C
ATALOGUE RAISONNÉ of the GRAPHIC ART

of the Czech Artist

TAVIK FRANTIŠEK ŠIMON  
(1877-19
42)


 
Published by Art Society Hollar, Prague 1937
Author:
ARTHUR NOVÁK

(Terezín 1876 - Prague 1957)




 





Catalogue Raisonné & Biographical Sketch

C. Bentinck, March 2015. Published by www.tfsimon.com
For the first time the Catalogue Raisonné of the graphic work of the great Czech artist Tavik František Šimon is published in an English version with pictures in colour of almost all the prints.

This indispensable book is fully illustrated. A Biography, Catalogue Raisonné in English, Catalogue of Ex Libris, pictures of Prints in miniatures (circa 740x) in colour, Catalogue Raisonné in Czech, some translated Letters, big images in colour of examples of Simon's Oil paintings (12x) and Prints (60x), chronology of Exhibitions, and Bibliography.
Hardcover in colour, 29,7 x 21 cm, 170grs high quaility coated paper, 212 pages.   
                    
The book is for sale: 70 Euro +13 euro porto
 Contact
                       

                                                   
                                           
 

 

 

A history on Simon's work was published in 1937 by art-society Hollar in Prague in their quarterly Vol. XIII no.2  and has the Czech title  "Kronika Grafického díla T.F. Šimona". Later that  year it has been reprinted from this quarterly into book form, it is illustrated by 34 prints and 1 drawing, a lithographic cover and 2 wood engravings; enclosed are 2 original prints. (The text of this Chronic has never been translated into the English language). The catalogue raisonné "Seznam Grafických Prací T.F. Šimona" is compiled by Arthur Novak and published together with the Chronic.

The team of this website translated the original Czech text of Novak's Catalogue Raisonné, with some corrections and additions. With assistance of T.F. Šimon a list with titles of 626 prints was gathered by Arthur Novak. It is possible that the prints are made earlier or somewhat later then Novak mentioned. Even the artist himself did not always exactly remembered when a print was created. Typographical mistakes have been made. We mostly did not translated proper names. 


2002-201
7

To see all the pictures of Graphics on one page: click here
 

Seznam Grafických Prací T.F. Šimona (1937).
Catalogue Raisonné of the Graphic Art - T.F. Simon.
Graphic art by Šimon is so extensive and wide-ranging that this first list cannot be more than a source of information for a  catalogue raisonné according to principles valid for such documents. The list was created using almost complete Simon's collection. Many  items approximately up to 1912 are based on memory and partial  records. Some experimental works and small prints are also included  in this list in spite of the artist's opposition since he wished to include only valuable artworks. The author of the list defended the approach of completeness knowing the needs of art history and needs of collectors. Monotypes, as not reproducible products, are not included in the list. Illustrated books with original graphic art were included as a whole under one number. All ex libris were included as numbers from 539 to 588 with reference to a special list by Václav Rytíř. Individual prints from albums are listed one after another and according to the year of issue.
Translation from the original Czech text by Zbyněk Svoboda.

The first number in dimensions is height, the second is width in millimetres.
The names were determined by the artist who usually respected the original French titles.

 
Abbreviations:
Colour A
Colour E
Colour M
Colour VM
Colour W
CV
DP
E
Lt
M
VM
W
WE
AP

=Colour Aquatint
=Colour Etching
=Colour Mezzotint
=Colour Vernis Mou
=Colour Woodcut
=Cliché Verre
=Dry point
=Etching
=Lithograph
=Mezzotint
=Vernis Mou (=soft ground)
=Woodcut
=Wood-Engraving
=Appendix (2002-2017)

 

------------------------------------------------------------------------

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. CANCELLED
AP2. LAGOON, VENICE. E - 143x94. 
AP3. IN A GARDEN. E. 
AP4. ČERTOVKA, PRAGUE. E
AP5. GONDOLA, VENICE.


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 – 375 x 435. 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 
AP4. ADVENTURE. E and A - 143x138.
AP5. BEACH. E and A - 172x200.


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 - 185x93.
19. AT THE SHORE. Colour E.
20. THÉÂTRE DU VAUDEVILLE. Colour E - 291x276.
21. ENGLISH LADY. Colour VM - 245 x 140.
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. Colour A and DP– 275x305. 10 prints.
The colours have been brushed on the plate in the manner of a monotype.
25. COCOTTE. DP – 78x112. A few prints.
26. PORTRAIT OF GAUTRON DU COUDRAY. DP – 195x151. A few prints.
27. PORTRAIT OF OTAKAR ŠPANIEL. 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 (OXFORD) 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. - 1105x699.
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
AP7. AT THE ACADÉMIE COLAROSSI, PARIS. DP - 345x210.
AP8. TWO LADIES. Colour E - 270x140.
AP9. PHILOSOPHER. colour A - 244x257.


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-Ŕ-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 - 400x275.
AP2. PORTRAIT OF PROFESSOR JAROSLAV GOLL. E - 140x199.
AP3. CANCELLED
AP4. CHILDREN ON THE BEACH - 198 x 250. 
AP5. NIGHT SEA II. Colour A and DP - 300x400. 150 prints. G. Petit, Paris.
AP6. FLOWER SELLER.  Coulour E - 131x162.
AP7. BAIGNEUSES SUR LA PLAGE. Colour E - 215x350.
-Correspondences with art dealer Sagot in Paris: 1. BAIGNEUSES SUR LA PLAGE  2. BAINS DE MER.
-Dictionaire des Graveurs, illustrateurs et affiches Français et Etranger (1673-1950) by Gaďte Duguat et Pierre Sanchez.
Liste des Salons et Exposition. Page 2275. Simon, Tavik Frantisek. Salon 1907 - Bains de Mer.

AP8. PORTRAIT OF PROFESSOR JAROSLAV GOLL. VM - 250x189.


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 - 390x240
71. SUR LE QUAI, PARIS. Colour E – 150 prints. G. Petit, Paris.
AP1. LADY IN A HAT. A - 160x135.
AP2. MI-CARĘME, PARIS. Colour E - 320x360. 150 prints. G.Petit, Paris.
Source: Dictionaire des Graveurs, illustrateurs et Affiches (1673-1950). Authors: Duguat et Sanchez. Liste des Salons et Exposition, page 2275. T.F. Šimon , Mi-caręme 1907- 288-GOC(= Salon de la Société de la grafure originale en colours). G. Petit, editeur. Edition of 150. 32x36cm


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 and 10 by the artist. 4 states.
80. ANTIQUE HORSES AT SAN MARCO, VENICE. E – 170x190. 75 prints. 4 states. 

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

81. ICE RINK UNDER THE STONE BRIDGE. Colour E – 242x300.
82. A VIEW ONTO HRADČANY FROM THE EMBANKMENT. Colour E – 274x301. 
83. ZELENÝ TRH. Colour E – 255x313 .
84. ARCADE IN UHELNÝ TRH. Colour E – 267x303. 
85. A QUIET SPOT IN HRADČANY . Colour E – 295x295.
86. MOTIF FROM HELM'S MILL (PRAGUE). Colour E – 260x268.
87. FLOWER-GIRL IN PARIS. Colour E – 392x320. 120 prints. G. Petit, Paris.
88. JELENÍ PŘIKOP AND HRADČANY. 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 HRADČANY. 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 - 230x325.
AP3. VENETIAN WOMAN. Colour E - 340x370. 150 prints. G. Petit, Paris.
AP4. CORNER OF SAN MARCO SQUARE  IN VENICE. E - 260x180.
AP5. THE OLD PASSERELLE DE L`ESTACADE. E - 230x230.
AP6. QUAI SOUS LA NEIGE (PARIS). Colour VM and A -197 x 197. 


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 Klub přátel umění, 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 MAŘATKA. VM – 260x193. 50 prints. 2 states.
109. COMMUNICANTS IN PARIS. Colour E – 157x119.
10 prints by the artist. Published in Preissig`s Česká Grafice.
110. SHIP WITH MELONS, VENICE. E – 405x507. Art extra of Krasoumné Jednoty in Prague.
111. CATHEDRAL OF CHARTRES. E – 125x105. 10 prints. Magazine Český 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.
AP4. WOMAN FACING THE MIRROR. W and Colour W - 75x90.


1910

118. PORTRAIT OF THE SCULPTOR OTAKAR ŠPANIEL. W – 200x145. 2 prints.
119. QUAI DES GRANDS-AUGUSTINS, PARIS. Colour E – 343x437. 250 prints. G. Petit, Paris.
120. PORTRAIT OF VÁCLAV NEBESKÝ. 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. UHELNÝ 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. Cancelled.
AP3. VILMA READING A BOOK, PARIS. Etching - 132x120.
AP4. EUROPE ABDUCTED BY ZEUS. COLOUR E - 160x148. 
AP5. YACHTS IN A HARBOUR. COLOUR VM and A - 247 x 272.
AP6. PARIS BOULEVARD IN THE EVENING COLOUR VM and A - 240 x 353 Unique print,   press plates destroyed.
AP7. CHARLES BRIDGE AND HRADČANY. Colour VM and A - 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. ARC DE TRIOMPHE DE L'ÉTOILE, PARIS. Colour E – 320x360.
Source: Dictionaire des Graveurs, illustrateurs et Affiches (1673-1950). Authors: Duguat et Sanchez. Liste des Salons et Exposition, page 2277. T.F. Šimon , Arc de Triomphe de l'Étoile 1911- 2309-BA= Salon de la Société nationale des Beaux-Arts.  Number of Edition not mentioned.


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

137. NOCTURNE. A – 158x216.
138. KŘIŽOVNICKÉ NÁMĚSTÍ. E – 130x215.
139. BRIDGE TOWER OF STARE MESTO AND STARÉ MĚSTO AND KŘIŽOVNÍCI. L – 200x220.
140. HUSOVA TŘÍDA. E – 208x150.
141. UNGELT. L – 210x198.
142. COURT OF THE CONVENT OF SAINT AGNES. E – 217x133.
143. HOROLOGE OF STARÉ MĚSTO. E – 193x170.
144. TÝN CHURCH AND TOWN HALL. E – 217x163.
145  STAROMĚSTSKÉ NÁMĚSTÍ (OLD TOWN SQUARE) AND TÝN CHURCH. E – 180x218.
146. OVOCNÝ TRH. E – 150 x178.
147. POWDER GATE. E – 216x92.
148. ICE RINK UNDER THE CHARLES BRIDGE. E – 160x158.
149. BRIDGE TOWER OF MALÁ STRANA. E – 180x158. 
150. GATE OF THE BRIDGE TOWER. E – 174x163. 
151. THE HOUSE
"U MONTÁGŮ" IN MALÁ STRANA. E – 236x197.
152. RADECKÉHO NÁMĚSTÍ. E – 166x220. 
153. SAINT NICOLAS CHURCH IN MALÁ STRANA. E – 217x163.
154  A VIEW FROM THE FÜRSTENBERG GARDENS. E – 153x215.
155. FÜRSTENBERG GARDENS. E – 148 x176.
156. VLAŠSKÁ STREET BELOW MOUNT PETŘÍNN. E – 185x180 .
157. THE NEW STAIRS OF THE CASTLE. E – 208x146.
158. NERUDOVA. E – 198x215.
159. LORETA. E – 218x178.
160. ZLATÁ ULIČKA. E – 163x177.
161. HRADČANY. 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. Colour E – 320x410. 200 prints. G. Petit, Paris.
168. STAROMĚSTSKÉ NÁMĚSTÍ IN WINTER. Colour E – 242x283. 10 prints by the artist; 100 by A. Roullier, Chicago.
169. CRÉMERIE Ŕ 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 Kunst 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.
AP4. PONT NEUF, PARIS. E


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. NOVÝ SVĚT IN PRAGUE. Colour E – 296x270. 150 prints. Klub přátel umění, Brno.
195. MALÁ STRANA IN SNOW. Colour E – 391x371. 100 prints.
196. CATHEDRAL OF TOURS. E – 156x70. 30 prints by the artist; 35 by Moderní 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 – 65x48. New Year's card.
AP1. FISHERMEN OF CONCARNEAU, BRITTANY. Colour VM and A -332x278.
AP2  PORTRAIT OF A MAN IN A TURBAN. VM - 100x85.


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. Mánes.
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. Štenc.
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.
AP1. CHASM IN ANDALUSIA. E
AP2. BEGGARS IN TANGIER. E


1914 

216. ANDALUSIANS IN RONDA. Colour W – 135x162. 35 prints.
217. CHARLES BRIDGE AND KŘIŽOVNÍCI, 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. BECHYNĚ 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, ČESKÝ 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. LITOMYŠL 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.
AP3. ANNOUNCEMENT OF BIRTH OF SON IVAN. Drypoint – 118x87.
AP4. HIKER. E – 42x92.


1915

234. WAR-REFUGEES. W – 90x102. 12 prints. Also printed in Moderní 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
Štenc.
237. SNOW-COVERED ROAD. Colour E – 297x310. 150 prints.
238. LE STRYGE FROM NOTRE-DAME DE PARIS. – New Year's card. See also N 127, 1910.
AP1.PALM-BRANCH. Colour E - 87x67. New Year's card.
AP2.GIRL UNDER THE APPLE TREE. W - 170x100.


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 in a book with letters from Marianne Alcoforado. 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 "HRADČANY" ; Novak 256-268 [A Portfolio of 12 colour etchings -150 sets are published by Arthur Novak, Prague]:

256. SUNSET OVER HRADČANY. Colour E – 140x160.
257. CATHEDRAL FROM LUMBEOVA ZAHRADA. Colour E – 140x160.
258. RAINBOW OVER JELENÍ PŘIKOP. 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 MALÁ STRANA. Colour E – 160x140. 
262. TWILIGHT FROM FRANTIŠKOVO NÁBŘEŽÍ. Colour E – 140x160.
263. HRADČANY IN SNOW. Colour E – 160x140.
264. NOCTURNE. Colour E – 140x160.
265. VISTA THROUGH VRTBOVSKÁ ZAHRADA. ”Colour E – 160x140.
266. ICE RINK UNDER THE CHARLES BRIDGE. Colour E – 140x160.
267. CATHEDRAL SEEN FROM A TOWER OF THE BASILICA OF SAINT GEORGE. Colour E – 160x140.
268. SAINT NICHOLAS MARKET IN STAROMĚSTSKÉ NÁMĚSTÍ. 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. IMPRESSION OF THE SEA I. AFTER THE BATHING I. DP – 130x102.
AP3. OPIUM DEN, TANGIER. E – 85x106.
AP4  THREE GIRLS ON THE BEACH. E.
AP5. PORTRAIT OF DAUGHTER EVA. E – 210x140.
AP6. IMPRESSIONS OF THE SEA I. AFTER THE BATHING II. DP – 109x95. 


1917

271. EXPECTANT. W – 123x79. 10 prints and also in Novak`s Annual.
272. PLACARD OF THE ČESKÉ SRDCE. Lt. The Czech Heart. Organization for Social Care.
273. SORROW. M – 138x142. 55 prints. 4 states.
274. SLOVÁCKÁ MALÉREČKA. Colour E – 245x160. 60 prints.
275. HRADČANY FROM THE EMBANKMENT. E – 273x290. 100 prints. 2 states.
276. CHARLES BRIDGE AND HRADČANY 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 přátel umění Brno.
285. TAKING 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 – 95x80.
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.
Štenc. 4 states.
291. ZLATÁ ULIČKA  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 STAROMĚSTSKÉ NAMĚSTÍ. VM – 158x168. 60 prints.
295. BEGGARS DURING THE WAR. E – 100x70. 30 prints by the artist. Also in the Moderní Revue 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 ŠTEFÁNIK. DP – 190 x155. 20 prints. 2 states.
299. PORTRAIT OF ARNOŠT DENIS. DP – 310 x285. 30 prints.
300. WEATHER HOUSE. W and Colour W – 118x78. New Year's card.
AP1.MARKETPLACE, TANGIER. Colour E, VM and A – 324 x277.


1919

301. ARRIVAL OF PRESIDENT TOMÁŠ GARRIGUE MASARYK. E – 225x195. 150 prints. Art extra of Hollar. 2 states.
302. WELCOMING OF PRESIDENT TOMÁŠ GARRIGUE MASARYK. E – 246x175. 30 prints.
303. WELCOMING OF PRESIDENT TOMÁŠ 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 – 290x190. 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 HRADČANY. VM – 310 x380. 200 prints.
319. PAX . W – 63x50. New Year's card.
320. HRADČANY WITH MASARYKOVO NÁBŘEŽÍ. VM – 196x290. 100 prints. 2 states.
321. GREETINGS FROM SLOVÁCKO. Colour E – New Year's card. Novak notes W, it should be Colour E
322. SLOVAK WITH A BOUQUET. W and Colour W– 99x78. 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 Moderní Revue.
325. PRAGUE, CAPITAL OF CZECHOSLOVAKIA. E – 405 x593. 200 prints
326. SNOW IN AMSTERDAM, "THE KOEPELKERK". Colour E – 230x244. 100 prints.

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

327. HRADČANY FROM CHOTKOVY SADY. Colour E – 200 x175.
328. SILHOUETTE OF HRADČANY 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. HRADČANY FROM THE BELVEDERE. Colour E – 200x175.
332. HRADČANY FROM KŘIŽOVNÍKÁ. Colour E – 175x200.
333. MALOSTRANSKÉ NOCTURNE. Colour E – 200x175.
334. HRADČANY IN SNOW. Colour E – 175x200.
335. STORM OVER PRAGUE. Colour E – 200x175.
336. HRADČANY AND NOVÝ SVĚT IN WINTER. Colour E – 175x200.
337. EMBANKMENT IN PARIS AT ORSAY. Colour E – 241x350. 150 prints. Estampe Moderne, Paris.
338. PORTRAIT OF JOSEF MÁNES. Colour W – 162x149. 60 prints.
339. HRADČANY. L- 170x180. Published in the album 'Praha' in 1920 (A. Novak).
340. HRADČANY FROM CHOTKOVY SADY. E – 200x150. A few prints.
341. LEDA (PIERRE LOUŸS). E – in a book. Arnošt Procházka, Prague.
342. AWAITING RUSSIAN LEGIONNAIRES. E – 132x100. New Year's card.
AP1.PRAGUE, CAPITAL OF CZECHOSLOVAKIA. Colour E - 375x580.


1921

343. TÝN 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 Moderní revue.
346. PARISIAN ANGLERS. Colour E – 295x266. 200 prints. G. Petit, Paris.
347. PORTRAIT OF PAVLÍČEK (little 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 ŠTRAMBERK. 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. SALOMÉ (OSCAR WILDE). W – 58x113. In a book.
Ludvík Bradáč, Prague.
355. WINTER ON THE HANÁ. Colour E – 333x377. 150 prints.
356. ON THE SÁZAVA. E – 105x85. 80 prints. 2 states.
357. RAG-DEALERS UNDER THE PONT NEUF, PARIS. Colour E – 308x302. 250 prints. Estampe Moderne, Paris.
358. FROM ŠTRBSKÉPLESO. 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, also in Stát. tiskárna, Prague.
361. STONE BRIDGE, PRAGUE III. Colour W – 355x345. 60 prints
362. DAUGHTER OF A WOLFDOG. E in a book from Rachilde [=
pen name for the French female author Marguerite Vallette-Eymery (1860-1853)], A. Novak, Prague.
363. ANGEL WITH SUN-DIAL. E and Colour E – 100x54. New Year's card.
AP1. HRADČANY. E –130x100. Published in "Příručka umělce-grafika", by T.F. Šimon. Published by Jan Štenc, Prague, 1921.
AP2. FLOWERS IN A VASE. Colour E – 102x108. See AP1 
AP3. NUDE WOMAN WITH A VASE. M – 120x107. See AP1
AP4. PORTRAIT OF A MAN. VM – 131x100. See AP1
AP5. UPRCHLÍCI. W. - 188x235.
AP6  PORTRAIT OF PAVLÍČEK (Little Pavel Šimon). Colour W – 170X150.


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. MENGUSOVSKÁ DOLINA, TATRA. E – 155x230. 50 prints. 2 states..
367. ŮDOLÍ MLÝNICE, TATRA. E – 180x245. 50 prints.
368. POPRADSKÉ 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 ŮDOLÍ MLÝNICE, 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 – 100x60. New Year's card. 
AP1. PORTRAIT OF A YOUNG WOMAN. M –107x86.


1923

382. SÚL'OV CASTLE, SLOVAKIA. E – 135x190. 60 prints. 2 states.
383  STREČNO 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 - 162x126.
AP3. VIEW FROM THE WINDOW. E - 115x58. New Year's card.
AP4. ST VITUS` CATHEDRAL. E - 80x48. New Year's card.


1924

391. TOWN HALL OF STARÉ MĚSTO. E – 120x80. 50 prints by the artist; 100 by Prumyslova tiskarna. 3 states.
392. STAROMĚSTKÉ NÁMĚSTÍ IN WINTER. Colour E – 341x409. 300 prints.
393. NÁRODNÍ DIVADLO IN WINTER. Colour E – 293x392. 248 prints.
394. SELF-PORTRAIT
[sic: 1922]. DP – 205x230. 8 prints. 2 states.
395. MATURATION. W – 168x100. 12 prints by the artist and also in the Moderní 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 ORFČVRES, 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 STARÉ MĚSTO, PRAGUE. Colour E – 297x270. 285 prints.
406. SILHOUETTE OF HRADČANY 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. STREČNO CASTLE, SLOVAKIA. E – 106x63. 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. 
AP2. SOUVENIR DE L’ ALBANIE. JUDR. DAVID TELLER. E - 130x89. See also Exlibris T.F Šimon,
V. Rytir, 1937.



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 Klub přátel umění, Prostějov.
415. SQUARE IN KROMĚŘÍŽ IN WINTER. Colour E – 290x340. 10 prints by the artist; also by Klub přátel umění, Kroměríž.
416. ALLEY IN KROMĚŘÍŽ IN WINTER. Colour E – 316x270. 10 prints by the artist; also by Klub přátel umění, Kroměríž.
417. HRADČANY, DEED OF GIFT. DP – 146x146. 5 prints for the Živnostenská. banka.
418. PORTRAIT OF VÁCLAV HOLLAR. Colour W – 290x250. 40 prints.
419. CHARLES BRIDGE AND HRADČANY. E – 212x315. After cutting 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 – 311x394. 250 prints. Estampe Moderne, Paris.
431. CHRISTMAS MARKET IN STAROMĚSTSKÉ NÁMĚSTÍ. Colour E – 322x390. 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, then the plate was cut.
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 - 97x100. New Year's card for
Průmyslovou tiskárnu.
441. RUINS IN TIVOLI. E - 121x73. 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 ELEONORA SOUMAR, mother of Vilma Kracik (artist's wife). Dry point. 
AP5. PRAGUE IN SNOW. VM and E. 180x130. New Year's card for Richard Gibian.
AP6. READER. W - 127x83. New Year's card 1926. Published in Moderní Revue XXXVI 1921.
AP7. HRADČANY, PRAGUE. E - ?x146.


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-Ŕ- 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. ARABIC TEMPLE IN TANGIER. 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 – 382x334.
AP4. TOWER OF THE CHARLES BRIDGE. E. – 115x68. New Year's card. 
AP5 BIBLIOPHILE, PARIS. W - 152x105.


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 SINHALESE, 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. MALÝ 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 - 130x102.
AP8. CEYLONESE FRUITSELLER. DP - 150X100. Privately published by the artist.
         a. Invitation for a cup of tea Mai 15.
AP8  CEYLONESE FRUITSELLER. DP - 150X100. Privately published by the artist.
         b. T.F.Šimon cordially thanks for a nice reminiscence and congratulation for his fiftieth birthday.



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 PETŘÍN IN THE MORNING. E – 175x112. From the book Praha by J. Vrchlický, J. Otto, Prague.
472. HOROLOGE OF STARÉ MĚSTO. E – 175x112. From the book Praha by J. Vrchlický, J. Otto, Prague.
473. HRADČANY DURING SUNSET. E – 175x112. I state. From the book Praha by J. Vrchlický, J. Otto, Prague.
474. PORTRAIT OF JAROSLAV VRCHLICKÝ. E – 175x112. 300 prints. 2 states. From the book Praha by J. Vrchlický, 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. ANTICKÉ POVÍDKY  [=ANTIK STORIES] (PIERRE LOUŸS). E – 143x93. 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 – 125x85. New Year's card.
AP1. JAPANESE GIRL. DP – 123x85.
AP2. L' ÉPICERIE. Colour VM and A – 301x394.
AP3. PORTRAIT OF A MAN. VM 
AP4. SAINT PETER AND PAUL CHURCH, BRNO. E
AP5. THE ART COLLECTOR, STATUE. W – 63x81. In the book: “Second letter: The Art collector and collecting Art”. (text by T.F. Šimon).
AP6. THE ART COLLECTOR, PAINTING. W – 124x82. In the book. “Second letter: The Art collector and collecting Art”. ( text by T.F. Šimon).


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. SINHALESE, CEYLON. Colour W – 300x210. 56 prints. (correction: edition of at least 112 prints).
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. ŠPULÁKŮV DŮM IN HRADEC KRÁLOVÉ. E – 197x145. 22 prints.
502. HRADČANY 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 ALFONS BRESKA. DP – 320x230. 11 prints. 2 states, 1 épreuve avant la lettre.
509. RUDÉ KAMELIE (RED KAMELIA) TEREZA DUBROVSKÁ. DP – 91x76. 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. 
AP3. ISLANDS SEEN FROM THE SEA. DP -180x260.
AP4. JAPANESE IN TOKYO. Colour W -
300x195.


1930

513. PORTRAIT OF HUGO BOETTINGER. DP – 245x200. 9 prints. 2 states, 1 épreuve avant la lettre.
514. PORTRAIT OF GENERAL DIRECTOR POSPÍŠIL. 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 IN 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. SVÁTKY MÉ DUŠE (SEASONAL MY SOUL). TEREZA DUBROVSKÁ. E – 102x77. 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.


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 FRANTIŠEK KOBLIHA. DP – 377x277. 9 prints. 2 states.
535. PENELOPE (TEREZA DUBROVSKA). A – 102x78. In a book. T. Topic, Prague.
536. STROMY NAD ZÁKOPY (TREES OVER THE TRENCHES). RUDOLF MEDEK. W – In a book. M. Kaláb, Prague.
537. VIEW OF FIESOLE. E – New Year's card.
538. VIEW OF FIESOLE. W – New Year's card.
AP1. PORTRAIT OF BOŽKA VOLDANOVÁ-MASÁKOVÁ  (*1896-1929). E - 146x112. In a book: Za Recitátorkou (For Narrator) Božkou Voldanovou.
AP2. TIVOLI NEAR ROME. W – 102x126.


1932

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

589. STREČNO NA VÁHU, SLOVAKIA. E – 210x295. 500 prints by tisků v Stát. Nakladatelství  (State publisher).
590. PORTRAIT OF MY MOTHER. DP – 245x162. 14 prints.(Image: state I)
591. KROMĚŘÍŽ 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 HANÁ. Colour E – 353x270. 275 prints. Art extra by Klub přátel umění, Prostějov.
596. SELF PORTRAIT. E – 155x115. 100 prints. For an album by Hollar (portraits).
597. PORTRAIT OF DR. MILAN RASTISLAV ŠTEFÁNIK. Colour W – 512x373. 30 prints.
598. HONOLULU (RUDOLF MEDEK). W – In a book. M. Kaláb, Prague.
599. A STATUE OF AN ANGEL WITH A BOOK. W and Colour W – 120x599. New Year's card.
AP1 SELFPORTRAIT. E - 157x120.


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 JELENÍ PŘÍKOP. E – 320x245. 80 prints. Hollar, for the album Pražský Hrad.
603. VEČERY V BISSONE (EVENINGS IN BISSONE) - ( TEREZA DUBROVSKÁ). E – 124x89. 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.– 115x73. New Year's card.
AP1. MALOSTRANSKY BIBLIOFILE (BIBLIOPHILE FROM MALÁ STRANA). 6 Woodcuts in a book by Jiři Karásek ze Lvovic (1871-1951). Hollar, 1933.


1934

606. SMALL STREET IN HRADEC KRÁLOVÉ. E – 300x225. 168 prints. Klub přátel umění.
607. TOWN HALL OF STARÉ MĚSTO  – HOROLOGE. E – 317x245. 100 prints; for the album Staroměstské náměstí  (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.  VIEW THROUGH THE GATE OF PERUGIA. E – New Year's card.
AP1. SOME PRINTS AND A MAGNIFYING GLASS. W – 50x36.
AP2. TOWN HALL OF STARÉ MĚSTO. E - 402x328. 
AP3. CHOIR OF SAINT VITUS CATHEDRAL. E - 320x245.
AP4. INTO HRADČANSKA SQUARE
AP5. UNGELT. E - ca. 300x400.
AP6. TOWN HALL OF STARÉ MĚSTO, PRAGUE. E - 350(?)x270.
AP7. TOWN HALL OF STARÉ MĚSTO, PRAGUE. E - 420x323.


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 STARÉ MĚSTO AND KŘIŽOVNÍCI. E – 465x385. Plate 1 of Beauty in Stone.
614. THE ARCHWAY OF THE BRIDGE TOWERS OF MALÁ STRANA. E – 480x395. Plate 2 of Beauty in Stone.
615. CHARLES BRIDGE. L – 320x246. 100 prints for the album Karlův Most, Hollar. Plate 3 of Beauty in Stone.


1936

616. THE COLUMN OF VIRGIN MARY IN STAROMĚSTSKÉ NÁMĚSTÍ. E – 476x392.
617 VIEW FROM THE SQUARE ONTO THE CHURCH IN SLANÝ. E – 320x246. 100 prints for the Album Slaný. 4 states.
618. VIEW FROM THE CHURCH ONTO THE TOWN HALL IN SLANÝ . E – 320x246. 100 prints for the Album Slaný. 4 states.
619. THE STAIRS OF THE CASTLE. E – 320x246. 100 prints for the album Mala Strana, Hollar.
620. ZPĚVY MUŽŮ (SONGS OF MEN). RUDYARD KIPLING. W – In 'Tisk' , Zlin.
621. SMALL STEET IN RAB. W – New Year's card – 122x78.
622. CHRONOS IN THE STUDIO. W – New Year's card – 93x130.
AP1. PALLAS ATHENA. W - 370x210.
AP2  EQUIPE TELEPHONIQUE EN PATROUILLE. A- New Year's card - 157x113 (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 díla T.F.Šimona. Published by Hollar.
624. SELF-PORTRAIT. Lt. – 235x195. Cover of the book by A. Novak: Kronika grafického díla 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 IN KUTNÁ HORA. E – 322x255.
AP2. CANCELLED
AP3. BECHYNĚ CLOISTER.  E
AP4. PORTRAIT OF ARTHUR NOVAK.?
AP5. THE WHITE TOWER IN KLATOVY. E - 315x245


1939

AP1. TEMPLE OF POSEIDON AT SOUNION IN GREECE.  E - 220?x226?
AP2. ATHENS. E - 260x265


1940

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


1941

AP1. PORTRAIT OF ANTONÍN DVOŘÁK. CV – 245x186.
AP2. PROSTĚJOV. E
AP3. PORTRAIT OF PROFESSOR  JAROSLAV GOLL (1846-1929) CV - 140x199.
AP4. HARVEST


1942

AP1. WOMAN AT HER TOILETTE. M – 255x180. 
 
 

Notes to the catalogue:

 
Novak   20 du vaudeville is correct (in the original book of 1937 is written vaudeville)  
Novak   26 Gautron du Coudray is correct (in the original book of 1937 is written Gautrona de Coudraye)  
Novak   73 Marie is correct (in the original book of 1937 is written Ste Marie)  
Novak 80 Novak notes 3 states of this print, it must be 4.  
Novak 109 Preissig is correct (in the original book of 1937 is written Pressig)  
Novak  136 Arc de Triomphe de l'Étoile is correct. (in the original book is written l'Étoile). Source: Dictionaire des Graveurs, illustrateurs et Affiches (1673-1950). Authors: Duguat et Sanchez. Liste des Salons et Exposition, page 2277. T.F. Šimon , Arc de Triomphe de l'Étoile 1911- 2309-BA= Salon de la Société nationale des Beaux-Arts.  Edition not mentioned.  
Novak  164 Chenonceau is correct (in the original book of 1937 is written Chennonceau)  
Novak  171 and others - Kunst is correct (in the original book of 1937 is written Künste)  
Novak  177 La Sainte Chapelle is correct (in the original book of 1937 is written Ste. Chapelle)  
Novak  183 Dordrechtu is correct (in the original book of 1937 is written Dortrechtu)  
Novak  281 Novak notes 6 states of this print, it must be 7 states.   
Novak 389 Road to Zeleznice (near Jicin).  
Novak 394 Listed by Novak to the year 1924, but dated in the print 1922  
Novak  411 Luitgarde is correct (in the original book of 1937 is written Luitgarda)  
Novak  508 / 513 épreuve avant la lettre is correct (in the original book of 1937 is written avant lettre)  
Novak  534 Size: 377x277 is correct (in the original book of 1937 is written 177x277)  
Novak 590 Portrait of Rozalie Šimon from Mšeno,  second wife of the artist's father AntonÍn Šimon.
In the catalogue is written: Portrait of mother.
 

 



 


From the Catalogue of the T F Šimon Exhibition by Frederick Keppel & Co.
New York, December 1914/ January 1915.
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 colours. 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 colours.  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

 

 

  
Photo T.F. Šimon, ca. 1912.



Photo by B. Hybal in a Czech newspaper from February 1933. From left to right: 
Dr. K. Tondl; Jan Konupek; Victor Stretti; professor T.F. Šimon; Method Kaláb; 
At the opening of an exhibition of Society Hollar in Obecny Dom in Prague. February 4, 1933. 




Prints
:
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 maničre 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 silk, or synthetic, in which all areas other then the one that is to be printed is blocked out. Paper is placed under the stencil and ink is forced through. For each colour a separate screen in prepared. 
One of the oldest printing processes, originating in China , is silk screening. A screen of silk or other fabric, is stretched tightly over a wooden frame. There are several ways of making a stencil but traditionally the design is drawn on the screen with a tusche and covered with a thin layer of glue which will not adhere to the tusche areas. The tusche areas are washed away by application of a solvent leaving behind the open stencil. Paint is applied to the screen with a squeegee thus creating the design. A separate stencil is used for each colour.


An example of the realization of a colour etching by T F Šimon:
Published in Rocenka Stencova Grafickeho Kabinetu (Prague,1917).
[=Annual of the Gallery of Graphic Art of Jan Stenc]


Colour Etching; first plate 

Colour Etching; second plate

Colour Etching; third plate

Final state: Colour Etching, Novak 236 

 





Glossary:


A.P.
  




 

Artist's Proof: impressions for the use of the artist outside of the regular edition. (Also E.A. - Épreuve d'Artiste).

Ŕ la poupée     A process by which all colours are applied to the plate and printed simultaneously, creating varying impressions.
Baxter Prints   George Baxter (1806-1867) invented a process of using several blocks of colour printing. His results he termed "oil pictures". They exhibit a great delicacy of finish and are brilliant in colour. He published them about 1850. They came at a period when albums and books of "gems" were the necessary appurtenances of the Drawing Room table. They are mostly small in size some three inches by four inches in area.
Burin A pointed cutting tool used by engravers.
Bon ŕ tire   Meaning "right to print" this impression serves as a guide for the rest of the edition.
Cancelled Plate   The plate is holed or scratched over in order to prevent further printing.
Catalogue Raisonné   A catalogue containing a description of all the work done by an artist.
Chiaroscuro Print   A colour woodcut used to suggest the effect of a monochrome tonal drawing. A different block was normally used for each shade of colour. The process was particularly popular in Italy and Germany in the16th century. The chiaroscuro (=It.; in French 'clair-obscur'; means 'clear-obscure') made no attempt at natural colours but achieved a great sense of depth and solidity while avoiding the printmakers obvious fault of niggling line and laborious hatchings. Again, in contrast to much early colour work there was no question of individual hand tinting, either by painting the print or by dabbing the block or plate.
In chiaroscuro the tints seldom consist of much more than different tones of a single colour. Each area of tone has clearly defined edges but is wholly flat.
The origins of the process have been disputed, but at least by the early part of the 16th century, prints were being produced in a small range of sombre tones by the German artists Lucas Cranach. A suggestion of three-dimensional substance was more important than natural colour realism, therefore the colours ranged through reddish brown, sepia, brownish green, pale yellow to occasional bluish-grey. Frequently only the one additional block for tone colour was introduced - rarely more than two.
Chromolithography  The first true multi-colour printing method, previously colour had been applied by hand. The Frenchman Godefrey Engleman commercially produced  this method in the 1830's. The process was based on lithography (printing from stone slabs), but extended so that a stone was used for each colour and each separate colour was laid on top of the previous one; thus the paper sheet was printed on several times before the print was finished.
This required both a number of stones (adding to the expense) and a very precise method for laying the stones, if each stone is not positioned identically to the one before, then the colours appear out of register - similar to the ghosting effect on a television that is out of tune.
As the century progressed chromolithography became more intricate and as many as fifteen stones were employed and some wonderful and highly artistic results obtained.
The Victorians loved this method of printing because of its rich colouring and many books were bound with chromolithographic prints. Many children's' books included this type of print. An important publication was of Queen Victoria's Diamond Jubilee representing her reign from 1837 until the Diamond Jubilee in 1897 in which included several chromolithographed prints which were enhanced with gold or silver.
Cliché Verre   A technique used by the French etchers in the 19th century, by such artists as Corot and Daubigney. The surface of a glass plate was covered with an opaque ground and the artist would draw onto this ground with a point, leaving the glass transparent where the lines were to print black. The glass plate was then used as an ordinary photographic negative, and a print produced by exposing light through it onto sensitized photographic paper.
Counter Proof   The artist places a piece of paper over a print while the ink is still wet, and pulls another impression from the print itself. The resulting image is in reverse to the print but in the same direction as the engraving on the plate, and often helps the artist in making corrections. Counterproofs can be recognised because the image is flatter and weaker than an impression taken directly from the plate and in reverse.
Edition and Edition Size   A completed run of prints is usually limited. There appears to be no minimum or maximum number used. Editions of 100 or less are considered small. Original prints have been executed to accompany written texts and such editions may number in the thousands. Limited edition prints are signed by the artist and numbered. For example 5/150 indicates that this is the 5th print to be signed and that there are 150 taken off before the printing  plate or block was defaced and known as cancelling. Sometimes a print did not get a number by the artist; this means the print is an Artist's Proof, printed before the ('official') limited edition.
Épreuve d'Artist
See A.P.
Fecit  Latin; means: 'has made it'.
État See State. If the artist only writes état, it means Artist's Proof in the first state.
Glass Print   From the late 17th to the early 19th centuries, mezzotints of popular genre and mythological subjects, were frequently glued down onto glass abraded from behind to remove all the paper.
The film of ink left behind was then hand coloured and the glass was framed.
Hand Signing and Numbering   A print does not have to be signed and numbered to be an original. The practice did  not start until the later part of the 19th century. One of the earliest proponents of the practice was Whistler. The signature usually appears on the lower right margin and the numbers on the left.
Le Blon Prints   Jakob Christof Le Blon (Frankfurt am Main1667 - Paris 1741) used three plates inked with red, blue and yellow and superimposed them on the same piece of paper thus getting his range of colours from these three primary ones. Later he also used a black plate.
Line Engraving   First used in the 15th century and still for banknotes today, the process uses a copper or steel plate. The design is cut into the plate with a burin or graver with the artist varying the depth of the incision. Deeper incisions cause wider lines. Ink is wiped across the plate filling the engraved lines. Paper is placed over the plate and both are passed through a press to achieve the image. A characteristic is the heightened lines of the design above the surface of the paper.
Margin   An area outside the "plate mark" of an Intaglio print, or outside the printed border of other types of prints.
Before the18th century single sheet prints were almost invariably trimmed to their borders or plate-marks by collectors. A print trimmed just outside the plate-mark is often referred to as having "thread margins".
Monogram  The initials of a name combined in a single design.
Monotype   The artist draws his design in printing ink on a plate or sheet of glass and transfers it to a sheet of paper by running it through a press while the ink is still wet. The process was invented by Giovanni Beneditto Castiglione in the 1640's. It was revived in the 19th century, notably by Degas and continues to appeal to artists for the remarkable effects that can be obtained. Only one strong impression can be made by this process, hence its name, but sometimes a second, weaker impression is also printed.
Oleograph   A 19th century process in which an ordinary colour lithograph was varnished and impressed with a canvas grain to make it look like an oil painting.
Plate Mark   The mark by the edges of an Intaglio Print, where it is forced into the paper when run through the press.
P.F.   French, meaning Pour Féliciter. For an artist a personal way to give somebody his best wishes.
Pochoir   French for stencil. The term is applied to a class of print usually hand-coloured through a series of carefully cut out stencils. This process was much used in Paris during the early decades of the 20th century.
Especially popular in the art deco period, used for fashion plates amongst other things.
Reproof A reproof print is printed from a metal plate (the etched and engraved surface upon which the image is made) and while the paper upon which the image is transferred is still wet and the ink is also still wet, that “proof” is run back through the press with another piece of paper on top of it.  The resulting re-transfer causes the mirror image to be flipped and appear exactly the same as the image on the original engraved plate.
Retroussage A refinement of Intaglio printing used to achieve a softening and more atmospheric effect. Fine muslin pressed lightly over the surface of an inked and wiped plated, catches a small amount of the ink in the lines and draws it slightly upwards, these traces of ink at the side of the lines cause them to lose some of their sharpness of definition when printed.
Signed in the plate The artist signs in the plate in which case the signature appears printed.
Stipple   This means the use of dots and flecks instead of lines as the ink-retaining hollows in copper plate intaglio printing. By varying the size and proximity of the dots it was possible to achieve the most delicate gradations of tone. The obvious reason for its enthusiastic acceptance was the new importance that the 18th century gave to the drawings as distinct from paintings of such fashionable artists as Watteau, Boucher and Fragonard. As with other etching, the first requirement was a copper plate covered with a hard-ground acid resist. The design was outlined by piercing the ground to allow acid to reach and corrode the copper surface in a series of vertical pricks or slanting flicks. Ink retained in these acid-formed hollows was conveyed to damp paper by intense pressure. Sometimes an etching needle was used - or two together - but more often a time saving roulette. This consisted of a tiny wheel on the end of a handle which could be drawn over the waxy ground. Small teeth in the wheel rim produced a regular dotted line.
By the end of the 18th century hundreds of pounds were paid for a plate etched in stipple. Italian born, but lived in England Francesco Bartolozzi became the most well known exponent of stipple prints and they were sometimes printed in colour. The "Cries of London" provide the best known series of stipple and exist in brown or colour.
Stamp   Some printers use sometimes together with their signature a personal stamp as identification. The famous Czech artist Tavik Frantisek Šimon (1877-1942) was one of the first who used stamps. He used stamps with his own mark (his monogram TFS that looks like a Japanese character) in red, green, orange, yellow or blue; there is no significance in the difference of the colour of the stamps.
T F Šimon did not always use the stamp as identification. 
Stav Czech; see State and État.
State   In the process of making a print an artist often takes a few "proofs" at different stages of his working to check progress. Any impression which shows additional working on the plate constitutes a "state".
States are usually created by the printmaker himself, but later additions (such as the address of a later publisher or the reworking of a plate at a later date) also creates new states.
Most catalogue of prints are primarily devoted to describing the changes of state that occurred during the printing of an image. The Dutch artist Rembrandt van Rijn was seldom satisfied with his etchings and made multiple states.
Stylus   A drawing instrument usually made of cast metal , with a point often at either end. Unlike metal point or lead point, it was used only to impress lines into paper and was frequently employed by artists when beginning to work out a composition, in order to avoid the need to rub out incorrect lines. Stylus is Latin for pen.



Book-Plates:
since the 15th century, distinguished artists and their patrons have given serious attention to this art form. It represents a miniature art developed to adorn books and a convenient, individualized way for the book’s owner to be identified. The book-plate or ex-libris, is a label placed on the inside of the front cover of a book, bearing its owners name and a sign of personal identification. The words ex-libris on a book-plate translate roughly from the Latin as "from the books of" or "from the library of". Many techniques and mediums are used in creation of book-plates. Some include the woodcut, engraving on metal, silkscreen, etching or pen and ink. This, along with the fact that the work is all done in small scale, plays an important part in the execution of these works. Also, utilizing the finest in papers, with hand printing in many examples. Book-plates have been designed by artists and engravers such as Albrecht Dürer, Thomas Bewick, Paul Revere, Kate Greenaway, Aubrey Beardsley, Marc Chagall, M.C. Escher, Tavik František Šimon, Hugo Boettinger, Rockwell Kent, Leonard Baskin, Barry Moser, and others.
Ex-libris enthusiasts have created an international network for the purposes of attaining designs by establishing societies in forty-one countries. Every two years an International Ex Libris Congress is held in a different country inviting members of the world bookplate societies to attend. Under the auspices of the Federation International des Societes d’Amateurs d’Ex Libris (FISAE) one enjoys lectures, slide presentations, exhibitions and sufficient time is allowed for socializing and trading book-plates. In USA is the
The American Society of Bookplate Collectors and Designers.  

Czech Book-Plates: the modern Czech book-plate-making started around the year 1868, with the oldest book-plate for  Knight Vojtech Lanna by Josef Manes. Among the Czech book-plate makers belonged great Czech artists such as Alfons Mucha, Max Švabinský, Vojtech Preissig, Tavik František Šimon, Hugo Boettinger and Mikoláš Aleš. An article in the magazine Moderni Revue of 1897 by the poet and  first collector of bookplates, S. K. Neumann is considered to be the first trace of the organized bookplate-collecting. Since then, the great interest in book markings and collecting them, has continued. Bedřich Benes Buchlovan informs us of as many as five thousand Czech book-plates as early as in 1926. With the time going, the book-plates changed their characteristics and from the book markings of an owner of a book, it had been transformed into a collector's object of interest. Even contemporary artists have nourished the tradition of the book-plate, for example E. Haskova, M. Houra, J. Liesler, J. Pilecek and K. Benes. The Association of Collectors and Friends of Book-plate (Spolecnost Sberatelu a Pratel Exlibris - SSPE) founded in 1918 has contributed greatly to the promotion of book-plates and of book-plate-collecting. The Association issues a magazine quarterly called The Book Marking (Knizni Znacka).

 

 

Italiano

English

Français

Deutsch

 

 

Calcografie
originali

Intaglio techniques
original

Techniques en creux
originales

Tiefdrucktechniken
original

 

 

Calcografia

Intaglio printing (blank); embossing

Impression en creux (Calcographie)

Blinddruck (Prägedruck)

 

 

Bulino su acciaio

Steel engraving

Burin sur acier

Stahlstich

 

 

Bulino su rame

Burin (graver of gouge) engraving, notably on copper

Gravure au burin, en particulier sur cuivre

Stich mit Grabstichel hergestellt, besonders Kupferstich

 

 

Acquaforte

Etching

Eau-forte

Radierung

 

 

Puntasecca

Dry point

Pointe séche

Kaltnadel

 

 

Acquatinta

Aquatint

Aquatinte

Aquatinta

 

 

Vernice molle

Soft-ground or other
ground-based etching

Gravure au vernis mou ou autres vernis

Weichgrundätzungen

 

 

Maniera nera

Mezzotint

Maničre noire (mezzotinte)

Mezzotinto (Schabkunst)

 

 

Incisione su plastica

Intaglio engraving on linoleum, plastic and other materials

Gravure en creux sur linoléum, plastique et autres matérielles

Platten fur Tiedfdruck aus Linol, Plastik und andere Materialen

 

 

Calcografia
riproduzioni

Intaglio techniques
reproductive

Techniques en creux
reproductives

Tiefdrucktechniken
reproduktiv

 

 

Eliografia
(Fotogalvanografia)

Heliogravure (manual line and tone photogravure), Photogalvanography

Héliogravure (photogravure manuelle), Photogalvanographie

Heliogravur (handgemachte Strich- und Raster-fotogravur), Fotogalvanografie

 

 

Fotoincisione

Commercial photogravure, rotogravure

Photogravure commerciale, rotogravure

Fotogalvanografie, Industrielle Fotogravur, Rakeltiefdruck

 

 

Cliché su acciaio

Etched steel printing
(die-printing)

Impression de coins d'acier gravés ŕ l'eau-forte

Stichtiefdruck, Stahldruck

 

 

Tecniche a rilievo
originali

Relief techniques
original

Techniques en relief
originales

Hochdrucktechniken
original

 

 

Stampa in rilievo

Relief printing (blank)

Impression en relief sans encre

Blinddruck (Reliefdruck)

 

 

Xilografia su legno di filo

Woodcut

Xylographie, bois de fil

Holzschnitt

 

 

Xilografia su legno di testa

Wood engraving

Xylographie, bois de debout

Holzstich

 

 

Linoleografia

Linocut

Linogravure (linoleum gravé en relief)

Linolschnitt

 

 

Stampa in rilievo da lastra di metallo inciso

Relief-printed engraved or etched metal plates, notably metal cut

Impressions en relief de planches en métal gravées

Hockdruck von gestochenen oder radierten

 

 

Stampa in rilievo da lastra di metallo concepita per la calcografia

Relief-printed metal plates created for intaglio printing

Impression en relief de planches en métal conçues pour l'impression en creux

Hockdruck von Metalplatten für Tiefdruck gefertigt

 

 

Stampa in rilievo da matrice non metallica (p. es. plastica)

Relief-printed engraving of other materials, for example synthetic ones

Impressions en relief de planches gravées non-metalliques, p. ex. Synthétiques

Hochdruck von Platten aus andere Materialen, z. B. aus Plastik

 

 

Stampa da matrice in pietra (cinese)

(Chinese) stone stamp

Sceau (chinois) en pierre

(Chinesischer) Steinsiegeldruck

 

 

Tecniche a rilievo
riproduzioni

Relief techniques
reproductive

Techniques en relief
reproductives

Hochdrucktechniken
reproduktiv

 

 

Tipografia

Typography, letterpress

Typographie, texte imprimé en relief

Buchdruck, Typendruck

 

 

Linotipia

Linotype, indirect letterpress

Linotypie, typographie indirecte

Linotypie, Zeilensatz

 

 

Fotoxilografia

Photo xylography, facsimile wood engraving

Photoxylographie, bois debout facsimilé

Fotoxylografie, Faksimile-Holzstich

 

 

Timbro commerciale in gomma

Commercial rubber stamp

Timbre en caouchouc commercial

Kommerzieller Gummistempel

 

 

Cliché al tratto

Line block (cliché) with or without photography

Cliché au trait, avec ou sans photographie

Klischee (Strich), fotomechanisch oder von Hand hergestellt

 

 

Cliché mezza tinta

Half-tone, for example
photo zincography

Cliché simili, p. ex. photozincographie

Klischee (Raster), z. B. Stereo/Autotypie, Fotozinkografie

 

 

Tecniche in piano
originali

Flatbed, stencil, electronic techniques
original

Techniques ŕ plat / stencil / electroniques
originales

Flach-, Stencil- und Elektronische Techniken
original

 

 

Autolitografia

Auto lithography

Autolithographie

Autolithografie

 

 

Autografia

Autography

Autographie

Umdruckverfahren, Autografie

 

 

Zincografia

Zincography

Zincographie

Zinkflachdruck

 

 

Algrafia

Algraphy

Algraphie

Algrafie, Aluminiumdruck

 

 

Fotografia originale, ologramma

Original photograph, hologram

Photographie originale, hologramme

Original-Fotografie, Hologramm

 

 

Pochoir

Stencil, "pochoir"

Stencil, chablon (pochoir)

Schablone, Pfropfen, "pochoir"

 

 

Serigrafia

Original serigraphy
(screen-printing)

Serigraphie originale

Original-Siebdruck

 

 

Mimeografia (Batik)

Mimeography (dye stencil)

Mimeographie (stencil au batik)

Mimeografie (Batik-Schablone)

 

 

Katazome

Katazome
(oiled-paper stencil)

Katazome
(stencil au papier huilé)

Katazome
(Durchdruck mit verölte Papier)

 

 

Kappa-zuri

Kappa (Katazome made
with persimmon juice)

Kappa (Katazome au juis
de plaqueminier)

Kappa (Katazome mit Kakisaft gefertigt)

 

 

Composizione al computer

Computer generated
design

Composition créé sur ordinateur

Original Computergrafik

 

 

Tecniche in piano
riproduzioni

Flatbed, stencil, electronic technique
reproductive

Techniques ŕ plat, stencil, électronique
reproductives

Flach-, Stencil- und Elektronische Techniken
reproduktiv

 

 

Riproduzioni fotografiche

Photographic reproduction

Reproduction photographique

Photomechanische Verfahren

 

 

Collotipia

Collotype

Collotypie

Lichtdruck

 

 

Fotolitografia

Photolithography, process transfer lithography

Photolithographie, transfert lithographique industrielle

Fotolithografie, Fotochrom

 

 

Offset

Offset

Offset

Offset

 

 

Riproduzioni serigrafiche

Serigraphic reproduction (photo silkscreen)

Reproduction sérigraphique (Photosérigraphie)

Fotosiebdruck

 

 

Riproduzione al computer

Computer reproduced design

Composition reproduite par ordinateur

Computerreproduktion

 

 

Fotocopia

Photocopy

Photocopie

Fotokopie

 

 

Altri tecnichi

Other techniques

Autres techniques

Andere Techniken

 

 

Tecniche non comprese nella lista

Technique mot listed above, including Frottage, Chinese rubbing and collography

Technique autre que celles ci-déssus, inclus frottage, frottage chinois et collographie

Weitere Techniken, inkl. Frottage, Durchschreibeverfahren un Collografie

 

Monotipia

Monotype

Monotypie

Monotypie

 

 

Colorato a mano

Hand-coloured

Coloré ŕ la main

Handkoloriert

For this Italian, English, French, German glossary we thank artifexlibris.com


 

 


 


Exhibition of graphics by among others T.F.Šimon. 
In the town Litomerice in Bohemia,1935.








T.F. Šimon at work; photo ca.1938


 

 






 






For a private question
or a photo for this website.
You can write us in
English, French, German, Dutch or Czech

e-mail


GUESTBOOK

 

 



2002

 

2017

www.tfsimon.com