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Feel the passion of William Crimea Simpson in our art prints.

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William Crimea Simpson
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William Crimea Simpson

William Crimea Simpson

Art can change history by confronting the public with reality. One example is the work of William Simpson. Together with the Times correspondent William Howard Russel and Thomas Chenery, William Simpson's lithographs from the Crimean War (1853- 56) contributed to a re-evaluation of the modern war in the European public. As allies of the decaying Ottoman Empire, the British Empire and France tried to stop Russia's continental expansion and became embroiled in one of the bloodiest colonial wars of the 19th century. Since the victory over Napoleon, British troops were no longer involved in such a war and considerable weaknesses were evident in the organisation of supplies and the provision of troops with the help of modern logistical instruments. During the first battles the British expeditionary corps won victories against the tsarist army, but proved unable to treat the wounded in the material battles adequately. Many soldiers died during the transport to the central military hospital, sometimes lasting weeks.

William Simpson accompanied and documented the failure and mismanagement of the British military leadership and caused a turn in public opinion with the comments of the Times journalists. But Simpson's career was anything but predetermined. Born in Glasgow, he did not start school until the age of 11. With discipline and a sense of mission, he continued to work through evening studies and became an apprentice in a lithography company. The rise of this art form was closely linked to the development of the mass media. Newspapers, magazines and journals demanded images to illustrate the written word. In 1854 Simpson was commissioned to make lithographs of the Crimean War according to reports. He convinced his clients that only local reporting would have a mass impact. When he arrived in Crimea, he was overwhelmed by the scenes and the suffering of the ordinary soldiers, who were victims of violence, but above all of the failure and incompetence of their own commanders. The face of the war and the violence had not changed, but what made the difference were the technical possibilities of telegraphy and the mass press, which allowed the public to have a new experience of the war. The images of wounded left alone, of emergency transports, dirt, illness and death, complemented the reports of people like Florence Nightingale, who became an icon of humanity in the Crimean War.

With the reputation he earned as an illustrator of the Crimean War, Simpson received commissions from magazines to report on similar events and to create a portfolio after his return. The next target was again a colonial conflict in the British Empire. In India, British colonial troops crushed the so-called Sepoy uprising with the most brutal force. In 1868 he was part of the Ethiopia expedition, a punitive mission against African tribal chiefs who had killed English missionaries. After further work as a war correspondent in the Franco-Prussian War of 1866 and the second Afghan War, Simpson retired from public life.

William Crimea Simpson

    Nonclassified artists   •   Wikipedia: William Crimea Simpson William Crimea Simpson

Art can change history by confronting the public with reality. One example is the work of William Simpson. Together with the Times correspondent William Howard Russel and Thomas Chenery, William Simpson's lithographs from the Crimean War (1853- 56) contributed to a re-evaluation of the modern war in the European public. As allies of the decaying Ottoman Empire, the British Empire and France tried to stop Russia's continental expansion and became embroiled in one of the bloodiest colonial wars of the 19th century. Since the victory over Napoleon, British troops were no longer involved in such a war and considerable weaknesses were evident in the organisation of supplies and the provision of troops with the help of modern logistical instruments. During the first battles the British expeditionary corps won victories against the tsarist army, but proved unable to treat the wounded in the material battles adequately. Many soldiers died during the transport to the central military hospital, sometimes lasting weeks.

William Simpson accompanied and documented the failure and mismanagement of the British military leadership and caused a turn in public opinion with the comments of the Times journalists. But Simpson's career was anything but predetermined. Born in Glasgow, he did not start school until the age of 11. With discipline and a sense of mission, he continued to work through evening studies and became an apprentice in a lithography company. The rise of this art form was closely linked to the development of the mass media. Newspapers, magazines and journals demanded images to illustrate the written word. In 1854 Simpson was commissioned to make lithographs of the Crimean War according to reports. He convinced his clients that only local reporting would have a mass impact. When he arrived in Crimea, he was overwhelmed by the scenes and the suffering of the ordinary soldiers, who were victims of violence, but above all of the failure and incompetence of their own commanders. The face of the war and the violence had not changed, but what made the difference were the technical possibilities of telegraphy and the mass press, which allowed the public to have a new experience of the war. The images of wounded left alone, of emergency transports, dirt, illness and death, complemented the reports of people like Florence Nightingale, who became an icon of humanity in the Crimean War.

With the reputation he earned as an illustrator of the Crimean War, Simpson received commissions from magazines to report on similar events and to create a portfolio after his return. The next target was again a colonial conflict in the British Empire. In India, British colonial troops crushed the so-called Sepoy uprising with the most brutal force. In 1868 he was part of the Ethiopia expedition, a punitive mission against African tribal chiefs who had killed English missionaries. After further work as a war correspondent in the Franco-Prussian War of 1866 and the second Afghan War, Simpson retired from public life.

Artworks by William Crimea Simpson

Artworks by William Crimea Simpson

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411 artworks found

William Crimea Simpson
The Golden Temple, Benares, 1862
1862 | pencil and watercolour, with touches of white and gum arabic

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William Crimea Simpson
The Emperor of Austria Ascending...
1869 | watercolour

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William Crimea Simpson
Street in Bombay, from 'India An...
1867 | colour lithograph

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William Crimea Simpson
Akalis at the Holy Tank, Umritsa...
1867 | colour lithograph

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William Crimea Simpson
Madras, from 'India Ancient and ...
1867 | colour lithograph

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William Crimea Simpson
One of the Wards of the Hospital...
1856 | colour lithograph

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William Crimea Simpson
The Graves on Cathcart's Hill, p...
1856 | hand coloured lithograph

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William Crimea Simpson
The Cavalry Affair of the Height...
1856 | hand coloured lithograph

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William Crimea Simpson
Sebastopol from Old Chersonese, ...
1856 | hand coloured lithograph

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William Crimea Simpson
Charge of the Light Cavalry Brig...
1855 | lithograph

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William Crimea Simpson
Burning of the Government Buildi...
1856 | hand coloured lithograph

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William Crimea Simpson
Sentinel of the Zouaves, plate f...
1856 | hand coloured lithograph

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William Crimea Simpson
Interior of the Redan, plate fro...
1856 | hand coloured lithograph

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William Crimea Simpson
The Village Welll, from 'India A...
1867 | colour lithograph

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William Crimea Simpson
Sebastopol from the Rear of Fort...
1856 | hand coloured lithograph

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William Crimea Simpson
The Jami Masjid, Delhi, 1864
1864 | pencil, pen and grey ink, watercolour, heightened touches of whi

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William Crimea Simpson
Peshawar Market Scene, from 'Ind...
1867 | colour lithograph

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William Crimea Simpson
Interior of Lord Raglan's Head Q...
1856 | hand coloured lithograph

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William Crimea Simpson
Hospital at Scutari, detail of F...
1856 | hand coloured lithograph

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William Crimea Simpson
The Lighthouse at Cape Chersones...
1856 | hand coloured lithograph

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William Crimea Simpson
Pheel Khana, or Elephants Quarte...
1867 | colour lithograph

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William Crimea Simpson
?Highland Brigade Camp, looking ...
1855 | coloured lithograph

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William Crimea Simpson
Bahr El Khabeer on The Great Sea...
1870 | watercolour on paper

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William Crimea Simpson
The Return Visit of the Viceroy ...
1863 | chromolithograph

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William Crimea Simpson
Rock-cut tunnel, Pools of Solomo...
1872 | watercolour and pencil on paper

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William Crimea Simpson
The Maristan or Mosque-Hospital ...
1882 | watercolour on paper

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William Crimea Simpson
Interior of the Mamelon Vert, pl...
1856 | hand coloured lithograph

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William Crimea Simpson
Cavalry Camp, plate from 'The Se...
1856 | hand coloured lithograph

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William Crimea Simpson
Battle of the Tchernaya, August ...
1856 | hand coloured lithograph

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William Crimea Simpson
Indian Woman Floating Lamps on t...
1867 | colour lithograph

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William Crimea Simpson
View of Mentone, the Queen's Sou...
1882 | engraving

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William Crimea Simpson
The Admiralty, Sebastopol, plate...
1856 | hand coloured lithograph

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William Crimea Simpson
 
1855 | watercolour over pencil

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William Crimea Simpson
Huts and Warm Clothing for the A...
1856 | hand coloured lithograph

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William Crimea Simpson
Gale off the Port of Balaklava, ...
1856 | hand coloured lithograph

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William Crimea Simpson
Interior of Fort Nicholas, Sebas...
Undated | Watercolor on paper

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William Crimea Simpson
The Khan's Kibitka, the Khan sta...
1885 | engraving

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William Crimea Simpson
Mine in the Bastion du Mat, Seba...
Undated | Watercolor on paper

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William Crimea Simpson
The Cave of Elephanta, from 'Ind...
1867 | colour lithograph

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William Crimea Simpson
Burning of the government buildi...
Undated | colour lithograph

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William Crimea Simpson
Second Charge of the Guards when...
1855 | colour lithograph

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William Crimea Simpson
The Liverpool Corporation Waterw...
1889 | engraving

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William Crimea Simpson
The Attack on the Malakoff, plat...
1856 | hand coloured lithograph

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William Crimea Simpson
Interior of the Malakoff, plate ...
1856 | hand coloured lithograph

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William Crimea Simpson
The gale off the Port of Balakla...
Undated | colour lithograph

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William Crimea Simpson
A Hot Night in the Batteries, pl...
1856 | hand coloured lithograph

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William Crimea Simpson
The Afghan War, Sketches at a Re...
Undated | engraving

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William Crimea Simpson
Lord Raglan's Head Quarters at K...
1856 | hand coloured lithograph

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William Crimea Simpson
 
Undated | colour lithograph

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William Crimea Simpson
Quarantine Cemetery and Church, ...
1856 | hand coloured lithograph

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William Crimea Simpson
Jubilee of the Free Church of Sc...
1893 | engraving

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William Crimea Simpson
The Afghan War, the Ameer Yakoob...
Undated | engraving

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William Crimea Simpson
Hospital and Cemetery, Scutari, ...
1856 | hand coloured lithograph

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William Crimea Simpson
Temple of Minerva Sunium, engrav...
Undated | engraving

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William Crimea Simpson
Funeral of the late German Emper...
1888 | engraving

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William Crimea Simpson
Kamiesch, plate from 'The Seat o...
1856 | hand coloured lithograph

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William Crimea Simpson
Past Days on the Persian Border,...
1885 | engraving

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William Crimea Simpson
The Rock-Cut Statues of Bamian, ...
1886 | engraving

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William Crimea Simpson
Indore, from 'India Ancient and ...
1867 | colour lithograph

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William Crimea Simpson
Delhi - Jeweller, from 'India An...
1867 | colour lithograph

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William Crimea Simpson
Elephant Battery, 1864 (wc over ...
1864 | watercolour over graphite with bodycolour on paper

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William Crimea Simpson
The Afghan Boundary, the Nialshe...
1885 | engraving

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William Crimea Simpson
Cashmere Shawls: Weaving, 1863 (...
1863 | chromolithograph

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William Crimea Simpson
 
1884 | watercolour

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William Crimea Simpson
A Quiet Night in the Batteries, ...
1856 | hand coloured lithograph

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William Crimea Simpson
Neptune on Board the 'Newcastle'...
1859 | Watercolor on paper

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William Crimea Simpson
Tomb of Omar Khayyam, the Persia...
1893 | engraving

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William Crimea Simpson
Interior of the Malakoff, 8th Se...
19th century |

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William Crimea Simpson
Capture of the Malakoff Redoubt ...
Undated | lithograph

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William Crimea Simpson
Disembarkation - Kerch, 24 May 1...
1855 | watercolour and pencil on paper

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William Crimea Simpson
Indigo Factory - Bengal, from 'I...
1867 | colour lithograph

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William Crimea Simpson
The Petroleum Oil Wells at Baku,...
1886 | engraving

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William Crimea Simpson
Passage under the Aksa, 1871 (wc...
1871 | watercolour and pencil on paper

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William Crimea Simpson
?The Town Batteries or Interior ...
1854 | lithograph, coloured

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William Crimea Simpson
The Governor-General's State How...
1863 | chromolithograph

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William Crimea Simpson
Hospital and Cemetery, Scutari, ...
1856 | coloured lithograph

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William Crimea Simpson
Head of the Harbour, Sebastopol,...
1856 | hand coloured lithograph

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William Crimea Simpson
The Bastion du Mat, Sevastopol, ...
Undated |

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William Crimea Simpson
A quiet day in the Diamond Batte...
Undated | colour lithograph

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William Crimea Simpson
The Charge of the Light Brigade ...
1854 | watercolour on paper

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William Crimea Simpson
A Turkoman Raid, carrying off a ...
1885 | engraving

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William Crimea Simpson
The Queen's Christmas, the Kitch...
Undated | lithograph

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William Crimea Simpson
Graves of the Officers in the Fo...
1854 | watercolour and bodycolour over graphite on paper

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William Crimea Simpson
Balaklava, plate from 'The Seat ...
1856 | hand coloured lithograph

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William Crimea Simpson
The Trouble in Crete, Suda Bay, ...
1896 | lithograph

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William Crimea Simpson
Ditch of the Malakoff, plate fro...
1856 | hand coloured lithograph

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William Crimea Simpson
Sebastopol from the Sea, plate f...
1856 | hand coloured lithograph

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William Crimea Simpson
Russian Military Positions in As...
1885 | engraving

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William Crimea Simpson
The Fort of Allahabad, and Junct...
1887 | engraving

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William Crimea Simpson
The Thug School of Industry, Jub...
1863 | chromolithograph

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William Crimea Simpson
Ditch of the Bastion du Mat, pla...
1856 | hand coloured lithograph

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William Crimea Simpson
Sikh Priest Reading the Grunth, ...
1867 | colour lithograph

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William Crimea Simpson
The Fountain of the Virgin, Jeru...
1869 | watercolour and pencil on paper

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William Crimea Simpson
Well of the Steps, Jerusalem, 18...
1871 | watercolour and pencil on paper

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William Crimea Simpson
Chelsea Pensioners, 1836 (board)
1836 | oil on board

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William Crimea Simpson
The Trouble in Crete, Retimo, on...
1896 | lithograph

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William Crimea Simpson
Attack on the Malakoff, engraved...
1855 | colour lithograph

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William Crimea Simpson
Burning Temple of the Winds, 1856
1856 | watercolour on paper

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William Crimea Simpson
Consecration of the Restored Sch...
1892 | engraving

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Frequently Asked Questions about Meisterdrucke


Personalizing your art print at Meisterdrucke is a simple and intuitive process that allows you to design an artwork exactly to your specifications: Choose a frame, determine the image size, decide on a printing medium, and add suitable glazing or a stretcher frame. We also offer customization options such as mats, fillets, and spacers. Our customer service is available to help you design your perfect artwork.

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Choosing the medium is often a matter of personal taste. To give you a clearer idea, we have provided some images for each medium. For a holistic experience, we also offer you a sample set of all paper variants so you can make a decision not just visually but also haptically. You can take advantage of the sample set free of charge – only the shipping costs will apply. You can order the sample set directly.

Do not worry. At Meisterdrucke, we do not proceed mechanically. We manually review each order. If there are any inconsistencies or peculiarities in the configuration, we will immediately contact you. Of course, our courteous and patient support is always at your side to assist you with the configuration. Together with you, we adjust your image by phone or email so that the final result exactly meets your expectations.


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+43 4257 29415
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Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


Meisterdrucke

   Kärntner Strasse 46
        9586 Finkenstein am Faaker See
        Austria
        +43 4257 29415
        support@meisterdrucke.com
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9586 Finkenstein am Faaker See · Austria
+43 4257 29415 · office@meisterdrucke.com
Post.at DHL Express Quehenberger Cargoboard


               


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