Introduction: 

Tavik František Šimon (T.F. Šimon) was an extraordinary artist and without any doubt he is one of the greatest. Šimon's artistic work has always been very popular and in high demand. He painted several masterpieces and created more than 650 graphic works of high quality. We want to share our admiration for the artist with you, therefore we made this website.

Below on this page you find information about the artist in English.
On the top of this page you have to click on the links that will give you information, always with different pictures, about the artist in German, French, the original Catalogue Raisonné of his prints by Arthur Novak (1937) in Czech and our translation in English. We created an imaginary museum. So, if you are interested to see the paintings, drawings, graphics, ex-libris, or even the artist's postcard-collection just click the links. That goes also for the other pages we created on www.tfsimon.com (see below).

 
 


1. The known Graphics by T.F. Šimon in miniature
on one page.
  . 		2. Page about the native town of T.F. Šimon: Železnice (Eisenstadtel).
3. Page about Šimon`s son-in-law Cyril Bouda. 4. Page about Pavel Šimon, the artistic son of T.F. Šimon.
5.. Page with 5 Sketchbooks by T. F. Šimon.
6. Page about Šimon`s friend Štefanik, co-founder of Czechoslovakia.
7. Page about Šimon's teacher Max Pirner. 8. Page about his closest friend, the great artist 
Hugo Boettinger.
9. Page about a pupil of Pirner, the artist Josef Jelinek.   10. Page about another giant of the Czech arts:
Max Švabinsky.
11. Page with Articles (from Newspapers, Exhibition-catalogues etc.).   12. Page with Monotypes by T.F. Šimon.
13. Page with sketches of Šimon's  trip around the world. 14. Page with a biography of Šimon in Spanish.
15. Miscellanea:   16. How do the locations of Šimon's graphics look nowadays.




T. F. Šimon in his studio in Paris. Photo ca 1912.

Biography:

Tavik František Šimon is one of the greatest artists of the first half of the 20th century.
He was born May 13, 1877 in Bohemia, in the then Austrian Empire, in the little town Železnice (in German: Eisenstadtel, or Eisenstadtl) near Jicin, east of the Česky Raj (Bohemian Paradise), a wonderful landscape with fantastic sandstone rocks and ruins of medieval castles. The painter often visited his native town and Železnice honours her great son with a modest museum and the T.F. Šimon Street, where you still can see his birth-house, now a library, with of course a memorial tablet. When he was about two years old the family Šimon migrated to the town Mšeno.
He was the youngest of seven children of the miller Antonin Šimon and Anna Tavikova.  He showed early a talent for drawing, to the extent that his elementary school teacher of Mšeno recommended to his parents to send him for art education in Prague. 
He came to live with his oldest sister who was married there and attended a civic high school. At the age of 17 he passed the entrance examination to the Academy of Arts and was accepted to the class of drawing and painting of Max Pirner (1854-1924), an acknowledged artist of neo-romantic, philosophical inclinations. 

At the Academy he developed a close friendship with  Hugo Boettinger (1880-1934), Jan Honsa (1876-1937), Ferdinand Michl (1877-1951) and Max Švabinsky (1873-1962). Švabinsky later became a professor at the Academy and taught there graphic arts until 1928 when Šimon was appointed to his position and Švabinsky took the chair of painting. 
While still at the Academy Šimon became ill and decided to recuperate in a warm climate. He set out to spend some time in Bosnia with his sister Anna who was married there to a forester. He travelled through Bosnia, Croatia and Montenegro and was fascinated by the Adriatic and in particular by Dubrovnik. 
He painted already on a high artistic level. Highlights are "Symphony", a charming painting in the Art Nouveau style, now in the National Gallery and "Reminiscence of Dalmatia" from 1900, an intriguing painting. Both paintings show that Šimon had a great love of painting young women. His whole life he was inspired by women, especially by his favourite model, his lovely wife Vilma.

 


T. F. Šimon: "Reminiscence of Dalmatia", 1900. Oil on canvas.
František graduated from the academy in 1903 and received two consecutive scholarships to travel. The first one was used for a trip to Italy, the second to Paris and London. Both of the metropolises of western world impressed the young artist by the richness of museum collections and by the galleries displaying contemporary art; the intensity of the street life seemed equally amazing. In Paris he was exposed to the art of the impressionists, whose glorious era was already fading, in London he admired the works of Pre-Raphaelites, of Turner, Constable and, in particular, of Whistler. Of course he was influenced by them, but he succeeded to create his own style, often of high artistic level. 
First of all Šimon was a painter, and as a painter he ranks among the best artists of the twentieth century. But he liked also the graphic arts and became famous and one of the best.. At the turn of century the graphic arts, such as etching, aquatint, dry point, wood-cut etc., were in their infancy in Bohemia and instruction for eager young artists was hard to find. There were a few pioneers such as professor J. Marak, Zdenka Braunerova and Max Švabinsky and some help was also offered by professionals from the printing trade, namely Edvard Karel and Jan Stenc (who later published many of Šimon's aquatints in colour). Šimon often made first a drawing which he used as the example of his graphics. Many of them were in aquatint, what took T.F. Šimon a terrible lot of time. 

In 1937 Arthur Novak made a list of the graphic works of T.F. Šimon and he listed the amazing amount of 626 graphics.
 

T. F. Šimon (left) and his friend the painter Hugo Boettinger. 
Rue Daguerre, Paris. Photo of 1905.
During his visit to Paris Šimon perceived, as other Czech artists before him Alfons Mucha (1860-1939), Ludek Marold (1865-1898), František Kupka (1871-1957), Karel Špillar (1871-1939), Josef Mařatka (1974-1934) and others that the "City of Light" was a centre of artistic activity, so he decided to move in there. He travelled to Paris in Spring of 1904 with his friend, a recent graduate of the Academy, Ferdinand Michel and they set up a modest studio ("atelier") somewhere in the Fifth Arrondissement (the "Left Bank").
With  limited financial means their beginnings were quite hard and Michel eventually gave up and left. Šimon gradually acquired the necessities for his efforts in graphic arts, some tools at flea markets, zinc plates at hardware stores and somehow- nobody seems to know how learned all the crafts of etching, in particular that of aquatint (invented in France in 18th century by J.B. Leprince). Aquatint appeared essential to Šimon the painter as it permitted the rendering of half-tones and colours. He also mastered the technique of soft ground (vernis-mou) which produced the effect of pencil drawing and skilfully combined this with the aquatint. In order to obtain exactly the desired effect he preferred to do his own printing and for this purpose purchased a second hand press.
In 1905 he visited London again with his friends Boettinger and Kafka, mainly to see a large retrospective exhibit of J. Whistler, which also included a collection of his etchings. In the same year he had his first one-man show in Prague, in the pavilion of the Manes Society. The exhibit comprised some 100 works: drawings, pastels, paintings and etchings. Šimon's city scenes enlivened by busy traffic and people were thoroughly original and became highly appreciated.

The painter was very inspired, because he had met the muse of the rest of his life, the beautiful and intelligent Vilma Kracikova, whom he first met in France in the picturesque little town Ault-Onival on the coast of Normandy, where he painted some of his famous impressions of the beach. The couple married in the church of St. Nicholas in Prague in 1906 and the newlyweds returned to Paris.

After the return to Paris Šimon started to work with renewed energy. Regarding his graphics he added two new techniques, the mezzotint and wood-cut. He exhibited already before in the Salon de Beaux Arts where his prints came to the attention of the graphic arts dealer Sagot who took some of them for sale. 

T. F. Šimon: "Sado Yacco", oil on canvas.
Also Georges Petit, owner of a prestigious gallery in Paris, showed great interest in Šimon's colour aquatints and began to sell and commission them regularly. Šimon's name began to appear prominently in international competition as witnessed by an article by J. Friedenthal in "Graphische Künste" where he pointed out that Šimon discovered in Paris something other that the Frenchmen did not see. Perhaps because he was born in the country he had a fresh perception of the city scenery that might have escaped a born Parisian.

Šimon captured these scenes in paintings, drawings and etchings in an original, poetic manner that gained him a wide circle of admirers. His French colleagues called these pieces "Paysages de Paris" (Parisian landscapes). The quays, markets, boulevards, streets and alleys, quiet corners, pawnshops and bouquinistes, all that was rendered in soft lines and subdued colour harmony, thus recreating and rejuvenating a genre that has gone out of style. By its success Šimon found out that graphic works get in circulation easier than paintings since they are more accessible to a greater number of collectors and, being signed by the author, are originals in their own right. He wanted to make himself different from all other Šimons by a permanent, effective initial. While in his first exhibit in Prague Šimon was listed as František in all subsequent ones he was always using his expanded signature T.F. Šimon. The T stands for Tavik, the family name of his mother.

František and Vilma, 1912  		Friendly contacts among compatriots residing in Paris reflected in portraits such as those of the sculptors Mařatka, Kafka, Spaniel and Gutfreund, the painter Špillar and the astronomer M. R. Štefanik. In turn, Šimon also influenced them: both Kafka and Spaniel tried their hands at etchings, as well as the painter-illustrator Strimpl. Štefanik did not experiment in print-making but instead became an avid art collector. He attended auctions with his artist friends and together they prowled the pawn shops and flea markets. They frequented the exhibitions at the official "Salons" and at the galleries of well known art dealers, such as Durand Ruel, Vollard, Bernheim and Druet. In Štefanik's apartment in Rue Leclerc was accumulating a sundry collection of rare china, rugs, arms, decorative fabrics, bronze objects, clumps of corals and minerals. Among these was a piece of uranium ore which the astronomer used to carry in his coat pocket to show its phosphorescence to his amazed friends.

The first decade of twentieth century was a period of Šimon's intense productivity and participation in numerous exhibits.
He was invited by numerous organizations, such as the Société de la Gravure en Couleurs, the Société de la Gravure en Noir, the Société des Peintres-Graveurs Français, the Gallery Walker of Liverpool and the Royal Society of Painters, Etchers and Engravers of London. Interest was also extended from Bern, Switzerland and from Chicago and from New York where F. Keppel was dealing in modern graphic art. 
In 1911 there was in Paris the first comprehensive exhibit of cubist painters. Cubism heralded a new radical trend subsequently embraced by the avant-garde artists throughout Europe, including Prague, where in the Art Society Manes it lead to a rift in which the young avant-garde (Vaclav Spala, Emil Filla, Bohumil Kubista, V.H. Brunner and others ) seceded and started a group "Osma" (The Eight) of their own. 

Šimon was well aware of the new winds blowing and was informed about the events in Prague by letters from his friends. In spite of it he chose to ignore the modernistic trends and continued to develop his own personal style characterized by a unique combination of realistic craftsmanship with a sensitive feel for colour and mood of the scene.  

T. F. Šimon: "Vilma reading a Book", oil on canvas. 
In summer of the year 1912 Šimon returned for a trip with his family to Prague and they decided to spend a part of their vacation in the region called Moravian Slovakia which was renown for its colourful village life. Unfortunately, this trip ended tragically when their first-born son Kamil became ill with meningitis and died. After their return to Paris the Šimons decided to do some travelling, in part to overcome the grief and depression which affected particularly Vilma. From their visit to Bretagne, Spain and Tangiers T.F. Šimon brought back a rich harvest of new motifs for paintings and etchings. In 1913 Šimon began to think of returning to Prague, planning to keep in Paris only a small studio. In summer of 1914 while the Šimons were again in Prague the archduke Ferdinand was assassinated in Sarajevo and a war broke out that turned out to become the World War I. The return to France became impossible. The painter was not drafted in the Austrian army but the livelihood of an artist became rather difficult as war years dragged on. He continued to create works often inspired by the scenes of life in Prague and his longing for his beloved France. In the winter of 1916 he painted the masterly "Saint-Nicolas Market".

T.F. Šimon: "Vilma and Ivan". 
Drawing in ink on paper 
Signed TFŠ, ca.1915. 
Published in Topicuv Sbornik, 1918. 
Even though he had to work very hard to support the family Šimon was thinking of helping his fellow artists who were often struggling for bare existence. His organizational talents lead to the founding with Max Švabinsky of the "Association of Czech Graphic Artists Hollar" (so named after Vaclav Hollar, an outstanding engraver mostly active in London in 17th century). This group of some fifteen original members was organized to give support to the artists by providing a gallery space for exhibits, a sales room and an editorial office for publishing a quarterly "Hollar" to which Šimon often contributed articles on graphic arts and artists. The association "Hollar" also strived at increasing the public awareness of Czech graphic arts at home and abroad; it is still in existence to-day. When returned to Paris after the war he found the studio, the graphic tools, the press, the supplies and the paintings all under dust and mildew. Worse still he was obliged to pay the back rent for four years (and shipping costs of the remainders back to Prague) which added up to a considerable financial burden. Fortunately, he was able to renew quickly the contacts with the publishers and art dealers in Paris and to obtain ample commissions and contracts. Back home he was commissioned, along with other artists, by the initiative of the Defence Ministry of Czechoslovak Republic, to visit and document the various battlegrounds where the Czech and Slovak battalions in exile fought along the Allied Armies. Šimon chose to visit France and made a number of dramatic etchings from the ruins of Reims.

T.F. Šimon: "Selfportrait". Drawing. Mixed-media on brown paper. 
Signed TFŠ, dated 1911. Size 20 x 25 cm. 
The twenties and thirties were very busy years for T.F. Šimon. He produced a great number of colour aquatints of Prague motifs and he also returned (often with family) to Paris to satisfy the demand for his characteristic vistas of the city and of the beaches of Normandy.
In 1921 he visited Slovakia - in part for therapy in the spa Trencianske Teplice-and made a number of etchings from the picturesque towns and mountains. Meanwhile, he also became involved in graphic design of books and created a great number of ex-libris for collectors-bibliophiles. In the twentieth he had built a beautiful villa, Na Zatorce 483 (later called V Tišine 10)  in Prague, with a large studio. The artist Alfons Mucha lived in the same street, V Tišine 4. Šimon  made three murals on the outer walls, still to be seen. All along, Šimon was thinking about  broadening his repertoire by visiting the more distant parts of the world and eventually fulfilling his long-held dream of travelling around the world.
He started the long trip in August 1926, fully armed with his tools for drawing, sketching and painting. He was regularly writing long letters to his wife describing his experiences and impressions, often illustrated with pencil sketches.

T. F. Šimon: "A sunny Day at the Beach", 1909, oil on canvas.
From the impressions of New York Šimon created a number of exceptionally effective paintings, etchings and colour aquatints. From New-York the tour then proceeded to Boston, Buffalo, Pittsburgh, Cleveland, Detroit, Chicago, Washington, Philadelphia, San Diego, Los Angeles, San Francisco, after  which he continued to Hawaii and the Philippines, Japan, China, Hong Kong, Sri Lanka (then called Ceylon), India, Egypt, and Greece, ending with Naples and Marseille. The Orient made a great impression on the artist and he responded by producing numerous etchings, aquatints and oil paintings, some of which were shown at a comprehensive exhibit in Prague on the occasion of Šimon's 50th birthday. After his return some of these were collected in book format and published in 1928 under the title "Listy z cesty kolem sveta" (Letters from a trip around the world). 
The first stop of the tour in the USA was New York where T. F. Šimon had already established contacts from previous years, when he visited Detroit and Chicago. 

T. F. Šimon: "Girls at the Sea", dry-point etching. Detail. 

In 1928 Šimon was appointed a professor at the Academy of Arts in Prague to head the school of graphic arts previously held by Max Švabinsky. He took the teaching job very seriously and devoted a lot of time to it, including writing and publishing of two manuals, one dealing with etching and the other with woodcut. The instruction took 3 to 4 years, the first of which was devoted to drawing from live models and composition; then followed instruction in all forms of graphic arts, the practical classes being run with the aid of an assistant. Šimon's first assistant was Cyril Bouda, the future husband of his daughter Eva, later followed by Vladimir Pukl.

Professor Šimon cautioned his students against superficiality and artistic shortcuts. He stressed study from nature and reality rather than following preconceived theories. He familiarized his students with the works of the masters of graphic arts, such as Dürer, Rembrandt, Hollar, Piranesi and Goya, and his own favourites, such as Brangwyn, Whistler, Lautrec, Lepère, Meryon and others. This was followed by discussions in class and supplemented by visits to the Modern Gallery (of which he was one of the curators). Some fifty students passed through Šimon's class of which about one-half graduated with a degree of Master. All this came to an end when the Academy was closed in November 1939 after the Nazi occupation of Czechoslovakia.

 



After 1930 his work as a professor, curator and writer took too much of his energy, and it is regrettable he had too little time for his artistic work. Still he made some masterpieces, like a painting (1936) of his son Pavel Šimon (born 1920). Šimon took very hard the events of World War II and stress declined his health seriously. Tavik František Šimon died at home, December 19, 1942 by heart failure following a heart attack some months earlier.

For his wife the years after were very hard. During the German occupation she had forced lodging of Germans in the house. After the war there were some peaceful years, the art-collections of the Šimons, among which a lot of very valuable paintings the painter always kept, and very much graphics and drawings and his large library of especially books of art, were still in their possession. In the house lived Vilma together with her sons. Her daughter Eva  married before 1940 the future famous national artist Cyril Bouda and got a son (the graphic artist Jiři Bouda). Pavel Šimon became also an artist. A painter and graphic artist, well known for his book illustrations and ex-libris. He died  young in 1958 in Prague. Mr. Ivan Šimon emigrated to the U.S.A in 1947.
During the communist regime the family Šimon had again to accept that other people came to live in their house. For some years the film-director Jiři Weiss. The artist Tavik František Šimon was no longer wanted by the communists. The name T.F. Šimon disappeared from the official art books and nothing of value was published about this great Czech artist. They had their policy of silence. The archives of the Art Society Hollar were destroyed during the communist time.
After more then 40 years of silence in the communist era nowadays the revaluation of the artist is in progress. In 1994 an exhibition in Prague at the National Gallery was mounted, organised by Eva Buzgova.  In 2002 there was an exhibition at the Czech Centre in New-York and in the same year was hold an extended sale-exhibition of graphic work by T.F. Šimon in Chicago (Frederick Baker).
 
Vilma Šimonova died in 1959.  She was a wonderful woman. After the death of her husband her aim was to keep the art collection of the family together and to catalogue the collection. During the hard communist regime of the fifties she had the courage to erect a memorial on the cemetery of Bubeneč in the north of Prague to honour the great artist who considered himself first and foremost as a painter.

Nowadays the family-villa houses a consulate.

Source: This biography is mainly based on an abridged translation in English by 
Professor Mr. Ivan Šimon (the second son of Vilma and František Šimon, emigrated in  1947 to the U.S.A.)  from Eva Buzgova`s  booklet "Malir a grafik T. F. Šimon 1877-1942, vyber z dila". 
The booklet was published in occasion of the exhibition of paintings and graphics by T. F. Šimon in Kinsky Palace in Prague, Mai 31- July 3, 1994.  
We are very grateful for the co-operation and the work by Eva Buzgova. 

 

The villa of Vilma and Tavik František Šimon in Prague

The impressive villa of T. F. Šimon, V Tišine 10, Bubeneč, Prague; 
nowadays an Algerian consulate.

The villa was built in the years 1922-23. 
The architect is František Kavalír (1878 Osek u Rokycan - 1932 Prague).

At the back of his villa used to be the studio of T. F. Šimon.

T.F. Šimon: "Idyll", mural of a lovely girl on the front of the artist's villa.

T.F. Šimon: "Shepherd`s boy with a German flute", mural on the front of the artist's villa.

T.F. Šimon: "Pastoral", mural on the south wall of artist's villa.
The memorial for T. F. Šimon
Memorial for T.F. Šimon in the Cemetery in Bubeneč, Prague, 
erected by his widow Vilma; the portrait in bronze is by the sculptor 
 Josef Šejnost (created in 1937).
Some exhibitions (in French):

1905, Exposition générale de ses travaux organisée par "Manes" 
1907, Au Salon des Beaux-Arts à Paris. 1908, à Londres.  
1911, à la Galerie George Petit à Paris. 
1911, chez Albert Roullier's Art Galleries à Chicago 
1914, chez Frederick Keppel & Co., à New-York. 
1923, à la Fine Arts Society de Londres. 
1910, à Salzbourg. 
1920, à l' Unité des Beaux-Arts à Prague. 
1928, à Hradec Kralové. 
1928, à Brno au pavillon du Club des artistes peintres et sculpteurs "Aleš" 
1935, à la Salle d`Art F.R. Zd`arsky à Prague. 
Il participait chaque année aux expositions "Hollar" depuis 1918 en Tchécoslovaquie. 
À l' étranger il était beaucoup de l' expositions comme à Paris, Londres, Brighton, Liverpool, Florence, Belgrade, Zagreb, Varsovie, Cracovie, Vienne, en Hollande, Espagne, Japon, Australie et à Pittsburgh en Amérique. 
1938. Une exposition très importante à Prague dans le Pavillon Myslbek. Voyez l' article "Un artiste heureux"de Junia Letty au journal L' Europe Centrale plus bas (see Biographie en français).  
1983, à la Musée Municipale de Pardubice (Bohème). 
1990/91, à la Musée Municipale de Liberec (Bohème).
1994, á la Galerie National à Prague (Palais Kinsky), organisée par Eva Buzgova. 
2001, à la Musée National de Zlin (Moravie). 



2002, dans La Centre Tchèque à New-York (Madison Avenue). 
2002, Grande exposition de vente à la galerie de Frederick Baker à Chicago. 
2002/2003 Exposition permanente à la Musèe Galerie T.F. Šimon à Zeleznice près de Jicin (Bohème).
2004. Exhibition 'Around the world in 80 pictures', Prague 2004.
Bibliography:
K.M. Kuzmany, Jüngere östereichische Graphiker, in Graphische Künste XXX/1907, s.63.
Georges Petit, Exhibition Eaux-Fortes et Grafures orginales en couleurs, Paris 1911.
Albert Roullier Galleries, Chicago, An Exhibition of Original Etchings in Black and White and in colour, 1911, s. 108
J.Friedenthal, T.F.Šimon, in Graphische Künste XXXXIV/1911,s.93.
A.Dolansky, Moderni ceska grafika, Praha 1912.
T.F.Šimon, Prirucka umelce-grafika.Prague 1921.
Matejcek & Wirth. Modern and Contemporary Czech Art, s.42 1924.
F.Kobliha, Z pocatku, ceske grafiky, in Hollar II/ 1924-1925, s.188
A.Novak, T.F.Šimon, Painter-Etcher, Cleveland, 1926.
T.F.Šimon, Drevoryt, druha prirucka umelce-grafika, Praha, 1927.
J.Cadik, T.F.Šimon (uvod ke katalogu vystavy "Výstava grafik, kreseb a obrazu T.F. Šimona",
Západočeské umělecko-průmyslové museum), Plzeň 1928.
A.Matejcek, T.F.Šimon (uvod ke katalogu vystavy grafik, kreseb a obrazu v Praze), Praha 1928.
T.F.Šimon, Listy z cesty kolem sveta, Praha, 1928.
Winfred Porter Truesdell: The Etchings of T. F. Šimon 1929. 30 pp., 15 illustrations, published in 
The Print Connoisseur, Champlain, N.Y.
Rudolf Lesch Fine Arts, The etchings of T. F. Šimon. 1930/31.
T.F.Šimon, K 100. vyroci narozeni J.Maraka, Hollar VIII/1931-1932,s.85.
Vaclav Rytir, T.F.Šimon-exlibris, popsiny seznam, Praha 1932.
A.Matajcek, T.F.Šimon, Praha 1934.
T.F. Šimon, Stefanik po Gauguinovych stopach na Tahiti, in Hollar XIII/1937, s.1.
A.Novak, Kronika grafickeho dila T.F.Šimon, in Hollar XIII/1937, s.49.
A.Matejcek, T.F.Šimon (predmluva ke katalogu souborne vystavy 1900-1937), Praha 1938.
E.Kotrba, V.Pukl a K.Stech: O graficke skole
J.Pesina, Ceske moderni grafika, Praha 1940.
Dr. Prokop Toman; Novy-Slovnik-Ceskoslovenskych Vytvarnych Umelcu, 1950, 1993 (second edition).
F.Dvorak, Pul stoleti ceske grafiky 1917-1967. Praha 1967.
P.Wittlich, Ceska secese, Praha 1982.
T.Vlcek, Praha 1900, Praha 1986.
H.Volavkova, Whistler v Cechach, in publikace S.Weintraub, Whistler, Praha 1987, s.348.
T.Rybicka, Graficke dilo T.F.Šimona (uvod katalogu_ T.F.Šimon grafika), Vychodoceska gelerie Pardubice 1983.
Irena Goldschneider, Czechoslovak Prints from 1900 to 1970, s.20, Published by British Museum Publications Ltd London,1986.
E.Vytiskova, T.F. Šimon 1877-1942 (uvod katalogu), Oblastni galerie Liberec 1990. 
J.Wittlichova, Francie a ceska grafika 1897-1947 (uvod ke katalogu), Narodni galerie v Praze 1993.
Eva Buzgova, Malir a grafik T F Šimon 1877-1942, vyber z dila. Exhibition of paintings and graphics in  Kinsky Palace in Prague Mai 31- July 3, 1994.
Scott A.Campbell, The Graphic Work of T. F. Šimon. Frederick Baker, Chicago, 2002.
Vaclav Hajek,  'A journey between the paintings of Tavik Frantisek Šimon'. Essay in the Exhibition catalogue 'Around the world in 80 pictures', Prague 2004.
Marilyn Symmes, Impressions of New York. Prints from the New-York Historical Society. Published in celebration of the Society's 200th Anniversary. The selection of prints in this book, assembled by curator Marilyn Symmes, documents the city from its earliest times, when only clusters of low-rise buildings hugged the horizon, to the present, when a multitude of sky-scrapers crowd the skyline.
                   

 


Cover of the art magazine "The Magazine Antiques" from January 2005 
showing a detail of the colour-etching "Brooklyn Bridge" 
from 1927 by Tavik František Šimon.
www.tfsimon.com 



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