1898

AP1. IN FRONT OF THE GATE. E - 80x86.



1899-1903 

01. CHOSEN DEATH. E - 107x110. A few prints
02? CHOSEN DEATH (VARIANT). E - 84x123. A few prints
03. DREAMING EYES. E -94x191. Several prints.
04. REMINISCENCE OF BOKA KOTORSKA. E - 192x192. A few prints.
05. PORTRAIT OF JOHN RUSKIN. E –166x165. A few prints.
06. NOCTURNE IN LIBOCE. E and A - 128x142. A few prints. 
AP1. LONGHAIRED GIRL.
AP2. LAGOON, VENICE. E - 143x94. 
AP3. IN A GARDEN. E. 



1904

07. FEMALE GESTURE. E and A - 292x196. A few prints.
08. VENETIAN NOCTURNE. Colour E. - 346x268. Several prints.
09. ENTRANCE OF A HOUSE, PARIS. Colour E - Proof.
10. A QUIET EVENING AT THE SEA. Colour E - 245x274. 10 prints.
11. HYDE PARK IN LONDON. Colour E - 292x422. A few prints.
12. AT THE CIRCUS IN PARIS. Colour VM - 376x513. 10 prints.
13. MARCHÉ AUX LÉGUMES. Colour E – 240x310. 100 prints. G. Petit, Paris.
14. AUTUMN. Colour E. 
15. NIGHT- SEA. Colour E – 100 prints. G. Petit, Paris.
AP1. TWO GIRLS AT THE BEACH. Colour E - 205x325.
AP2. MAN IN A HAT. DP - 110x97.
AP3. SELF PORTRAIT. E 



1905

16. SQUARE IN KRAKOW. Colour E – 133x165. 10 prints .
17. PORTRAIT OF ARTHUR NOVAK. DP – 125x85. A few prints..
18. STUDY OF A NUDE. VM .
19. AT THE SHORE. Colour E.
20. THÉÂTRE DU VAUDEVILLE. Colour E.
21  ENGLISH LADY. Colour VM - 170x160.
22. IN A LOGE OF A THEATRE. DP – 93x137. A few prints. 1 state.
23. IN A CAFÉ. E, DP and A – 118 x157. About 20 prints.4 states
24. THE SHADOWS OF PARIS. A – 275x305. 10 prints.
25. COCOTTE. DP – 78x112. A few prints.
26. PORTRAIT OF GAUTRON DE COUDRAY. DP – 195x151. A few prints.
27. PORTRAIT OF OTAKAR SPANIEL. E and A – 370x197. A few prints. 

ALBUM WITH GRAPHIC ART ; Novak 28-33 [5 Prints + 1.title (28). Edition of 50 by the artist]:

28. WRAPPER WITH THE TITLE. Lithograph. 
29. STREET IN LONDON. DP – 200x140. 
30. SHADOW OF A LAMP. Colour E – 176x166. 
31. IN KRAKOW. VM –197x123. 
32. A WOMAN COMBING HER HAIR. A and M – 272x175.
33. A LADY DRESSED IN A FUR COAT. DP– 200x150.
34. DESERTED BEACH. Colour E .
35. OXFORD CIRCUS. Colour E – 195x270. Several prints.
36. AT THE WHISTLER EXHIBITION. Colour E.
37. TOWER BRIDGE. E.
38. SOUS LE PARASOLE. Colour E – 335x485. 100 prints. G. Petit, Paris.
39. POSTER FOR AN EXHIBITION IN MANES. Lt.
40. LES POTTIERS. Colour E –240x300. 100 prints. G. Petit, Paris.
41. PORTRAIT OF THE SCULPTOR BOHUMIL KAFKA. VM and A – 277x211. A few prints.
42. A LAKE BY NIGHT. Colour E – 320x275. A few prints.
43. BOOKSTALLS IN PARIS. Colour E – 265x315. 100 prints. G. Petit in Paris.
44. INTO THE SEA. Colour E – 215x345. A few prints. 
AP1. PORTRAIT OF MY WIFE VILMA IN A HAT. VM - 370 x 260.
AP2. BEACH IN NORMANDY. Colour A and E - 125x145.
AP3. A PARK IN WINTERTIME. Colour A - 430x298.
AP4. EVENINGMOOD IN THE LAGOON OF VENICE. Colour A and VM-E - 174x310
AP5. PORTRAIT OF A WOMAN. W
AP6. AFTER THE PERFORMANCE. W

1906

45. SELF-PORTRAIT (SMALL). M - 106x92. A few prints.
46. PORTRAIT OF MY WIFE VILMA. L - 154x138. About 25 prints. 2 states.
47. BEACH IN LE PORTEL. Colour E – 300x200. 15 prints.
48. BEACH IN OOSTENDE . Colour E– 275x225. A few prints .
49. RIVA DEGLI SCHIAVONI, VENICE. E – 255x160. A few prints .
50. BIRD MARKET IN VERONA. Colour E – 317x392. 200 prints. G. Petit, Paris.
51. SUNNY BEACH. Colour E – 330x382. 100 prints. G. Petit in Paris.
52. PALAZZO DI DESDEMONA, VENICE. Colour E – 200x292. 60 prints by the artist; 30 by Ed. Sagot, Paris.
53. BRIC-À-BRAC. Colour E – 347x445. 150 prints. G. Petit, Paris.
54. PETIT RESTAURANT, PARIS. Colour E – 332x293. 100 prints. G. Petit, Paris.
AP1 THE WIDOW. Colour E - 275x400.
AP2 PORTRAIT OF PROFESSOR JAROSLAV GOLL. E - 140x199.
AP3 WOMAN AT THE BEACH. - 140x220.
AP4.CHILDREN ON THE BEACH - 198 x 250 
AP5.A QUIET EVENING AT THE SEA II. Colour A and DP - 400x300


1907

55. ACCIDENT IN A STREET. E – 102x65. 18 prints.
56. QUAI MONTEBELLO, PARIS. E – 198x200. 51 prints.
57. A RAGMAN. Colour E--198x208. 15 prints.
58. CONVALESCE. Colour W – 114x89. A few prints. 
59. IN THE WIND BY THE SEA. DP – 247x319. 12 by the artist; 125 by the Gesellschaft für vervielfältigende Kunst, Vienna. 3 states.
60. A TRAMP. E – 117x64. 17 prints. 1 state. 
61. LOAFERS BY THE SEINE. E --117x165. 15 prints
62. UNEMPLOYED BY THE SEINE. E – 110x147. 10 prints.
63. PORTRAIT OF MY WIFE VILMA. E – 263x195. 13 prints. 2 states.
64. CANAL IN BRUGGE. E – 243x243. 10 prints.
65. REMINISCENCE FROM ETAPLES. E – 255x242. 7 prints.
66. BÂTEAUX MOUCHES IN PARIS. E -- 212x215. 25 prints.
67. CANAL GRANDE IN VENICE. E – 195x144. 36 prints. 2 states.
68. BRIDGE IN VENICE. Colour E – 330x265. 150 prints. G. Petit, Paris.
69. FROM THE LATIN QUARTIER, PARIS. Colour E – 320x425. 150 prints. G. Petit, Paris.
70. WOMAN IN FRONT OF A MIRROR. Colour E -36?1 x 200
71. SUR LE QUAI, PARIS. Colour E – 150 prints. G. Petit, Paris.
AP1 LADY IN A HAT. A

1908

72. INSIDE A WORKSHOP BY THE SEINE. E – 227x287. 20 prints.
73. PONT MARIE, PARIS. Colour E – 435x370. 200 prints. G. Petit, Paris. 
74. STREET VENDOR OF STATUETTES. Colour E.--276x374. 150 prints. G. Petit, Paris 
75. TORRE DELL' OROLOGIO, VENICE E – 194x134. 20 prints. 2 states. 
76. LES GRANDS BOULEVARDS, PARIS. Colour E – 330x382. 250 prints. G. Petit, Paris. 
77. PIAZZA DEL ERBE, VERONA. E – 245x145. 13 prints.
78. TRAGHETTO IN VENICE E – 209x255. 90 prints. 2 states. 
79. LAGOON IN VENICE . E – 180x240. 150 prints. 4 states.
80. ANTIQUE HORSES AT SAN MARCO, VENICE. E – 170x190. 75 prints. 3 states. 




ALBUM OF COLOUR ETCHINGS; Novak 81-86 [6 Colour Etchings; at least 140 examples. F. Topic, Prague]:

81. ICE RINK UNDER THE STONE BRIDGE. Colour E – 242x300.
82. VIEW ONTO HRADCANY FROM THE EMBANKMENT. Colour E – 274x301. 
83. ZELENY TRH. Colour E – 255x313 .
84. ARCADE IN UHELNY TRH. Colour E – 267x303. 
85. A QUIET SPOT IN HRADCANY . Colour E – 295x295.
86.? MOTIF FROM HELMOVA MLYN. Colour E – 260x268.
87. FLOWER-GIRL IN PARIS. Colour E – 392x320. 120 prints. G. Petit, Paris.
88. JELENI PRIKOP AND HRADCANY. E – 216x248. Some prints.
89. RIVA DEGLI SCHIAVONI, VENICE. E – 200x240. 100 prints.
90. SCRAP IRON DEALER IN PARIS. Colour E – 312x400. 300 prints. G. Petit, Paris.
91. VENETIAN ALLEY AT NIGHT. E – 286x104. A few prints.
92. BOOKSTALLS IN PARIS. E – 163x170. 60 prints.
93. ARC DE TRIOMPHE, PARIS. E – 215x315. 60 prints.
94. A DECORATIVE FLOWER. M – 345x307. 5 prints and another100 prints. 2 states.
95. VEGETABLE SELLERS IN PARIS. Colour E – 300x310. 25 prints.
96. NOTRE-DAME DE PARIS IN SNOW .Colour E-- 302x311. 200 prints. G. Petit, Paris.
97. CHARLES BRIDGE AND HRADCANY. E – 255x325. 100 prints. 1 state.
98. THE OLD "PASSERELLE DE L`ESTACADE" IN WINTER. Colour E – 166x257. 60 prints.
AP1.A WINDY BEACH. Colour E and A – 316 x 390. G. Petit, Paris. ca. 150-250 prints.
AP2 SAN MARCO SQUARE, VENICE. E - 325x230
AP3 A VENICE. Colour E - 340x370. 150 prints. G. Petit, Paris.


1909

99.   PORTE SAINT-MARTIN, PARIS. Colour E – 320x387. 300 prints. G. Petit, Paris.
100. SNOW IN BRUGGE. Colour E – 282x297. 120 prints.
101. COMMUNICANTS AT LA MADELEINE, PARIS. E – 196x193. 150 prints. G. Petit, Paris.
102. CARNIVAL IN PARIS. BL – 300x305. 10 prints by the artist; 150 by the Klub pratel umeni, Brno.
103. PORTRAIT OF MY WIFE VILMA. Colour W – 236x180. 5 prints.
104  OLD HARBOUR OF AMSTERDAM. E – 160x188. 100 prints.
105. SELF-PORTRAIT. E – 110x160. 10 prints. 4 states.
106. FIRST FLIGHT OF THE AEROPLANE, PARIS. E – 162x190. 10 prints by the artist; 125 by G. f. V.K.,Vienna;2 st.
107. MARCHANDE DE PORCELAINE. Colour E – 150 prints. G. Petit, Paris.
108. PORTRAIT OF THE SCULPTOR JOSEF MARATKA. VM – 260x193. 50 prints. 2 states.
109. COMMUNICANTS IN PARIS. Colour E – 157x119. 10 prints by the artist. Published in Preissig`s Ceske Grafice.
110. SHIP WITH MELONS, VENICE. E – 405x507. Art extra of Krasoumné Jednoty in Prague.
111. CATHEDRAL OF CHARTRES. E – 125x105. 10 prints. Magazine ČESKY bibliofil. 1 state.
112. ON THE BEACH. E – 140x220. 60 prints. 2 states.
113. PASSERELLE DE L`ESTACADE, PARIS. E – 175x230. 10 prints by the artist. 125 prints by the Gesellschaft für
        vervielfältigende Kunst, Vienna. 2 states.
114. MARCHANDS DES PRIMEURS. Colour E – 150 prints. G. Petit, Paris.
115. PORTRAIT OF OTTO GUTTFREUND. Colour W – 155x157. A few prints.
116. CANAL IN AMSTERDAM. E – 250x230. 150 prints.
117  OLD HOUSES IN AMSTERDAM. E – 263x165. 150 prints.
AP1. COMMUNICANTS ON THE STEPS OF LA MADELEINE, PARIS. Colour VM, A and DP – 343 x 393.
AP2. QUAI DE LA TOURNELLE IN SNOW, PARIS. Colour VM and A -- 359 x 394.
AP3. ON THE BEACH. E - 50x90.

1910

118. PORTRAIT OF THE SCULPTOR OTAKAR SPANIEL. W – 200x145. 2 prints.
119. QUAI DES GRANDS-AUGUSTINS, PARIS. Colour E – 343x437. 250 prints. G. Petit, Paris.
120. PORTRAIT OF VACLAV NEBESKY. W – 126x85. A few prints.
121. ANTIQUITÉS. Colour E – 200 prints. G. Petit, Paris.
122. PARISIAN FLOWER VENDORS. Colour E – 150 prints. G. Petit, Paris.
123. KIOSKS ON THE GRAND BOULEVARDS, PARIS. Colour E – 340x418. 200 prints. G. Petit, Paris.
124. UHELNY TRH, PRAGUE. E – 344x408. 200 prints. G. Petit, Paris.
125. PORTRAIT OF MY FATHER. VM – 235x174. 13 prints; 1 state.
126  MATURITÉ. M. 103x64. 10 prints. 4 states. 
127. LE STRYGE, NOTRE-DAME DE PARIS. E – 48x100. 61 prints.
128. BRETON PASTORALE. E – 245x161. 3 prints.
129. PLACE DE LA CONCORDE, PARIS . E – 180x260. 35 prints.
130. PONT DU CARROUSEL, PARIS. E – 107x220. 6 prints.
131. PORTE SAINT-DENIS, PARIS. E – 225x165. 50 prints. Fr. Keppel, New York; 50 published by the artist, 2 states.
132. BOULEVARD SAINT-DENIS, PARIS. E – 227x170. 150 prints. 2 states.
133. MISTLETOE-SELLER, PARIS. Colour E – Birth-card.
AP1. BOULEVARD SAINT-MARTIN, PARIS. Colour E, VM and A – 348 x 442.
AP2. QUAI SOUS LA NEIGE. Colour VM and A -200 x 200. 
AP3. VILMA READING A BOOK, PARIS. Etching - 120 x 132.
AP4. EUROPE ABDUCTED BY ZEUS. COLOUR E - 160 x 148. 
AP5. YACHTS IN A HARBOUR. COLOUR SOFTGROUND AND AQUATINT - 247 x 272
AP6. PARIS BOULEVARD IN THE EVENING COLOUR SOFT GROUND AND AQUATINT - 240 x 353 Unique print,   press plates destroyed.
AP7. CHARLES BRIDGE AND HRADCANY. Colour A and VM - 297x430


1911

134. APSE OF NOTRE-DAME DE PARIS. E – 272x350. 85 prints. A. Roullier, Chicago and 35 by the artist, 2 states.
135. EVENING FESTIVAL, PARIS. Colour E – 236x246. 50 prints.
136. L’ÉTOILE, PARIS. Colour E – 320x360. 200 prints. G. Petit, Paris.

THE ALBUM "PRAGUE"; NOVAK 137-161 [25 prints, edition of 250. Jan Stenc, Prague]:

137. NOCTURNE. A – 158x216.
138. KRIZOVNICKE NAMESTI. E – 130x215.
139. BRIDGE TOWER OF STARE MESTO AND KRIZOVNICI. L – 200x220.
140. HUSOVA TRIDA. E – 208x150.
141. UNGELT. L – 210x198.
142. COURT OF THE CONVENT OF SAINT AGNES. E – 217x133.
143. HOROLOGE OF STARE MESTO. E – 193x170.
144. TYN CHURCH AND TOWN HALL. E – 217x163.
145. STAROMESTSKE NAMESTI AND TYN CHURCH. E – 180x218.
146. OVOCNY TRH. E – 150 x178.
147. POWDER GATE. E – 216x92.
148. ICE RINK UNDER THE CHARLES BRIDGE. E – 160x158.
149. BRIDGE TOWER OF MALA STRANA. E – 180x158. 
150. GATE OF THE BRIDGE TOWER. E – 174x163. 
151. THE HOUSE "U MONTAGU" IN MALA STRANA. E – 236x197.
152. RADECKEHO NAMESTI. E – 166x220. 
153. SAINT NICOLAS CHURCH IN MALA STRANA. E – 217x163.
154. VIEW FROM THE FÜRSTENBERG GARDENS. E – 153x215.
155. FÜRSTENBERG GARDENS. E – 148 x176.
156. VLASSKA STREET BELOW MOUNT PETRIN. E – 185x180 .
157. THE NEW STAIRS OF THE CASTLE. E – 208x146.
158. NERUDOVA STREET. E – 198x215.
159. LORETA. E – 218x178.
160. ZLATA ULICKA. E – 163x177.
161. HRADCANY. E – 165x218.
162. BRETON POTTERS. Colour E – 318x400. 200 prints. G. Petit, Paris.
163. BRETON CLOG-SELLERS. Colour E – 323x408. 200 prints. G. Petit, Paris.
164. CHÂTEAU DE CHENONCEAU. E – 227x318, 150 prints. 35 prints by Fred. Keppel, New York. 3 states.
165. BIRD SELLER. Colour E – 260x240. 60 prints.
166. ÉGLISE SAINT- SÉVERIN, PARIS. Colour E – 310x405. 200 prints. G. Petit, Paris.
167. QUAI DE LA TOURNELLE IN WINTER. BL – 320x410. 200 prints. G. Petit, Paris.
168. STAROMESTSKE NAMESTI IN WINTER. Colour E – 242x283. 10 prints by the artist; 100 by A. Roullier, Chicago.
169. CRÉMERIE À DEUX SOUS. Colour E – 223x265. 300 prints. G. Petit, Paris.
170  ROSETTE OF NOTRE-DAME DE PARIS. M – 390x241. 100 prints. 2 states.
171. EARLY MORNING IN PARIS. Colour E – 244x265. 50 prints. Gesellschaft für vervielfältigende Künste in Vienna.
172. LE MONT SAINT-MICHEL. E – 224x323. 150 prints. 2 states.
173. BRETON COAST. E – 163x242. 86 prints. 2 states.
174. PORTRAIT OF AN AGED PERSON. M – 213x184. 5 prints. 2 states.
175. LITTLE EVA. Colour VM – 273x217. 10 prints.
176. LE MONT SAINT-MICHEL IN THE FOG. Colour E – 294x423. 50 prints by the artist; 50 by A. Roullier, Chicago.
177. LA SAINTE CHAPELLE, PARIS. Colour E – 392x245. 100 prints. A. Roullier, Chicago.
178. CATHÉDRALE NOTRE-DAME DE PARIS. E – 321x212. 140 prints. 4 states.
179. NOCTURNE IN AURAY, BRITTANNY. Colour E – 287x415. 200 prints. G. Petit, Paris.
180. GIRL WITH A CORNUCOPIA. W – 37x50. New Year's card.
181. LOAFERS BY THE SEINE, PARIS. Colour E – 242x285. 50 prints.
AP1  INSIDE THE CATHEDRAL OF TOURS. Colour E - 427x250.
AP2. LES GRANDS BOULEVARDS. E -  330x382. Reverse of N76.
AP3. BOOKSTALLS IN PARIS.


1912

182. AN AMSTERDAM RAGMAN. E – 173x207. 150 prints. 2 states.
183. HARBOUR OF DORDRECHT, HOLLAND. Colour E – 312x304. 10 prints by the artist; 100 by A. Roullier, Chicago.
184. OLD BRETON WOMAN. Colour E – 207x140. 10 prints by the artist; 100 by A. Roullier, Chicago.
185. FACADE OF NOTRE-DAME DE PARIS. E – 251x186. 140 prints.
186. MARKETPLACE IN NICE. Colour E – 381x331. 100 prints.
187. BOURSE DES VALEURS, PARIS. Colour E – 350x440. 150 prints. G. Petit, Paris.
188. RUE MOUFFETARD, PARIS. Colour E – 371x450. 150 prints. G. Petit, Paris.
189. A WOMAN COMBING HER HAIR. M – 76x73. 10 prints.
190. SELF-PORTRAIT (PROFILE). M – 183x175. Novak notes10 prints, but it is at least 21. 5 states.
191. BRETON FISH SALESWOMAN. E – 198x242. 150 prints.
192. FISHERMEN IN CONCARNEAU, BRITTANY. Colour E – 322x361, 200 prints, G. Petit, Paris.
193. BOURSE DES VALEURS, PARIS. E – 197x235. 150 prints, 2 states.
194. NOVY SVET IN PRAGUE. Colour E – 296x270. 150 prints. Klub pratel umeni, Brno.
195. MALA STRANA IN SNOW. Colour E – 391x371. 100 prints.
196. CATHEDRAL OF TOURS. E – 156x70. 30 prints by the artist; 35 by Moderni Revue, 2 states.
197. BOUQUINISTES, IN SPRING. Colour E – 233x243. 200 prints. G. Petit, Paris.
198. GATE OF THE ARAB QUARTER, TANGIER. Colour E – 100 prints. G. Petit, Paris.
199. MAIN STREET IN TANGIER. Colour E – 356x442. 100 prints G. Petit, Paris.
200. OLD BRETON WOMAN. E – New Year's card.
AP1. FISHERMEN OF CONCARNEAU, BRITTANY. Colour VM and A -332x278.


1913

201. ARAB STALLS IN TANGIER. Colour E – 352x442. 10 prints by the artist; 100 by G. Petit, Paris.
202. CATHEDRAL FACADE, ROUEN. VM – 341x304. 800 prints as an art extra of S.V.U. Manes.
203. NOCTURNE OF NOTRE-DAME DE PARIS. M – 246x174. 11 prints.
204. EARLY EVENING IN TANGIER. Colour E – 193x193. 75 prints.
205. ARAB STALL IN TANGIER. Colour E – 243x232. 100 prints. A.. Roullier, Chicago.
206. PUENTE NUEVO AT RONDA, SPAIN. E – 335x234. 150 prints, 1 state.
        Architect of the bridge Puente Nuevo: Jose Martin de Aldehuela (1729-1802).
207. LITTLE RONDA, SPAIN. E – 198x136. 50 prints by the artist. 110 prints by ,, Biblis" . 2 states.
208. RONDA, SPAIN. E – 328x224. 3 prints, the plate is then destroyed.
209. TOLEDO. E – 193x261. 150 prints, 2 states.
210. BEGGARS IN TANGIER. E – 201x143. 6 prints. 1 state, the plate is planed.
211. IN MEMORIAM PRAGUE. E – 322x385. 150 prints. 50 prints by J. Stenc.
212. THE OLD CANAL (Oudezijds Achterburgwal), AMSTERDAM. Colour E – 333x392. 50 prints by Šimon; 50 by V. Doren, Amsterdam.
213. ALHAMBRA IN GRANADA. E – 198x199. 150 prints, 2 states.
214. IN VALENCIA. E – 257x171. A few prints. The plate is planed.
215. SNOW-COVERED HILLS IN THE SUN. Colour E – 75x75. New Year's card.


1914 

216. ANDALUSIANS IN RONDA. Colour W – 135x162. 35 prints.
217. CHARLES BRIDGE AND KRIZOVNICI, PRAGUE. E – 312x372. 200 prints.
218. ARAB FLOWER SELLER. Colour E – 350x310 . 50 prints.
219. ARAB WATER CARRIER. Colour E – 350x310. 50 prints.
220. BOULEVARD SAINT-MARTIN IN WINTER, PARIS. Colour E – 313x361. 200 prints. G. Petit, Paris. 
Also Published in 1919 by L'Estampe Moderne & E.H.Bresler Co., Milwaukee.
221. ARAB IN A ROSE TURBAN. Colour E – 192x170. 100 prints.
222. BECHYNE CLOISTER. E – 157x210. A few prints.The plate is planed off.
223. OLD LIME TREE IN A STORM. E – 69x73. 35 prints by the artist. Also printed in 'Veraikonu'. 2 states.
224. MAIN QUARTER IN TANGIER. E – 291x340. 11 prints.
225. QUAI VOLTAIRE, PARIS. Colour E – 320x360. 100 prints. G. Petit, Paris.
226. TANGIER NOCTURNE. Colour E – 235x371. 40 prints.
227. PLACE MAUBERT, PARIS. Colour E – 325x341. 250 prints. G. Petit, Paris
228. SQUARE, ČESKY KRUMLOV. E – 215x183. 3 prints. 2 states. (Image in black and white, state II).
229. MOTIF FROM ČESKY KRUMLOV. E – 193x119. 150 prints.
230. DON QUICHOTE IN FRONT OF THE CASTLE. E – 90x86. 25 prints by the artist; 35 by Moderni Revue.
231. LITOMYSL IN WINTER. Colour E – 243x351. 200 prints.
232. STREET IN PARDUBICE IN WINTER. Colour E – 247x182. 60 prints.
233. LITTLE NEGRO WITH A CORNUCOPIA. Colour W – New Year's card.
AP1. VILMA READING A BOOK. M - 390x330. state IV.
AP2. VILMA WITH A BOOK. Colour A-VM.


1915

234. WAR-REFUGEES. W – 90x102. 12 prints. Also printed in Moderni Revue.
235. IN MORNING. W – 123x80. A few prints.
236. THE ART AMATEUR (THE READER). Colour E – 80x70. 30 prints by the artist, also in the 1917 Annual of Jan Stenc.
237. SNOW-COVERED ROAD. Colour E – 297x310. 150 prints.
238. LE STRYGE FROM NOTRE-DAME DE PARIS. – New Year's card.
AP1.PALM-BRANCH. Colour E - New Year's card

1916

239. FIRE IN AMSTERDAM. M – 211x 243. 60 prints, 2 states.

"PARISIAN MOTIVES"; Novak 240-249 [a portfolio of 10 colour-etchings; 90 sets are published by Arthur Novak, Prague 1916. The artist published 20 sets in 1922 under the name "Dix vues de Paris"]:

240. PLACE DU CHÂTELET (TOUR SAINT-JACQUES). Colour E – 130x142.
241. NOTRE-DAME CRÉPUSCULE. Colour E – 130x142.
242. LA SEINE SOUS LA NEIGE. Colour E – 130x142.
243. RUE ROYALE ET LA MADELEINE. Colour E – 130x142.
244. PLACE DE LA CONCORDE. Colour E – 130x142.
245. AU QUARTIER LATIN. Colour E 130x142.
246. BOUQUINISTES. Colour E – 130x142.
247. JARDIN DU LUXEMBOURG. Colour E – 130x142.
248. BOULEVARD SAINT-DENIS (EFFET DU NUIT). Colour E – 130x142.
249. PLACE DE LA BASTILLE. Colour E – 130x142.
250. PORTUGUESE SHEETS. Etching for a book. A. Novak, Prague.
251. IMPRESSION OF THE SEA I. IN THE SEA. DP – 62x103. 15 prints.
252. IMPRESSION OF THE SEA I. PUTTING ON A COAT. DP. – 134x93. 15 prints.
253. IMPRESSION OF THE SEA I. BEFORE THE BATHING. DP – 81x128. 15 prints.
254. IMPRESSION OF THE SEA I. AFTER THE BATHING. DP. – 83x129. 15 prints.
255. CHARLES BRIDGE IN WINTER. Colour E – 400x530. 100 prints.

THE ALBUM "HRADCANY" ; Novak 256-268 [A Portfolio of 12 colour etchings -150 sets are published by Arthur Novak, Prague]:

256. SUNSET OVER HRADCANY. Colour E – 140x160.
257. CATHEDRAL FROM LUMBEOVA ZAHRADA. Colour E – 140x160.
258. RAINBOW OVER JELENI PRIKOP. Colour E. 140x160.
259. SILHOUETTE OF THE CASTLE DURING SUNSET. Colour E – 140x160.
260. WINTER MOOD. Colour E – 140x160.
261. FROM A WINDOW OF A HOUSE IN MALA STRANA. Colour E – 160x140. 
262. TWILIGHT FROM FRANTISKOVO NABREZI. Colour E – 140x160.
263. HRADCANY IN SNOW. Colour E – 160x140.
264. NOCTURNE. Colour E – 140x160.
265. VISTA THROUGH VRTBOVSKA ZAHRADA. ”Colour E – 160x140.
266. ICE RINK UNDER THE CHARLES BRIDGE. Colour E – 140x160.
267. CATHEDRAL FROM A TOWER OF THE BASILICA OF SAINT GEORGE. Colour E – 160x140.
268. SAINT NICHOLAS MARKET IN STAROMESTSKE NAMESTI. Colour E – 322x388. 225 prints.
269. CHRONOS WITH A PUTTO. VM -- New Year's card.
270. PALM. Colour E – New Year's card. (Image See 1915, API)
AP1. BOULEVARD ST. DENIS IN THE EVENING. Colour A-VM. 355x260. 
AP2. BATHING GIRLS. D - 100x130


1917

271. EXPECTANT. W – 123x79. 10 prints and also in Novak`s Annual.
272. PLACARD OF THE CESKE SRDCE. Lt
273. SORROW. M – 138x142. 55 prints. 4 states.
274. SLOVACKA MALERECKA. Colour E – 245x160. 60 prints.
275. HRADCANY FROM THE EMBANKMENT. E – 273x290. 100 prints. 2 states.
276. CHARLES BRIDGE AND HRADCANY IN WINTER. Colour E – 346x397. 350 prints.
277. NOCTURNE IN ČESKY KRUMLOV. Colour E – 291x192. 60 prints.
278. SPRINGS: IN THE VALLEY. Colour A – 180x145. 60 prints.
279. SPRINGS: BY THE BROOK. Colour A – 178x144. 60 prints.
280. SPRINGS: IN THE MOUNTAINS. Colour A – 158x197. 60 prints.
281. THE ETCHER (SELF-PORTRAIT). E – 161x112. 100 prints. 7 states.
282. MEMORY OF THE GIANT MOUNTAINS. E – 88x140. A few prints. 2 states.
283. ICE RINK UNDER THE CHARLES BRIDGE. Colour E – 343x395. 100 prints.
284. SNOW-COVERED STREETS. BL – 243x243. 150 prints. Klub pratel umeni, Brno.
285. FETCHING DOWN THE BELL IN THE WAR I. E – 159x117. 65 prints.
286. FETCHING DOWN THE BELL IN THE WAR II. E – 192x100. 40 prints. 2 states.
287. RED SKIES OVER THE GRAVES. W –New Year's card.
AP1.PORTRAIT OF A WOMAN. W – 80x95
AP2. BEACH SCENE. W. - 120 x 100. 
AP3. BEEHIVES


1918

288. WAR REFUGEES. A – 147x158. 40 prints by the artist. 3 states.
289. SOCCO MARKETPLACE, TANGIER. Colour E – 312x301. 120 prints.
290. NARODNI DIVADLO, PRAGUE. E – 300x340. 10 prints by the artist.;40 by J. Stenc. 4 states.
291. ZLATA ULICKA IN WINTER, PRAGUE. Colour E – 256x242. 100 prints.
292. WOMAN AT THE MIRROR. A – 140x128. 50 prints. 6 states.
293. SLEEPING GIRL. Colour VM – 157x145. 60 prints.
294. OCTOBER 28 AT STAROMESTSKE NAMESTI. VM – 158x168. 60 prints.
295. BEGGARS DURING THE WAR. E – 100x70. 30 prints by the artist. Also in the Moderni Revue. 2 states.
296. THE ENGRAVER AT WORK IN THE EVENING. A- 242x200. 15 prints. 4 states.

(12 EX-LIBRIS AND NEW YEAR'S CARDS; 65 examples. A. Novak, Prague. See also Novak 539-588)

297. THE ENGRAVER. W – Published on page 65 of Novak's graphic list.
298. PORTRAIT OF MILAN RASTISLAV ŠTEFANIK. DP – 190 x155. 20 prints. 2 states.
299. PORTRAIT OF ARNOST DENIS. DP – 310 x285. 30 prints.
300. WEATHER HOUSE. W and Colour W – 78x118. New Year's card.
AP1. MARKETPLACE, TANGIER. Colour E, VM and A – 324 x277.


1919

301. ARRIVAL OF PRESIDENT TOMAS GARRIGUE MASARYK. E – 225x195. 150 prints. Art extra of Hollar. 2 states.
302. WELCOMING OF PRESIDENT TOMAS GARRIGUE MASARYK. E – 246x175. 30 prints.
303. WELCOMING OF PRESIDENT TOMAS GARRIGUE MASARYK. E (copper) – 232x145. A few prints.
304. GIRL WITH POTS. Colour VM – 245x178. 60 prints.
305. THE CONVALESCENT. Colour A – 145x132. 10 by the artist and in the Bouquets of Hollar.
306. DURING A WIND AT THE SEA. Colour VM – 197x301. 60 prints.
307. RETURN FROM THE WAR. E – 187x200. 15 prints. 1 state.
308. REIMS 1919, CATHEDRAL. VM – 340x295. 40 prints. 2 states.
309. REIMS 1919, OVER A RUINED CITY. VM – 370x445. 40 prints. 1 state.
310. REIMS 1919, SOUTH TOWER OF THE CATHEDRAL. VM – 304x345. 40 prints. 2 states.
311. REIMS 1919, RUINED CATHEDRAL. VM – 304x345. 40 prints. 3 states.
312. REIMS 1919, LOST HOUSE. VM – 300x285. 40 prints. 1 state.
313. REIMS 1919, PLACE D’ERLON. VM – 300x350. 40 prints. 1 state.
314. REIMS 1919, AN ALLEY WITH THE CATHEDRAL. VM – 285x230. 40 prints. 4 states.
315. REIMS 1919, REMAINS OF OLD GATES. VM – 312x193. 40 prints. 1 state .
316. REIMS 1919, IN RUINS. VM – 345x305. 40 prints. 2 states.
317. COURT OF THE CASTLE OF PRAGUE. VM – 365x385. 200 prints. 1 state.
318. BRIDGE TOWER AND HRADCANY. VM – 31 x380. 200 prints.
319. PAX . W – 50x63. New Year's card.
320. HRADCANY WITH MASARYKOVO NABREZI. VM – 196x290. 100 prints. 2 states.
321. GREETINGS FROM SLOVACKO. Colour E – New Year's card. * Novak notes W, it should be Colour E
322. SLOVAK WITH A BOUQUET. W and * Colour W– New Year's card.


1920

323. CATHEDRAL OF REIMS AFTER THE WAR. W – 160x120. 20 prints.
324. SEA. E – 85 x 85. Published in the Moderni Revue.
325. PRAGUE, CAPITAL OF CZECHOSLOVAKIA. E – 400 x593. 200 prints
326. SNOW IN AMSTERDAM, "THE KOEPELKERK". Colour E – 230x244. 100 prints.

"MOTIFS FROM HRADCANY "; Novak 327-336 [A portfolio of 10 colour etchings; 150 sets published by J. Stenc, Prague]:

327. HRADCANY FROM CHOTKOVY SADY. Colour E – 200 x175.
328. SILHOUETTE OF HRADCANY TO THE WEST. Colour E – 175x200.
329. THE CASTLE IN THE EVENING TWILIGHT. Colour E – 200x175.
330. CHESTNUT TREES IN BLOOM BELOW THE CASTLE. Colour E – 175x200.
331. HRADCANY FROM THE BELVEDERE. Colour E – 200x175.
332. HRADCANY FROM KRIZOVNICKA. Colour E – 175x200.
333. MALOSTRANSKE NOCTURNE. Colour E – 200x175.
334. HRADCANY IN SNOW. Colour E – 175x200.
335. STORM OVER PRAGUE. Colour E – 200x175.
336. HRADCANY AND NOVY SVET IN WINTER. Colour E – 175x200.
337. EMBANKMENT IN PARIS AT ORSAY. Colour E – 241x350. 150 prints. Estampe Moderne, Paris.
338. PORTRAIT OF JOSEF MANES. Colour W – 162x149. 60 prints.
339. HRADCANY. L- 170x180. Published in the album 'Praha' in 1920 (A. Novak).
340. HRADCANY FROM CHOTKOVY SADY. E – 200x150. A few prints.
341. LEDA (PIERRE LOUŸS). E – in a book. Arnost Prochazka, Prague.
342. AWAITING RUSSIAN LEGIONNAIRES. E – 100x132. New Year's card.


1921

343. TYN CHURCH, PRAGUE. E – 315x265. 100 prints by the artist; 50 prints by A. Novak. 3 states.
344. ENTRANCE TO THE PARIS MARKET HALL. Colour E – 294x393. 200 prints. Estampe Moderne, Paris.
345. BATHING HORSES IN THE SEA. DP – 110x141. About 30 prints in the Moderni revue.
346. PARISIAN ANGLERS. Colour E – 295x266. 200 prints. G. Petit, Paris.
347. PORTRAIT OF PAVLICKA (PAVEL ŠIMON) . DP – 225x140. A few prints.
348. PLACE DE LA BASTILLE, PARIS. Colour E – 328x372. 200 prints. Estampe Moderne, Paris.
349. RUE ROYALE AND LA MADELEINE, PARIS. Colour E – 300x342. 250 prints. Estampe Moderne, Paris.
350. NOCTURNE IN STRAMBERK. Colour E – 257x241, 150 prints.
351. PLACE DE L’ ÉTOILE IN THE RAIN, PARIS. Colour E – 262x313. 200 prints. G. Petit, Paris.
352. NOTRE-DAME DE PARIS IN WINTER. Colour E – 291x361. 250 prints. Estampe Modene, Paris.
353. BOULEVARD SAINT-DENIS, PARIS. Colour E – 285x362. 200 prints. Estampe Moderne, Paris.
354. SALOME (OSCAR WILDE). W – 58x113. In a book. L. Bradac, Prague.
355. WINTER ON THE HANÁ. Colour E – 333x377. 150 prints.
356. ON THE SAZAVA. E – 105x85. 80 prints. 2 states.
357. RAG-DEALERS UNDER THE PONT NEUF, PARIS. Colour E – 308x302. 250 prints. Estampe Moderne, Paris.
358. FROM STRBSKE PLESO. E – 110x130. 50 prints.
359. STONE BRIDGE, PRAGUE I. Colour W – 345x467. 200 prints.* (Novak notes 100, it should be 200)
360. STONE BRIDGE, PRAGUE II. Colour W – 355x345. 16 prints and also in Stat. tiskarna, Prague.
361. STONE BRIDGE, PRAGUE III. Colour W – 355x345. 60 prints
362. DAUGHTER OF A WEREWOLF. E in a book from Rachilde [= pseudonym for the French female author Marguerite Eymery Vallette (1862-1853)], A. Novak, Prague.
363. ANGEL WITH SUN-DIAL. E and Colour E – 54x100. New Year's card.
AP1. HRADCANY. E – 100x130. Published in "Prírucka Umelce – Grafika. O technikách rytiny, leptu a barevného leptu",
by T.F. Šimon. Published by Jan Stenc, Prague, 1921.
AP2. FLOWERS IN A VASE. Colour E – 102x108. See AP1 
AP3. NUDE WOMAN WITH A VASE. M – 102X109. AP1
AP4. PORTRAIT OF A MAN. – 100X131. AP1


1922

364  THUNDER-SHOWER IN THE TATRA. E – 205x255. 60 prints. 3 states.
365  STORM IN THE MOUNTAINS. E – 175x250. 60 prints. 3 states.
366. MENGUSOVSKA DOLINA, TATRA. E – 155x230. 50 prints. 2 states..
367. UDOLI MLYNICE, TATRA. E – 180x245. 50 prints.
368. POPRADSKE PLESO, TATRA. E – 175x245. 50 prints. 2 states.
369. DREAMING. M – 210 x 155. 55 prints. 5 states.
370. QUAI DES GRANDS-AUGUSTINS, PARIS. Colour E – 270x350. 200 prints. Estampe Moderne, Paris.
371. QUAI AUX FLEURS, PARIS. Colour E – 315x390. 300 prints. Estampe Moderne, Paris.
372. RUE SAINT-JACQUES, PARIS. Colour E – 285x361. 300 prints. Estampe Moderne, Paris..
373. RUE MOUFFETARD IN THE MORNING, PARIS. Colour E – 291x372. 300 prints. Estampe Moderne, Paris.
374. ANTIQUARIAN BOOKSELLERS AT NOTRE-DAME DE PARIS. BL – 322 x 392. 300 prints. Estampe Moderne, Paris
375. PORTE SAINT-DENIS, PARIS. Colour E – 322x390. 300 prints. Estampe Moderne, Paris.
376. NOCTURNE IN QUIMPER, BRITTANY. Colour E – 343x262. 150 prints.
377. ROSE WINDOW OF NOTRE-DAME DE PARIS. Colour E – 388x241. 200 prints.
378. SAINT NICHOLAS MARKET IN STAROMESTSKE NAMESTI, PRAGUE. Colour E – 271x300. 150 prints.
379. ANGLERS, PARIS. Colour E (copper) – 212x293. 100 prints.
380. COUR DU DRAGON, PARIS. Colour E – 314x265. 200 prints.
381. SNOWY HIGHLANDS. Colour E – 60x100. New Year's card. 
AP1. PORTRAIT OF A YOUNG WOMAN. M –107 x 86.
AP2. SLOVAK WITH A BOUQUET. W and Colour W – 78x99. (See also 322)


1923

382. SÚLOV CASTLE, SLOVAKIA. E – 135x190. 60 prints. 2 states.
383  STRECNO CASTLE, SLOVAKIA. E –275x200. 60 prints.
384. ORAVA CASTLE, SLOVAKIA. E – 225x285. 100 prints 3 states.
385. NOTRE-DAME IN TWILIGHT, PARIS. Colour E – 300x371. 300 prints. Estampe Moderne, Paris.
386. PONT MARIE IN WINTER, PARIS. Colour E – 296x393. 300 prints. Estampe Moderne, Paris.
387. ÉGLISE SAINT-EUSTACHE, PARIS. Colour E –360x320. 300 prints. Estampe Moderne, Paris.
388. BIRD MARKET, PARIS. Colour E – 310x394. 300 prints. Estampe Moderne, Paris.
389. SNOWY ROAD. Colour E – 273x370. 225 prints.
390. FRONT OF MY OWN HOUSE. E – New Year's card.
AP1. ON A SNOWY COUNTRY ROAD. Colour VM and A – 276x365.
AP2. ORAVA CASTLE, SLOVAKIA. W
AP3. VIEW FROM THE WINDOW. E - New Year's card.
AP4. ST VITUS` CATHEDRAL. E - New Year's card.



1924

391. TOWN HALL OF STARE MESTO. E – 120x80. 50 prints by the artist; 100 by Prumyslova tiskarna. 3 states.
392. STAROMESTSKE NAMESTI IN WINTER. Colour E – 341x409. 300 prints.
393. NARODNI DIVADLO IN WINTER. Colour E – 293x392. 248 prints.
394. SELF-PORTRAIT. DP – 205x230. 8 prints. 2 states.
395. MATURATION. W – 168x100. 12 prints by the artist and also in the Moderni Revue.
396. PORTRAIT OF RUDOLF RUZICKA. DP – 290x200. 15 prints. 4 states. (Image, II State?).
397. QUAI SAINT-MICHEL, PARIS. Colour E – 295x368. 350 prints. Estampe Moderne, Paris.
398. PONT NEUF, LA CITÉ. Colour E – 313x452. 300 prints. Soc. Graveurs Modernes, Paris.
399. NEAR SAINT- EUSTACHE, PARIS. L – 255x170. 90 prints.
400. BOURSE DU COMMERCE, PARIS. BL – 392x311. 300 prints. Soc. Graveurs Modernes.
401. SOUS LE PONT NEUF, PARIS. E – 250x170. 100 prints.
402. QUAI DES ORFÈVRES, PARIS. Colour E – 269x350. 300 prints. Estampe Moderne, Paris.
403. QUAI MALAQUAI, PARIS. Colour E – 266x314. 300 prints. Soc. Graveurs Modernes.
404. QUAI VOLTAIRE, PARIS. Colour E – 302x342. 300 prints. Estampe Moderne, Paris.
405. VIEW THROUGH THE GATES OF THE BRIDGE TOWER OF STARE MESTO, PRAGUE. Colour E – 297x270. 285 prints.
406. SILHOUETTE OF HRADCANY IN THE EVENING. Colour E – 303x310. 300 prints; II. state; the plate is scraped.
407. APSE OF NOTRE-DAME DE PARIS IN WINTER. Colour E – 316x451. 300 prints. Soc. Graveurs Modernes.
408. QUAI D’ANJOU, PARIS. Colour E – 299x393. 300 prints. Soc. Graveurs Modernes.
409. SQUARE IN KREMNICA, SLOVAKIA. VM – 340x355. 90 prints.
410. STRECNO CASTLE, SLOVAKIA. E – 63x106. New Year's card.
411. SAINTE LUITGARDE ON THE CHARLES BRIDGE. E. – New Year's card for R. Gethman.
AP1. BOOKSTALLS AND NOTRE DAME DE PARIS. Colour E. 


1925

412. DIANA. W – 140x80. A few prints.
413. POSTER FOR AN EXHIBITION OF THE PRAGUE ART SOCIETY HOLLAR IN PARIS. W.
414. NOCTURNE IN TANGIER. Colour E – 270x292. 20 prints by the artist; also by the Klub pratel umeni, Prostejov.
415. SQUARE IN KROMERIZ IN WINTER. Colour E – 290x340. 10 prints by the artist; also by the Klub pratel umeni, Kromeriz.
416. ALLEY IN KROMERIZ IN WINTER. Colour E – 316x270. 10 prints by the artist; also by the Klub pratel umeni, Kromeriz.
417. HRADCANY, DEED OF GIFT. DP – 146x146. 5 prints for the Zivn. bank.
418. PORTRAIT OF VACLAV HOLLAR. Colour W – 290x250. 40 prints. 9 Images in black and white, State I)
419. CHARLES BRIDGE AND HRADCANY. E – 212x315. After scraping the plate 25 prints. II. states.
420. FLOWER-GIRL, PARIS. Colour E – 292x371. 300 prints. Estampe Moderne, Paris.
421. MARKET IN ZVOLEN, SLOVAKIA. Colour E – 342x464. 290 prints.
422. IMPRESSION OF THE SEA II, AT THE BEACH. DP – 240x260. 35 prints. 2 states.
423. IMPRESSION OF THE SEA II, TINY WAVES. DP – 165x235. 50 prints. 1 state.
424. IMPRESSION OF THE SEA II, PUTTING ON A COAT. DP – 180x185. 45 prints. 2 states.
425. IMPRESSION OF THE SEA II, JUMP INTO THE SEA. DP – 243x190. 13 prints. 1 state.
426. IMPRESSION OF THE SEA II, FISHING. DP – 215x280. 6 prints. 1 state.
427. IMPRESSION OF THE SEA II, INTO THE SEA. DP – 215x315. 60 prints.
428. IMPRESSION OF THE SEA II, IN THE WIND AT THE SEA. DP – 175x200. 52 prints.
429. RUE ROYALE IN THE RAIN, PARIS. Colour E – 337x268. 240 prints.
430. QUAI DE LA TOURNELLE IN AUTUMN, PARIS. Colour E – 311 x 394. 250 prints. Estampe Moderne, Paris.
431. CHRISTMAS MARKET IN STAROMESTSKE NAMESTI. Colour E – 322 x 390. 250 prints.
432. NOTRE-DAME DE PARIS IN WINTER. Colour E – 297x389. 300 prints. Graveurs Modernes, Paris.
433. QUAI VOLTAIRE IN WINTER, PARIS. Colour E – 330x378. 300 prints. Soc. Graveurs Modernes.
434. BOATS AT CONCARNEAU, BRITTANY. Colour E – 302x345. 250 prints.
435. PLACE DE LA CONCORDE, PARIS. Colour E – 314x414. 300 prints. Soc. Graveurs Modernes.
436. COTTAGES IN WINTER. Colour E – 342x360. 267 prints.
437. DUTCH LANDSCAPE IN WINTER. Colour E – 317x454. 280 prints. 1 state, next the plate was scraped .
438. QUAI DES GRANDS-AUGUSTINS, PARIS. Colour E – 297x391. 300 prints. Soc. Graveurs Modernes.
439. LE MONT SAINT-MICHEL IN THE EVENING. BL – 285x365. 299 prints.
440. THE STAIRS OF THE CASTLE IN WINTER. Colour W. New Year's card for Prumyslovou tiskarnu.
441. RUINS IN TIVOLI. E-- New Year's card.
AP1. BOOKSELLERS ON THE QUAI DES GRANDS-AUGUSTINS. Colour VM and A – 320x395.
AP2. AU MARIN, BRITTANNY. Colour VM and A – 268x314.
AP3. LONGHAIRED GIRL WITH BOOKS. Lt – 120x75. New year's card. 
AP4. PORTRAIT OF ELENORA KRACIKOVA-SOUMAROVA, mother of Vilma Kracikova (artist's wife). Dry point. 
AP5. PRAGUE IN SNOW. VM and E. 180x130.New Year's card for Richard Gibian.
AP6. READER. W.

1926

442. PONT SULLY IN WINTER, PARIS. Colour E – 329x382. 300 prints. Soc. Graveurs Modernes.
443. BY THE SEINE IN WINTER, PARIS. Colour E – 300x375. 300 prints. Soc. Graveurs Modernes.
444. THE OLD BIBLIOPHILE, PARIS. Colour E – 334x315. 300 prints.
445. BRIC-À- BRAC, BRITTANY. Colour E – 292x367. 300 prints. Soc. Graveurs Modernes.
446. INSIDE THE CATHEDRAL OF CHARTRES. Colour E – 391x242. 200 prints for W.G. Rose, Cleveland.
447. THE STAIRS OF THE CASTLE IN WINTER. Colour E – 265x312. 261 prints.
448. WINTER IN THE PARK. Colour E – 320x345. 240 prints.
449. TEMPESTUOUS SEA, BRITTANY. W – 255x352. 25 prints.
450. LITTLE ARABIAN PLACE OF WORSHIP IN TANGIER, MOROCCO. Colour E – 241x286. 257 prints.
451. ARABIAN POTTERS IN TANGIER. Colour E – 241x286. 250 prints.
452. GATES IN TANGIER. E – 324x246. 25 prints.
453. CHARLES BRIDGE IN WINTER. Colour W – 298x355. 30 prints.
AP1. ARABIAN SHOPS. Colour VM and A – 242x287.
AP2. PETIT PONT. Colour VM and A – 332x382.
AP3. LES HALLES ET L` ÉGLISE SAINT-EUSTACHE, PARIS. Colour VM and A – 334x382.
AP4. TOWER OF THE CHARLES BRIDGE. E. – 68x115. New Year's card. 


1927

454. ÉGLISE SAINT-GERVAIS IN WINTER, PARIS. Colour E – 390x310. 300 prints. Soc. Graveurs Modernes.
455. PONT SAINT-MICHEL, PARIS Colour E – 310x391. 300 prints. Soc. Graveurs Modernes.
456. PALM FOREST, CEYLON. DP – 210x215. 33 prints.
457. TWO SINGHALESE, CEYLON. DP – 195x145. 50 prints.
458. TWO LEAVES FROM CEYLON/ I, PALM TREES. E – 165x120. Published by Hollar. About 350 prints.
459. TWO LEAVES FROM CEYLON/ II, ENTRANCE TO THE TEMPLE. E –165x120. Published by Hollar. About 350 prints.
460. BROOKLYN BRIDGE, NEW YORK. Colour E – 354x417. 200 prints; 125 by Kennedy & Co., New York.
461. NEW YORK PUBLIC LIBRARY. Colour E – 353x430. 155 prints; 125 by Kennedy & Co.
462. NEW YORK AT NIGHT. Colour E – 436x335. 210 prints; 125 by Kennedy & Co., New York.
463. NEW YORK STOCK EXCHANGE. Colour E – 438x335. 150 prints; 125 by Kennedy & Co.
464. NOTRE-DAME DE PARIS IN THE EVENING. Colour E – 304x374. 100 prints; 50 by R. Lesch, New York.
465. AU QUARTIER LATIN, MARCHÉ MAUBERT, PARIS. Colour E – 306x394. 300 prints. Soc. Graveurs Modernes.
466. JAPANESE GIRL. E– New Year's card.
AP1. PALM WOOD WITH ELEPHANTS. E – 202x142.
AP2. UNDER THE BROOKLYN BRIDGE, NEW YORK. Colour VM and A – 320x415.
AP3. SOUP KITCHEN, PARIS. Colour E, VM and A – 272x305; at least 122 prints.
AP4. MALY HOLLAR. W - 85x95. On an invitation-card (folding-card, 170x270 mm) for an exhibition celebrating the 50th birthday of T.F. Šimon.
AP5. A STREET IN NEW YORK. E - 358x245.
AP6. NEW YORK AT NIGHT. M 160x110.
AP7. DIFFERENT TECHNIQUES OF WOODCUT - Published in the book 'Drevoryt' by T.F. Šimon. W.


1928

467. THE ELEVATED, NEW YORK. VM – 425x300. 54 prints. 3 states.
468. BROADWAY AND WOOLWORTH BUILDING, NEW YORK. VM – 427x300. 54 prints. 2 states.
469. JAPANESE GIRL. DP – 240x160. 45 prints. 3 states.
470. TOWN HALL, BRNO. E – 245x166. Album Brno. 225 prints.
471. MOUNT PETRIN IN THE MORNING. E – 175x112. From the book Praha by J. Vrchlicky, J. Otto, Prague.
472. HOROLOGE OF STARE MESTO. E – 175x112. From the book Praha by J. Vrchlicky, J. Otto, Prague.
473. HRADCANY DURING SUNSET. E – 175x112. I state. From the book Praha by J. Vrchlicky, J. Otto, Prague.
474. PORTRAIT OF JAROSLAV VRCHLICKY. E – 175x112. 300 prints. 2 states. From the book Praha by J. Vrchlicky, J. Otto.
475. ENTRÉE DU LOUVRE, PARIS. Colour E – 318x411. 75 prints; 48 by R. Lesch.
476. MOUNT FUJI IN JAPAN. Colour E – 297x389. 110 prints; 60 by R. Lesch.
477. FIREWORKS IN PARIS. Colour E – 306x312. 110 prints; 60 by R. Lesch, New York.
478. JAPANESE TORI GATE IN KYOTO IN WINTER. Colour E – 372x291. 195 prints; 100 by R. Lesch, New York.
479. COMMERCIAL STREET IN KYOTO, JAPAN. Colour E – 371x320. 150 prints; 40 by R. Lesch.
480. CHINESE BEGGARS, SHANGHAI. E – 200x140. 110 prints by the artist; 500 published by Byblis. 3 states.
481. ANTICKE POVIDKY [=ANTIK STORIES] (PIERRE LOUŸS). E – In a book. P. Toman, Prague. 3 states.
482. FRUIT STAND IN PARIS. Colour E – 315x371. 300 prints. Soc. Graveurs Modernes.
483. NOTRE-DAME DE PARIS IN THE MORNING. Colour E – 321x382. 300 prints. Soc. Graveurs Modernes.
484. LANDSCAPE IN WINTER. Colour W – New Year's card for R. Gibian.
485. TOWER OF THE CHARLES BRIDGE. E. New Year's card. (See also 1926 AP4)
486. INDIAN TYPE IN A TURBAN. VM – New Year's card.
AP1. JAPANESE GIRL. DP – 123x85.
AP2. L' ÉPICERIE. Colour VM and A – 301x394.
AP3. PORTRAIT OF A MAN. VM 


1929

487. ENTRANCE TO THE BUDDHIST TEMPLE OF KANDY, CEYLON. DP – 245x200. 50 prints. 2 states.
488. MOUNT FUJI SEEN FROM THE SEA. DP – 205x320. 35 prints.4 states.
489. TITLE OF THE ALBUM OF HOLLAR. W. ( VI. - VIII. volume).
490. SUNSET, CEYLON. Colour W – 302x250. 59 prints.
491. SINGHALESE, CEYLON. Colour W – 300x210. 56 prints. (* Black and white image).
492. INDIAN BEGGARS, CEYLON. Colour W – 335x282. 57 prints.
493. NOCTURNE IN MORLAIX, BRITTANY. Colour E – 389x310. 100 prints; 40 by R. Lesch.
494. ANTIQUARIAN BOOKSELLER AT NOTRE-DAME DE PARIS. Colour E – 280x283. 150 prints; 115 by R. Lesch.
495. RICE PADDIES, JAPAN. DP - 200x275. 40 prints. 2 states.
496. JAPANESE TYPES. DP – 200x175. 33 prints. 2 states.
497. INDIAN WOMEN IN KANDY, CEYLON. DP – 240x292. 60 prints. 2 states.
498. AT THE BUDDHIST TEMPLE. E –295x195. 43 prints by the artist; 160 as an art extra by S.C.U.G. Hollar. 4 states.
499. NEW YORK HARBOUR. VM – 240x295. 73 prints by the artist; 27 by R. Lesch, New York. 2 states.
500. INDIAN BEGGARS. E – 195x140. 15 prints. 3 states.
501. SPULAKUV DUM IN HRADEC KRALOVE. E – 197x145. 22 prints.
502. HRADCANY IN SNOW. Colour E – 315x453. 250 prints.
503. CHARLES BRIDGE IN WINTER. Colour E – 372x487. 250 prints.
504. NOTRE-DAME DE PARIS IN THE RAIN. Colour E - 314x398. 200 prints; 44 by R. Lesch.
505. FIESOLE NEAR FLORENCE IN THE EVENING. Colour E – 286x244. 100 prints.
506. RUE SAINT-JACQUES, PARIS Colour E – 408x317. 125 prints; 62 by R.Lesch.
507. BATHING THE ELEPHANTS, CEYLON. DP – 195x252. 58 prints. 3 states.
508. PORTRAIT OF THE POET ALFONSE BRESKY. DP – 320 x 230. 11 prints. 2 states, 1 avant la lettre.
509. RUDE KAMELIE (TEREZA DUBROVSKA). DP– In a book. P. Toman, Prague.
510. ON THE STEPS OF A BUDDHIST TEMPLE. A – 270x315. 53 prints. 3 states.
511. INDIAN BEGGARS. E – 290x366. 25 prints. 4 states.
512. JAPANESE LANTERNS. E – 122 x 74  New Year's card.
AP1. INDIAN COUPLE. Colour E – 154x112.
AP2. SEVENTH AVENUE AT NIGHT, NEW YORK. Colour soft ground & Aquatint - 447x327 


1930

513. PORTRAIT OF HUGO BOETTINGER. DP – 245x200. 9 prints. 2 states, 1 avant la lettre.
514. PORTRAIT OF GENERAL DIRECTOR POSPISILA. DP – 407x310. 25 prints. 4 states.

"SKETCHES FROM THE ORIENT"; Novak 515-526 [12 Etchings – 120 portfolios printed by the artist]:

515. MOUNT FUJI WITH ENOSHIMA. E – 108x125.
516. JAPANESE BUDDHIST PRIEST. E – 150x88.
517. A STREET IN KYOTO DURING THE RAIN. E – 140x118.
518. JAPANESE MOTHER WITH CHILD. E – 150x88.
519. CHINESE RICKSHAW. E – 150x88.
520. CHINESE FISHING JUNKS. E – 98x130.
521. TROPICAL LANDSCAPE. E – 175x118.
522. MALAYAN WOMEN WITH FRUIT. E – 182x132.
523. INDIAN BEGGARS. E – 155x110.
524. IN THE BUDDHIST TEMPLE OF KANDY. E – 150x110.
525. INDIAN TYPES IN A TURBAN. E – 130x95.
526. CEYLONESE GIRL. E – 175x98.
527. BOOKSELLERS ON A PARISIAN EMBANKMENT. Colour E – 322x415. 160 prints; 62 by R. Lesch.
528. SVATKY ME DUSE (TEREZA DUBROVSKA). E – In a book by Otto, Prague, 1930. 60 pages. Etching, 120 signed examples.
529. CHINESE COOK. E – New Year's card.
530. MOUNTAINOUS LANDSCAPE IN WINTER. Colour E – 119x93. New Year's card for Mc. Laughlin, America.
AP1.JAPANESE COOLY. A - 154x113.
AP2. BUDDHIST PRIEST. CW


1931

531. INDIAN GIRLS, CEYLON. Colour E – 287x225. 200 prints.
532. ARC DE TRIOMPHE, PARIS. Colour E – 386x319. 30 prints.
533. PORTRAIT OF THE DIRECTOR OF A MINING AND MELTING FURNACE INDUSTRY. DP – 405x305. 25 prints. 4 states.
534. PORTRAIT OF FRANTISEK KOBLIHA. DP – 377x277. 9 prints. 2 states.
535. PENELOPE (TEREZA DUBROVSKA). A – In a book. T. Topic, Prague.
536. STROMY NAD ZAKOPY (RUDOLF MEDEK). W – In a book. M. Kalab, Prague.
537. VIEW OF FIESOLE. E – New Year's card.
538. VIEW OF FIESOLE. W – New Year's card.


1932

539---588 VARIOUS EXAMPLES OF EX-LIBRIS; [50 ex-libris from 1910-1932, published and registered by Vaclav Rytir]

589. STRECNO NA VAHU. E – 210x295. 500 prints by Stat. Nakladatelstvi (State publisher).
590. PORTRAIT OF MY MOTHER. DP – 245x162. 14 prints.(Image: state I)
591. KROMERIZ CASTLE. E – 207x165. 110 prints. Moravsky klub bibliofilu.
592. TYN CHURCH IN THE MORNING. Colour E – 150 prints.
593. ALLEY IN AUTUMN. Colour E – 150 prints.
594. GATE AT MONTE PINCIO, ROME. E – 300x210. 20 prints.
595. GIRL FROM HANA. Colour E – 353x270. 275 prints. Art extra by Klub pratel umeni, Prostejov.
596. SELF PORTRAIT. E – 155x115. 100 prints. For an album by Hollar (portraits).
597. PORTRAIT OF DR. MILAN RASTISLAV ŠTEFANIK. Colour W – 512x373. 30 prints.
598. HONOLULU (RUDOLF MEDEK). W – In a book. M. Kalab, Prague.
599. A STATUE OF AN ANGEL WITH A BOOK. W and Colour W – 56x120. New Year's card.


1933

600. ARCO TRIONFO ON THE FORUM, ROME. E – 370x300. 100 prints.
601. ARCO TITO ON THE FORUM, ROME. E – 350x270. 100 prints. 3 states.
602. THE CASTLE FROM JELENI PRIKOP. E – 320x245. 80 prints. Hollar, for the album Prazsky Hrad.
603. VECERY V BISSONE (EVENINGS IN BISSONE) - ( TEREZA DUBROVSKA). E – 124x890 mm. In a book. Published by  J. Otto in Prague. 200 prints.
604. PORTRAIT OF PRESIDENT TOMAS GARRIGUE MASARYK. Colour W – 451x350. 30 prints.
605. FALLING STAR. A.– New Year's card.
AP1. MALOSTRANSKY BIBLIOFILE (BIBLIOPHILE FROM MALOSTRANA). W. In a book by Jiři Karásek ze Lvovic (1871-1951). Hollar, 1933.


1934

606. SMALL STREET IN HRADEC KRALOVE. E – 300x225. 168 prints. Klub pratel umeni.
607. TOWN HALL OF STARE MESTO – HOROLOGE. E – 317x245. 100 prints; for the album Staromestske namesti (Hollar). 2 states.
608. SMALL CROWDED STREET IN TANGIER. E – 230x190. 50 prints. 2 states.
609. GOTHIC ORIEL OF THE CAROLINUM, PRAGUE. E – 430x320. (Deed of gift of the Charles University, Prague.) 10 prints by the artist. Also by the Charles University. 3 states.
610.  LOOKING THROUGH THE GATE OF PERUGIA. E – New Year's card.
AP1. SOME PRINTS AND A MAGNIFYING GLASS. WE – 50x36.
AP2. TOWN HALL OF STARE MESTO - E - 402x328. 
AP3. CHOIR OF SAINT VITUS CATHEDRAL. - E 320x245.
AP4. INTO HRADCANSKA SQUARE


1935

611. PINE TREE AT THE SEA ON THE ISLAND RAB. DP – 294x228. 15 prints.
612. PINE TREE ON THE ISLAND RAB. DP – 320x238. 15 prints.

"BEAUTY IN STONE, OLD PRAGUE" ; Novak 613, 614 and 615 [3 Etchings. Published by the artist]:

613. THE BRIDGE TOWER OF STARE MESTO AND KRIZOVNICKE NAMESTI. E – 465x385. Plate 1 of Beauty in Stone.
614. THE ARCHWAY OF THE BRIDGE TOWERS OF MALA STRANA. E – 480x395. Plate 2 of Beauty in Stone.
615. CHARLES BRIDGE. L – 320x246. 100 prints for the album Karluv Most, Hollar.


1936

616. THE COLUMN OF VIRGIN MARY IN STAROMESTSKE NAMESTI. E – 476x392. Plate 3 of Beauty in Stone.
617. VIEW FROM THE SQUARE ONTO THE CHURCH IN SLANY. E – 320x246. 100 prints for the Album Slany. 4 states.
618. VIEW FROM THE CHURCH ONTO THE TOWN HALL IN SLANY . E – 320x246. 100 prints for the Album Slany. 4 states.
619. THE STAIRS OF THE CASTLE. E – 320x246. 100 prints for the album Mala Strana, Hollar.
620. ZPEVY MUZU (RUDYARD KIPLING). W – In 'Tisk' , Zlin.
621. SMALL STEET IN RAB. W – New Year's card – 78x122.
622. CHRONOS IN THE STUDIO. W – New Year's card – 93x130.
AP1. PALLAS ATHENA. W.
AP2  EQUIPE TELEPHONIQUE EN PATROUILLE. A- New Year's card - 113x157 (a double sided card on heavy paper with an embossed code or arms from the ministry as mentioned in the text: "Le ministere des postes et des telegraphes de la republique tchecoslovaque et ses fonctionnaires vous prient de vouloir bien agreer leurs meilleurs voeux pour la nouvelle année 1937).

1937

623. REMINISCENCE OF RAB. E – Enclosure of the book by A. Novak: Kronika grafického dila T.F.Šimona. Published by Hollar.
624. SELF-PORTRAIT. Lt. – 195x235. Cover of the book by A. Novak: Kronika grafického dila T.F.Šimona. 
Published by Hollar.
625. SMALL SIDE-FACE PORTRAIT. DP– 70x42. On note- paper.
626. PARISIAN MOTIFS. Lt.– 11 lithographs; enclosure of Hollar XIII-2.
 


1938

AP1. SAINT CHRISTOPHORUS IN A CHURCH. E – 322x255.
AP2. TOWER OF MALA STRANA. E
AP3. BECHYNE CLOISTER.  E
AP4. PORTRAIT OF ARTHUR NOVAK.?



1939

AP1. TEMPLE OF POSEIDON AT SOUNION IN GREECE.  E - 220x226
AP2. ATHENS. E - 260X265


1940

AP1. ŠTEFANIK BRIDGE, PRAGUE. E – 325x249.
AP2. VYŠEHRAD. E - 240x320


1941

AP1. PORTRAIT OF ANTONIN DVORAK. CV –186x245
AP2. PROSTEJOV. E
AP3. PORTRAIT OF PROFESSOR  JAROSLAV GOLL (1846-1929) CV - 140x199
AP4. HARVEST


1942

AP1. WOMAN AT HER TOILETTE. M – 255x180 

From the the Catalogue of the T F Šimon Exhibition by Frederick Keppel & Co. New York, December 1914/ January 1915. (In that time it was Šimon's largest exhibition ever brought together. Each impression was carefully selected and all were of  the very best quality. Šimon had enjoyed abundant succes abroad and was elected Societaire of the Salon d'Automne in Paris): 

ETCHING in colour has always been such a mystery to the general public that an artist's own notes on his craft may prove valuable in clearing away some of its debated problems as well as serving an a brief foreword to an exhibition of the works of one who has practiced the art with such conspicuous success-the Bohemian, T. F. Šimon. He first of all disclaims any didactic or comprehensive survey of the subject and writes that he speaks merely from his own knowledge and experience. 

Note by the artist T F Šimon:
"Most colour-prints are produced by means of several plates-it may be three, four, or six; and I am of the opinion that this use of several plates insures the best results, particularly in regard to richness of colour and harmonious combination of tone.  An even tone on any colour-plate may be obtained by the use of aquatint.  The number of plates for an engraving in colour depends upon the subject and the effect required.  A colour print in simple tones (for example, the colour harmony of a picture by Corot, or a night effect, or a subject with wide planes in neutral tints) usually needs but few plates; while a subject full of colour, such as a flower-piece with brilliant tints, requires many.  In general, however, for a subject of fairly simple colour effect and with little complication of tone spaces, two plates may be employed with advantage: one for the outlines or contours, the other (aquatint) for the colour.
A second method involves the use of three separate plates one for each of the primary colors. In the former method the inks for complex tones such as browns, greens, etc-., are mixed by the printer before being applied to the plate, whereas in this latter method these complex tints are built up on the plate from the three primary colors.  Any effect may be obtained by this process whether for a subject of full animated colour or for an effect of low tone harmony; but wide experience is essential for the production of a successful result, and though it is employed in colour-photography and photo-engraving processes, it is hardly ever used in artistic printing. “in colour-engraving there is absolutely freedom. Everything depends upon the skill, the good taste, and the artistic perception of the engraver.’

Source: Exhibition Catalogue of Frederick Keppel, 1914/1915

1. The artist alone must create the master image on the stone, or whatever material would be used to make the print.
2. The print - if not printed by the artist - should be hand printed by someone under the artist's direct supervision.
3. Each impression should be approved and signed by the artist (but this doesn't happen always) and the master image (the matrix) destroyed or cancelled.
The original print is not a copy of anything else, not a copy of a painting or another print. If an artist chooses to copy his own work, originally done in another medium, it would be a print done after an oil (or other medium). An original print is a creative endeavour by the artist and therefore is as valid an expression as is any other form of visual art - may it
be a painting or a sculpture. The original print is a work of art in it's own right.

Types of Prints:

I. Intaglio 
Since the beginning of history, men scratched and incised lines into stone, skin or bark. The technique was continued by Greek designers and by the Etruscans and Romans. It was brought to great refinement by the artisan-engraver, and that of the artist, collaborating to produce a multiple image: the print.
There were in the beginning of the 16th century some artists who felt that the woodcut was coarse and primitive. We do not know who first thought of the idea of rubbing ink into the lines and coaxing it out by pressing a dampened sheet of paper against the metal surface.
The areas to be printed are incised by cutting, scratching, or etching below the printing surface to hold ink in the now recessed areas. The paper is placed on top of the plate and together they are pulled through the press. The pressure required to pick up the ink leaves a visible plate mark within the margin of the sheet of paper. The paper receives the ink from the incised lines and not from the surface of the plate. The ink is pressed into the lines with a pad called a "dabber". Any left on the surfaced is removed by wiping muslin across the plate and the process is usually complete with the palm of the hand.
The paper is dampened and passed through a press on a board that slides between one or two rollers. The pressure must be strong enough to force the damp paper into the lines and lift the ink out onto the paper.
Considerable varieties of effect can be obtained by wiping so as to leave a film of ink on the surface of the plate.
An Intaglio print can be normally recognised by the plate mark and by the fact that the ink stands up from the paper in a very slight relief, which can be often detected by touch.

 1. Engraving
In line engraving a plate, copper or steel, is used and into the highly polished surface of this copper the design is cut with a tool known as the graver or burin. A burin is a prism-shaped bar of steel with a sharp point, and a wooden handle which rests in the engravers hand, the direction of motion is a push applied by his palm and directed by the thumb and forefinger, which rest on each side of the graver towards the point. The engraver pushes the burin on the face of the metal producing a furrow, dislodging a thin strip of metal as cleanly as possible, a rough lip or "bur" is produced on the edges of the cut. With a properly sharpened burin a skilled engraver should produce very little "bur".
When the whole design has been incised on the metal in this manner, the plate is inked and then wiped. The ink fills the channel cut by the graver and the plate is passed through a printing press having a damp sheet of paper pressed into the cut lines, which transfers the ink from the plate on the surface of the paper. All engraving is in reverse, that is to say, all objects cut on the metal face are the reverse way they face when printed. The type of line incised varies to the impression the artist desires. Broad lines make for coarseness while a fine impression results from narrow lines. Variation of depth is also possible. Sometimes lines can cross and this is called cross-hatching. The skilful use of dots and dashes heighten the general effect.
As the graver is pushed forward away from the engraver and not held in the natural way as in a pencil or pen, the method is far less spontaneous than etching. The burin cannot attempt any sudden impulse of the artist. In past centuries it was not unknown for an engraver to work five years on one plate.
Steel engravings replaced copper in the main, after 1820. The rate of deterioration of steel plates is much less rapid than copper and many more impressions can be made. Copper plates produce finer work.

 2. Dry point
The image is drawn onto the plate with a steel needle without the use of any acid. The incising leaves a ridge called a "burr", much like a plough leaves furrows of dirt to either side as it cuts through the ground. When the plate is printed, the burr holds some ink, and
produces a soft velvety line, characteristic of the dry point. The burr is removed with a scraper when dry-point is used in conjunction with "bitten-in" work

 3. Etching
A true "artists" print, where the artist actually produces the print, whereas with most printing processes a professional has to produce the print working from the artists designs. An etching requires a highly polished metal plate, usually copper.
The plate is coated with an acid-resistant ground (wax), the artist then draws the design directly into the wax using a sharp instrument known as an etching needle. The idea is to expose the metal along the lines he draws. The plate is dropped into a bowl of acid, which eats into the exposed metal. When the design is complete the plate is inked and then the surface is wiped with a cloth, this cleans the plate only leaving ink lodged in the lines that have been etched into the surface of the plate. A sheet of damp paper is pressed upon the plate and a print results.
Early copper plates were forged and flattened by the battery hammer process. These were then polished by an assistant with grind stone, pumice, oil stone, sallow-wood charcoal and steel burnisher. By the end of the 18th century the plate was flattened by steam-driven rollers.
Under a magnifying glass the lines appear blunt ended, compared with the burin engraving.
Although copper plate is traditional, steel was used in the 20th century.  Occasionally zinc or brass was used.

 4. Vernis mou (=Soft Ground Etching)
The artist prepares the plate in much the same way as an etching, using a different kind of ground. This ground allows the artist, after laying a piece of paper on top, to draw the image with a pencil. The coating under the pressure of the pencil adheres to the paper which is then lifted off, exposing the copper underneath. The plate is then bitten in the same way as an etching. This method became popular from the late 18th century. Basically the process is the same as hard-line etching. The plate was covered with a ground which the etcher removed with his tool strokes. This allowed the acid to bite or hollow out the copper in lines that would hold the ink and print it upon the paper.
But the ground itself was given a softer consistency by adding some form of grease, such as tallow. This meant that instead of the hard needle-point the etcher could make his lines through it with a pencil or similar.
The usual method was to lay a sheet of thin paper over the ground and apply the pencil over this. Each stroke caused a line of the ground to attach itself to the paper. When the drawing was complete and the paper lifted, the ground revealed its copper in corresponding detail but in soft-edged, fluent lines for the acid to bite.

  5. Mezzotint
The plate surface is pitted with a tool called a raker. The plate is eventually covered with thousands of tiny "pits" which hold ink and would print a deep velvety black if not further worked. The artist then scrapes and burnishes areas of the plate he wishes to print less darkly, so the effect is of tone rather than line. The artist essentially draws the light into the image. It is the best method for expressing tone and texture in monochrome. The copper mezzotint block yielded only a few superb prints, no more than fifty and perhaps another fifty of lesser quality. The engraver was aware that the quality depended entirely on the quality of each contributory factor - copper, ink and paper. From the 17th-19th centuries mezzotint was known as ''la manière anglaise''.
In a mezzotint one is impressed first by the depth and intensity of the shadow that serves as a foil to the delicate detail of burnished brightness. Areas of part shadow show a limitless range of grey tones and the darkest areas a velvety blackness.
It involved a difficult technique. It depended like dry-point, that the engraver's burin, cutting lines into his copper plate, threw up a fragment of metal burr to the side of every cut. When not removed this burr readily absorbs the ink and would print a massy blackness. The different tones presenting every detail of the pure mezzotint were printed entirely by such burrs, modified by the engraver.
The surface had to be worked over in different direction, producing thousands of crossing lines of dots, each with its accompanying raised burr. The grain was coarse or fine according to the closeness of the tool's serration - from about 50 to 200 on a two inch blade.
The first professional master engraver in mezzotint in England was Abraham Blooteling, who arrived from Amsterdam in 1672 and the first English professional was William Sherwin. Blooteling's mezzotint portraits were after the fashionable artist Sir Peter Lely.
The great mezzotint period began around 1750. By then the technique was fully established. Both the copper plate and ink were of a quality to suit such delicate work, although the fine paper still had to be imported.
A mezzotint is easy to recognise because of the distinctive manner in which the design emerges from the black background

 6. Aquatint
This technique is used to create tone and texture in a print. The plate is sprinkled with a powdered resin, heated so the resin melts and clings, then given an acid bath to bit the areas not covered by the resin, creating a porous ground. Aquatint is rarely employed by itself, but rather in combination with other intaglio methods.
Aquatint is in fact a monochrome process and consists of etching rather than engraving. Acid, aqua Fortis, not hard tools, creates hollows in the metal plate. It is only less texturally rich than the mezzotint and it suggests a far greater extent a freedom of tone akin to the limpid brushwork of water colour.
Aquatint is a complicated process and involves dissolving resin in spirits of wine and pouring the liquid over a highly polished copper plate. The plate is warmed and the spirit evaporates, leaving a granulated surface on the plate, known as the ground. Usually the outline of the subject is etched onto the plate, before ground is applied and the etched lines filled with ink. Sometime the subject was traced or drawn onto the plate.
When it is ready the plate is exposed to acid which bites around the resin granules. As each required tone is reached, the plate is withdrawn and the area of tone covered with a stepping-out varnish. This continues until the darkest tones are obtained, possibly eight or twelve "bites" being required.
Aquatints could be printed uncoloured or in one or two coloured inks, olive, brown, green or red were used in England. Coloured aquatints were finished by hand and the best examples are difficult to distinguish from water colour. The main disadvantage of the coloured aquatint was the cost of production, long print runs were impractical and it almost ceased to be used in England by the mid-nineteenth century.
In an aquatint one is aware of a surface grain of varying depth and opacity covering almost every part of the print. This may be coarse or fine but is usually consistent texture. It is never a smooth blur but appears as lighter and darker areas of speckled powdery tone rather than the engraver's multitudinous individual lines. A magnifying glass makes this clear.
In contrast to the mezzotint, the aquatint was worked from light tones into ever increasing darkness. The shadows never acquired the intense velvet texture of the mezzotint but the light has a limpid brilliance.

II. Relief

 1. The Woodcut
The technique for making woodcuts by the relief process was discovered by the Chinese. It is the oldest form of printmaking, and appeared in about a millennium before the first prints ever appeared in Europe. Most artists in the 13th and 14th century who made woodcuts remain anonymous. The first major artist to use the medium was Albrecht Dürer, who in 1498 executed the large passion with German and Latin text.
The principal of the woodcut is similar to the workings of a rubber stamp. The artist cuts away the portion of those areas on the woodblock which he does not want to print leaving raised (or in relief) the images that is to be printed.
In this method a design is drawn onto a piece of wood and then the design is cut away using a tool such as a chisel, gouge or knife, leaving the part to be inked in relief. Then the ink is applied to the surface and the block is then wiped. After this, a piece of paper is put on top of the block and pressure is applied by means of using a press or a burnisher to make the design transfer to the paper.
Wood Engraving: this process is a variation of the woodblock process in which a cross section of a block of wood and other engraving tools are used instead of a knife. In this methodology a much more textured design and finer detail is produced and the print is printed in the same way. The print is made, first, by engraving the design or picture to be printed into the mirror-smooth surface of a block of end-grain wood. Boxwood is best. Secondly, the block is rolled up with ink (on its top surface) and printed onto paper. The cuts that were made into the wood therefore come out as white; the remaining top surface which gets inked, as black; the artist is, in effect, drawing with light - with a white mark, as opposed to the black mark that comes from a pencil, brush or pen. Because the tools used are finely pointed, most wood engravings tend to be closely worked and relatively small, at least compared to more obviously expansive print-making methods. Because their finesse produces a particularly rich tonal range, wood engravings are usually, but by no means exclusively, black and white. Wood engravings are original prints. It is part of the nature of the medium that many prints can be taken from the block once it is engraved. They are made by the process, not copied. Artists’ prints are usually produced in limited editions. This is expressed in the ‘fraction’ written on the print itself: 10/75, for example, indicating the tenth impression in an edition of seventy-five.
Wood engraving is also used in the illustration of books, both in commercial publishing and in Fine Press publications; books produced in limited editions to the highest standards, as works of art in themselves, and often printed with traditional hot metal type.
The wood engraved block can be set alongside the type in this sort of printing, so that the illustrations are all original prints, printed direct from the wood block. (In most commercial publishing, illustrations are photographic and laser-scanned reproductions).

 2. Linoleum Cut
This method is done in much the same way as the woodcut, except a linoleum block is used. (The most important Linoleum Cuts were executed by Picasso, who invented a new "reduction" method.)

III. Plano graphic Methods:

  1. Lithograph
The artist draws the image directly on a highly polished limestone using a grease based crayon, or grease based liquid called tusche, similar to a paint. The stone is then prepared for printing by applying a chemical solution of gum Arabic and nitric acid to make it more receptive to water. In order to make the print, the stone is dampened with water, which will not adhere to the image drawn because of the natural antipathy of grease to water. When ink is rolled over the stone, it will only adhere to the grease based image. Then the paper is pressed against the stone, and only the ink on the greasy image is transferred. In 1840 the Litho tint process was patented; in this a second stone , known as a tint stone, was used so that effect of a wash drawing could be obtained, the tint was usually buff or grey. Intermediate tints could be obtained by scraping away. The create a colour lithograph, a separate stone for each colour is used and must be printed separately. The stone used is limestone, originally from Bavaria but later from Bath in England. Gericault and Delacroix all adapted this medium in its early days.

 2. Serigraph
The artist prepares a screen of si