. In 1957 he took part in the legendary exhibition “Eine neue Richtung in der Malerei” (‘A New Direction in Painting’) at the Kunsthalle Mannheim in Germany and at which he first met the German painters of his generation. During the early 1960s he produced paintings of organic forms which gave rise to intense public debate in Germany. These forms would be abandoned in 1966, when geometric shapes first began to appear in his works. 

At that time Ibiza was a meeting point for artists and intellectuals from all over the world and it was there that he founded the Ibiza 59 group. In 1957 he took part in the legendary exhibition “Eine neue Richtung in der Malerei” (‘A New Direction in Painting’) at the Kunsthalle Mannheim in Germany and at which he first met the German painters of his generation. During the early 1960s he produced paintings of organic forms which gave rise to intense public debate in Germany. These forms would be abandoned in 1966, when geometric shapes first began to appear in his works. 

At that time Ibiza was a meeting point for artists and intellectuals from all over the world and it was there that he founded the Ibiza 59 group. In 1957 he took part in the legendary exhibition “Eine neue Richtung in der Malerei” (‘A New Direction in Painting’) at the Kunsthalle Mannheim in Germany and at which he first met the German painters of his generation. During the early 1960s he produced paintings of organic forms which gave rise to intense public debate in Germany. These forms would be abandoned in 1966, when geometric shapes first began to appear in his works. 

At that time Ibiza was a meeting point for artists and intellectuals from all over the world and it was there that he founded the Ibiza 59 group. In 1957 he took part in the legendary exhibition “Eine neue Richtung in der Malerei” (‘A New Direction in Painting’) at the Kunsthalle Mannheim in Germany and at which he first met the German painters of his generation. During the early 1960s he produced paintings of organic forms which gave rise to intense public debate in Germany. These forms would be abandoned in 1966, when geometric shapes first began to appear in his works. 

At that time Ibiza was a meeting point for artists and intellectuals from all over the world and it was there that he founded the Ibiza 59 group. In 1957 he took part in the legendary exhibition “Eine neue Richtung in der Malerei” (‘A New Direction in Painting’) at the Kunsthalle Mannheim in Germany and at which he first met the German painters of his generation. During the early 1960s he produced paintings of organic forms which gave rise to intense public debate in Germany. These forms would be abandoned in 1966, when geometric shapes first began to appear in his works. 

It was not until 1987 that he began to work on the theme Angle/Surface/Space, which continues to occupy him to this day. Of particular significance among the many distinctions he has won are the first FAD Award in 1961, Mention at the 1973 Joan Miró Prize in Barcelona and First Prize at the 6th Ibiza Biennial in 1974. He has exhibited at the Fundació Joan Miró in Barcelona (1979), the Llonja de Palma (1994), the Museu d’Art Contemporani d’Eivissa (1995), the Es Baluard Museu d’Art Modern i Contemporani de Palma (2005) and the Centro de Arte y Naturaleza in Huesca (2008), among others.

His work is present in such Spanish and international museums as the Fundació Joan Miró in Barcelona, the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu d’Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Ludwig Museum in Cologne and the Tate Collection in London.

It was not until 1987 that he began to work on the theme Angle/Surface/Space, which continues to occupy him to this day. Of particular significance among the many distinctions he has won are the first FAD Award in 1961, Mention at the 1973 Joan Miró Prize in Barcelona and First Prize at the 6th Ibiza Biennial in 1974. He has exhibited at the Fundació Joan Miró in Barcelona (1979), the Llonja de Palma (1994), the Museu d’Art Contemporani d’Eivissa (1995), the Es Baluard Museu d’Art Modern i Contemporani de Palma (2005) and the Centro de Arte y Naturaleza in Huesca (2008), among others.

His work is present in such Spanish and international museums as the Fundació Joan Miró in Barcelona, the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu d’Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Ludwig Museum in Cologne and the Tate Collection in London.

It was not until 1987 that he began to work on the theme Angle/Surface/Space, which continues to occupy him to this day. Of particular significance among the many distinctions he has won are the first FAD Award in 1961, Mention at the 1973 Joan Miró Prize in Barcelona and First Prize at the 6th Ibiza Biennial in 1974. He has exhibited at the Fundació Joan Miró in Barcelona (1979), the Llonja de Palma (1994), the Museu d’Art Contemporani d’Eivissa (1995), the Es Baluard Museu d’Art Modern i Contemporani de Palma (2005) and the Centro de Arte y Naturaleza in Huesca (2008), among others.

His work is present in such Spanish and international museums as the Fundació Joan Miró in Barcelona, the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu d’Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Ludwig Museum in Cologne and the Tate Collection in London.

It was not until 1987 that he began to work on the theme Angle/Surface/Space, which continues to occupy him to this day. Of particular significance among the many distinctions he has won are the first FAD Award in 1961, Mention at the 1973 Joan Miró Prize in Barcelona and First Prize at the 6th Ibiza Biennial in 1974. He has exhibited at the Fundació Joan Miró in Barcelona (1979), the Llonja de Palma (1994), the Museu d’Art Contemporani d’Eivissa (1995), the Es Baluard Museu d’Art Modern i Contemporani de Palma (2005) and the Centro de Arte y Naturaleza in Huesca (2008), among others.

His work is present in such Spanish and international museums as the Fundació Joan Miró in Barcelona, the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu d’Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Ludwig Museum in Cologne and the Tate Collection in London.

It was not until 1987 that he began to work on the theme Angle/Surface/Space, which continues to occupy him to this day. Of particular significance among the many distinctions he has won are the first FAD Award in 1961, Mention at the 1973 Joan Miró Prize in Barcelona and First Prize at the 6th Ibiza Biennial in 1974. He has exhibited at the Fundació Joan Miró in Barcelona (1979), the Llonja de Palma (1994), the Museu d’Art Contemporani d’Eivissa (1995), the Es Baluard Museu d’Art Modern i Contemporani de Palma (2005) and the Centro de Arte y Naturaleza in Huesca (2008), among others.

His work is present in such Spanish and international museums as the Fundació Joan Miró in Barcelona, the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu d’Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Ludwig Museum in Cologne and the Tate Collection in London.

Erwin Bechtold
Transparente Tafel
1959
Mixed media on canvas
130 x 162 cm

Erwin Bechtold
Transparente Tafel
1959
Mixed media on canvas
130 x 162 cm

Erwin Bechtold
Transparente Tafel
1959
Mixed media on canvas
130 x 162 cm

Erwin Bechtold
Transparente Tafel
1959
Mixed media on canvas
130 x 162 cm

Erwin Bechtold
Transparente Tafel
1959
Mixed media on canvas
130 x 162 cm

Bechtold, Erwin, Transparente Tafel, 1959, mixed media on canvas, 130 x 162 cm
Bechtold, Erwin, Transparente Tafel, 1959, mixed media on canvas, 130 x 162 cm, Installation_view_1

Installation view
Erwin Bechtold
Transparente Tafel, 1959
Mixed media on canvas
130 x 162 cm

Installation view
Erwin Bechtold
Transparente Tafel, 1959
Mixed media on canvas
130 x 162 cm

Installation view
Erwin Bechtold
Transparente Tafel, 1959
Mixed media on canvas
130 x 162 cm

Installation view
Erwin Bechtold
Transparente Tafel, 1959
Mixed media on canvas
130 x 162 cm

Installation view
Erwin Bechtold
Transparente Tafel, 1959
Mixed media on canvas
130 x 162 cm

IMG_3956

Erwin Bechtold in his studio today in Ibiza, 2021

Erwin Bechtold in his studio today in Ibiza, 2021

Erwin Bechtold in his studio today in Ibiza, 2021

Erwin Bechtold in his studio today in Ibiza, 2021

Erwin Bechtold in his studio today in Ibiza, 2021

Setareh_2021_07_06_35311

Erwin Bechtold
Sechs plus Drei
1958
Mixed technique on canvas
54 x 65 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Erwin Bechtold
In der Schwebe
1959
Mixed media on canvas
60 x 73 cm

Installation view
Erwin Bechtold
Sechs plus Drei, 1958
Mixed technique on canvas, 54 x 65 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas, 60 x 73 cm

Installation view
Erwin Bechtold
In der Schwebe
1959, Mixed media on canvas
60 x 73 cm

Setareh_2021_07_06_35379
Bechtold, Kricke_02_Installationview_20210703
Bechtold,-Kricke_02_Installationview_20210703

Art of Another Kind - A new Approach to Post-War Abstraction is part of the federal proramm NEUSTART KULTUR. The exhibition will be on view until August 28, 2021 at SETAREH, Düsseldorf. 

Learn more about Erwin Bechtold

Learn more about Erwin Bechtold

Learn more about Erwin Bechtold

Learn more about Erwin Bechtold

Learn more about Erwin Bechtold

Moghaddam,-Bechtold,-Megert,-Kricke_Installationview_20210703
KF-Logo_monochrom
BKM_Neustart_Kultur_Wortmarke_pos_CMYK_RZ

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40212 Düsseldorf, Germany

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Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh.com

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Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5pm, Sat: 11-5 pm

+49-211-86817272
info(at)setareh.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5 pm, Sat: 11-6 pm

+49-211-86817272
info(at)setareh.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue-Fri: 10-5 pm, Sat: 11-5 pm
+49-211-86817272
info(at)setareh.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5pm, Sat: 11-5 pm
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Schöneberger Ufer 71,
10785 Berlin, Germany

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Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Fri: 10–6 pm, Sat: 11-6 pm

+49-30-23005133
berlin(at)setareh.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Fri: 10–6 pm, Sat: 11-6 pm

+49-30-23005133
berlin(at)setareh.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Fri: 10–6 pm, Sat: 11-6 pm
+49-30-23005133
berlin(at)setareh.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Fri: 10–6 pm, Sat: 11-6 pm
+49-30-23005133
berlin(at)setareh.com