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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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247 artworks found

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

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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 Admiralty, Sebastopol, plate...
1856 | hand coloured lithograph

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

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William Crimea Simpson
The Quarry Caverns, Jerusalem, 1...
1869 | watercolour and pencil on paper

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

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William Crimea Simpson
 
1856 | lithograph

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William Crimea Simpson
Mine of the Bastion du Mat, plat...
1856 | hand coloured lithograph

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William Crimea Simpson
The Chitpore Road, from 'India A...
1867 | colour lithograph

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William Crimea Simpson
 
1884 | watercolour

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

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William Crimea Simpson
Women Grinding Corn, from 'India...
1867 | 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
Head of the Harbour, Sebastopol,...
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 First Investiture of the Sta...
1863 | chromolithograph

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William Crimea Simpson
Public Library and Temple of the...
1856 | hand coloured lithograph

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

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William Crimea Simpson
The Blessing of the Suez Canal, ...
1869 | graphite and brown wash 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 Maristan or Mosque-Hospital ...
1882 | watercolour on paper

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William Crimea Simpson
Bahr el Khabeer or the Great Sea...
1870 | watercolour and pencil on paper

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

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

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William Crimea Simpson
'The Sealed Fountain' The Source...
1870 | watercolour and pencil on paper

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William Crimea Simpson
The Embarkation of the Sick at B...
1856 | colour lithograph

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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
Charge of the Heavy Brigade at t...
1854 | colour lithograph

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William Crimea Simpson
Oodypure, the Jugmunder Palace, ...
1867 | colour lithograph

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William Crimea Simpson
 
1856 | lithograph

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William Crimea Simpson
The River Chenab, Punjab, 1865 (...
1865 | watercolour and gouache on paper

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

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William Crimea Simpson
 
1854 | watercolour

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William Crimea Simpson
The Investiture of the Order of ...
1856 | hand coloured lithograph

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William Crimea Simpson
Russian Rifle Pit (now British),...
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
Charge of the Light Brigade unde...
1855 | lithograph

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William Crimea Simpson
Fallen Voussoir Robinson's Arch,...
Undated | watercolour and pencil on paper

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William Crimea Simpson
Salt Lake - Thibet, from 'India ...
1867 | colour lithograph

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

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William Crimea Simpson
The Sacred Rock, Jerusalem, 1887
1887 | pencil and watercolour heightened with white on paper

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William Crimea Simpson
Ditch of the Malakoff, plate fro...
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
Built up doorway in East Wall of...
1872 | watercolour and pencil on paper

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William Crimea Simpson
Balaclava, 25th October 1854: Th...
Undated | black and white lithograph

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William Crimea Simpson
The Charge of the Light Brigade ...
1855 | lithograph/watercolour

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

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

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William Crimea Simpson
The Crimea: Panoramic View of Se...
Undated | pencil and watercolour heightened with white

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William Crimea Simpson
The Embarkation of the Sick at B...
1856 | hand coloured lithograph

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William Crimea Simpson
The Battle of Alma, 1855 1909
1855 | lithograph

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

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William Crimea Simpson
The Ganges, 1863
1863 | Watercolor on paper

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William Crimea Simpson
The interior of the Redan taken ...
Undated |

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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
 
1855 | watercolour

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

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William Crimea Simpson
Oodypure, from 'India Ancient an...
1867 | colour lithograph

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William Crimea Simpson
Straits of Yenikale, plate from ...
1856 | hand coloured lithograph

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William Crimea Simpson
Balaklava looking towards the se...
1855 | 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
One of the Wards of the Hospital...
1856 | colour lithograph

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William Crimea Simpson
Charge of the Heavy Cavalry Brig...
1855 | 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 Hot Night in the Batteries, pl...
1856 | hand coloured lithograph

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William Crimea Simpson
The Field of Inkerman, plate fro...
1856 | hand coloured 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
 
Undated | watercolour

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William Crimea Simpson
Fallen Voussoir of Robinson's Ar...
1871 | watercolour and pencil on paper

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William Crimea Simpson
 
1855 | lithograph, coloured

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William Crimea Simpson
Boats on the Ganges, from 'India...
1867 | colour lithograph

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William Crimea Simpson
The fall of Sevastopol and the r...
Undated | black and white lithograph

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William Crimea Simpson
The Gate of Huldah the Prophetes...
1871 | watercolour and pencil on paper

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William Crimea Simpson
The Dewali or Festival of Lamps,...
1867 | colour lithograph

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William Crimea Simpson
 
Undated |

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William Crimea Simpson
A Hot Day in the Batteries, plat...
1856 | hand coloured lithograph

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William Crimea Simpson
Queen Victoria as an artist: Her...
Undated | lithograph

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

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William Crimea Simpson
Lucknow, from 'India Ancient and...
1867 | colour 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
View of the Vorontsovs Palace, 1855
Undated |

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William Crimea Simpson
Balaklava showing the state of t...
1855 | coloured lithograph

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William Crimea Simpson
Second Charge of the Guards at I...
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
The defence of Kars
Undated | lithograph

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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
Second charge of the Guards, whe...
Undated | black and white 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
?Cape Aiya. Looking North toward...
1855 | lithograph, coloured

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William Crimea Simpson
Lord Raglan?s Quarters before Se...
1854 | watercolour over pencil

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

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William Crimea Simpson
The Plains, Landour Church, Muss...
1884 | Watercolor on paper

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William Crimea Simpson
?Malakoff or round tower?, c.1855
1855 | lithograph, coloured tinted

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

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William Crimea Simpson
A Ward in the Hospital at Scutar...
1856 | colour lithograph

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William Crimea Simpson
The Great Wall of China, 1874 (w...
1874 | watercolour and pencil on paper

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Frequently Asked Questions about Meisterdrucke


Personalizing your art print at Meisterdrucke is simple and intuitive: Choose a frame, set the image size, pick a printing medium, and add suitable glazing or a stretcher frame. We also offer additional customization options like mats, fillets, and spacers. If you have any questions, our customer service team is ready to help you create your perfect artwork.

At Meisterdrucke, you can visualize your configured artwork directly in your own room. Simply upload a photo of your space and see how the artwork looks in it. If you're visiting us on a mobile device — phone or tablet — our augmented reality feature brings the picture to life and projects it right into your room. A unique experience that combines art and technology.

Choosing the right medium is often a matter of personal taste. To give you a better idea, we've provided some images for each medium. We also offer a sample set of all paper variants, so you can decide not just visually but by touch as well. You can order the sample set free of charge — only shipping costs apply.

Don't worry! At Meisterdrucke, we don't just process orders mechanically. Every order is manually reviewed by our team. If we spot any inconsistencies or issues with your configuration, we'll get in touch with you right away. And of course, our friendly and patient support team is always here to help you with your configuration. We'll work with you by phone or email to adjust your image so the final result is exactly what you had in mind.


Still have 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?

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

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


               

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