Russia.- Simpson (William) The Seat of War in the East, first edition, [comprising first- and second-series, tinted lithograph titles and 46 plates only (of 70), all disbound, occasional spotting and staining (most marginal), occasional marginal chipping and tearing, contemporary half morocco, broken, rubbed and worn, Paul & Dominic Colnaghi, 1855-56; sold as a collection of plates not subject to return
WILLIAM SIMPSON (BRITISH 1823-1899)GENERAL WYNDHAM'S CAMEL, LAHORE (RECTO); STUDIES OF A GOAT (VERSO)Pencil and watercolourVariously inscribed and dated General Wyndhams Camel/13 Feb 1860/Bactrian Surwar/Lahore (upper right)10 x 14.5cm (3¾ x 5½in.)
SIMPSON, WILLIAM (1823-1899) The Seat of War in the East. 2 vol in 1. London: Paul & Dominic Colnaghi & Co., 1855-1859, First edition The panorama of Sevastopol extremely rare. 69 of 80 pp.; 57x39.5 cm. Toned and coloured lithographs depicting battle scenes from the Crimean War, executed by artist and war correspondent William Simpson. Sheet with dedication to Her Majesty the Queen. Lithographs by E. Walker, Needham, W. Walton, A. Vinter, T. Dutton, E. Morin. In a contemporary half-leather binding, gilt spine, triple gilt edging. Good condition. Rubbing on the binding, foxing. Additionally bound in: Colour lithograph ‘Spring in Crimea’, two folding panoramas from the original Colnaga series. The first is hand-coloured, ‘The city and harbour of Sevastopol before the siege, taken from the watchtower in the centre of the city’ by Carlo Bossoli. The second is a panorama by E.T. Dolby, ‘Fortifications of Sveaborg and the city of Helsingfors, Russian fortresses on the Baltic Sea’ (the torn sheet has been glued back together). The panorama of Sevastopol (140 cm x 40 cm) is extremely rare. William Simpson (1823-1899) was a British battle painter and war correspondent of Scottish origin who, after the start of the Crimean War, was commissioned to create images reflecting the reality of the front lines during that period. Simpson arrived in Crimea on 15 November 1854 to record the events of the siege and storming of Sevastopol. During his stay at the front, he sent his watercolours to London, where Day & Son lithographers transferred them to stone. By 1855, two parts of the album had been published and were dedicated to Queen Victoria, the artist's main patron. Upon the buyer’s request, we are pleased to provide a general condition report for the Lot described above. However, as we are not professional conservators or restorers, we strongly advise prospective buyers to conduct their own inspection or consult a specialist or restorer of their choice for a comprehensive professional assessment. Any condition descriptions provided in the catalogue or through any correspondence are for guidance only and should not be considered a substitute for a firsthand evaluation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD ‘AS IS’ IN ACCORDANCE WITH THE GENERAL TERMS AND CONDITIONS OF SALE PUBLISHED IN THE CATALOGUE.
The Seat of War in the East. London: Paul & Dominic Colnaghi, 1855. First edition of this work, which Abbey (237) considers remarkable not only for its artistic and technical quality, but also as an example of illustrated war reporting. Simpson emerges here as a true forerunner of the war correspondent. During the Crimean War, he was sent by the publishers Colnaghi & Son to document the conflict. After covering the naval battles in the Baltic, he arrived in Balaklava in November 1854, where he produced detailed sketches of the war. These drawings, created during that harsh winter, were shown to Commander Lord Raglan, then sent back to England and presented to Queen Victoria by the Secretary of War, the Duke of Newcastle. First part only (of 2), folio (562 x 368mm). Lithographic title, an index leaf, 39 lithographic plates and 20 line drawings as key-legends of the scenes depicted; compared to the index, the plate "The scene of the night attack" is not present, replaced by "Highland brigade camp looking south" (loose plates, some marginal tears, some foxing and browning, some marginal restorations, some slight halos, a few plates with tiny holes). Contemporary quarter-calf, gilt title on spine and boards (some wear especially on spine, restored tear on endpaper). This lot is sold as described and is therefore not subject to return. IT The Seat of War in the East. Londra: Paul & Dominic Colnaghi, 1855. Prima edizione di quest'opera che Abbey (237) considera notevole, non solo dal punto di vista artistico e tecnico, ma anche come reportage illustrato: Simpson infatti si impone come un vero e proprio precursore del corrispondente di guerra. Durante la Guerra di Crimea, infatti, fu inviato dai tipografi Colnaghi & Son per documentare i combattimenti e, dopo aver seguito le battaglie navali nel Baltico, arrivò a Balaklava nel novembre 1854, dove realizzò schizzi dettagliati della guerra. I suoi disegni, frutto di quel duro inverno, furono mostrati al comandante Lord Raglan, poi inviati in patria e presentati alla regina Vittoria dal ministro della guerra, il duca di Newcastle. Solo prima parte (di 2), folio (562 x 368mm). Frontespizio litografico, una carta di indice, 39 tavole litografiche e 20 disegni a linea come chiavi-legenda delle scene raffigurate; rispetto all'indice, non è presente la tavola "The scene of the night attack", sostituita da "Highland brigade camp looking south" (tavole sciolte, alcuni strappetti marginali, alcune fioriture e bruniture, alcuni restauri marginali, alcuni lievi aloni, poche tavole con minuscoli forellini). Dorso in pelle coeva, titolo in oro al dorso e ai piatti (segni di usura soprattutto al dorso, strappo restaurato alla sguardia). Il presente lotto si vende come descritto e non è pertanto passibile di storno.
Simpson (William) Shikare and Tomasha. A Souvenir of the Visit of H.R.H. the Prince of Wales to India, first edition, 12 mounted photographs of drawings by Simpson, a little faded at edges, original decorated cream boards, gilt, rubbed and soiled, a couple of small stains to edge of upper cover, spine neatly repaired, oblong folio, 1876. ⁂ The artist William Simpson accompanied H.R.H. the Prince of Wales during his tour of India in the winter of 1875-76 on behalf of the Illustrated London News, who published a number of his drawings and sketches. In May 1876 the original sketches were exhibited for sale at the Burlington Gallery, Piccadilly. A number, including the twelve reproduced here, were purchased by the Prince and Princess of Wales. The subjects include several big-game hunts on elephant or horseback, receptions and entrances to cities, and receiving the survivors of Lucknow. Both Library Hub and WorldCat record only 3 copies (BL, Cambridge, National Library of Scotland).
School of J. M. W. Turner (1775-1851). "Edom". Watercolor on paper possibly preparatory for Finden's 'Landscape Illustrations of the Bible',1834-36. Pencil title: "Entrance to Petra". 6 7/8" x 5 1/4" sheet. Previously attributed to William Simpson (1823-1899) and Thomas Allom (1804-1872).
Central Asia.- Crimean War.- Simpson (William) The Seat of War in the East... First Series [&] Second Series, 2 vol., first edition, tinted lithographed titles and 79 plates, lithographed dedication vol. 1, plate guards, some captioned, map of the Seat of War dated 1876 and photographs loosely inserted (one laid on paper), scattered foxing and surface soiling, a few small marginal tears, hinges reinforced with tape, contemporary plum morocco, gilt, spine gilt in compartments, spines very slightly faded, corners and spine ends rubbed and bumped, a few surface marks, [Abbey, Travel 237], folio, Paul & Dominic Colnagh, 1855-56. ⁂ A handsome set.
SIMPSON WILLIAM (1823-1899) The Seat of War in the East. First and second series, 2 vol in 1. London: 1855-1856. First edition 69 of 80 pp.; 57x39.5 cm. Toned and coloured lithographs depicting battle scenes from the Crimean War, executed by artist and war correspondent William Simpson. Sheet with dedication to Her Majesty the Queen. Lithographs by E. Walker, Needham, W. Walton, A. Vinter, T. Dutton, E. Morin. In a contemporary half-leather binding, gilt spine, triple gilt edging. Good condition. Rubbing on the binding, foxing. Additionally bound in: Colour lithograph ‘Spring in Crimea’, two folding panoramas from the original Colnaga series. The first is hand-coloured, ‘The city and harbour of Sevastopol before the siege, taken from the watchtower in the centre of the city’ by Carlo Bossoli. The second is a panorama by E.T. Dolby, ‘Fortifications of Sveaborg and the city of Helsingfors, Russian fortresses on the Baltic Sea’ (the torn sheet has been glued back together). The panorama of Sevastopol (140 cm x 40 cm) is extremely rare. William Simpson (1823-1899) was a British battle painter and war correspondent of Scottish origin who, after the start of the Crimean War, was commissioned to create images reflecting the reality of the front lines during that period. Simpson arrived in Crimea on 15 November 1854 to record the events of the siege and storming of Sevastopol. During his stay at the front, he sent his watercolours to London, where Day & Son lithographers transferred them to stone. By 1855, two parts of the album had been published and were dedicated to Queen Victoria, the artist's main patron. Upon the buyer’s request, we are pleased to provide a general condition report for the Lot described above. However, as we are not professional conservators or restorers, we strongly advise prospective buyers to conduct their own inspection or consult a specialist or restorer of their choice for a comprehensive professional assessment. Any condition descriptions provided in the catalogue or through any correspondence are for guidance only and should not be considered a substitute for a firsthand evaluation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD ‘AS IS’ IN ACCORDANCE WITH THE GENERAL TERMS AND CONDITIONS OF SALE PUBLISHED IN THE CATALOGUE. Upon the buyer’s request, we are pleased to provide a general condition report for the Lot described above. However, as we are not professional conservators or restorers, we strongly advise prospective buyers to conduct their own inspection or consult a specialist or restorer of their choice for a comprehensive professional assessment. Any condition descriptions provided in the catalogue or through any correspondence are for guidance only and should not be considered a substitute for a firsthand evaluation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD ‘AS IS’ IN ACCORDANCE WITH THE GENERAL TERMS AND CONDITIONS OF SALE PUBLISHED IN THE CATALOGUE. 69 of 80 pp.; 57x39.5 cm. Toned and coloured lithographs depicting battle scenes from the Crimean War, executed by artist and war correspondent William Simpson. Sheet with dedication to Her Majesty the Queen. Lithographs by E. Walker, Needham, W. Walton, A. Vinter, T. Dutton, E. Morin. In a contemporary half-leather binding, gilt spine, triple gilt edging. Good condition. Rubbing on the binding, foxing. Additionally bound in: Colour lithograph ‘Spring in Crimea’, two folding panoramas from the original Colnaga series. The first is hand-coloured, ‘The city and harbour of Sevastopol before the siege, taken from the watchtower in the centre of the city’ by Carlo Bossoli. The second is a panorama by E.T. Dolby, ‘Fortifications of Sveaborg and the city of Helsingfors, Russian fortresses on the Baltic Sea’ (the torn sheet has been glued back together). The panorama of Sevastopol (140 cm x 40 cm) is extremely rare. William Simpson (1823-1899) was a British battle painter and war correspondent of Scottish origin who, after the start of the Crimean War, was commissioned to create images reflecting the reality of the front lines during that period. Simpson arrived in Crimea on 15 November 1854 to record the events of the siege and storming of Sevastopol. During his stay at the front, he sent his watercolours to London, where Day & Son lithographers transferred them to stone. By 1855, two parts of the album had been published and were dedicated to Queen Victoria, the artist's main patron. À la demande de l'acheteur, nous nous ferons un plaisir de fournir un rapport général sur l'état du lot décrit ci-dessus. Toutefois, comme nous ne sommes pas des conservateurs ou des restaurateurs professionnels, nous conseillons vivement aux acheteurs potentiels de procéder à leur propre inspection ou de consulter un spécialiste de leur choix pour obtenir une évaluation complète de l'état du lot. Les descriptions des objets fournies dans le catalogue ou par correspondance sont données à titre indicatif uniquement et ne sauraient être considérées comme une évaluation définitive. NONOBSTANT LE PRÉSENT RAPPORT OU TOUTE DISCUSSION CONCERNANT UN LOT, TOUS LES LOTS SONT PROPOSÉS ET VENDUS ‘EN ÉTAT’, CONFORMÉMENT AUX CONDITIONS GÉNÉRALES DE VENTE PUBLIÉES DANS LE CATALOGUE. 69 sur 80 pages ; 57 x 39,5 cm. Lithographies colorées représentant des scènes de bataille de la guerre de Crimée, réalisées par l'artiste et correspondant de guerre William Simpson. Feuille avec dédicace à Sa Majesté la Reine. Lithographies de E. Walker, Needham, W. Walton, A. Vinter, T. Dutton, E. Morin. Reliure contemporaine en demi-cuir, dos doré, triple tranche dorée. Bon état. Frottements sur la reliure, rousseurs. Reliure supplémentaire : lithographie en couleurs ' Spring in Crimea ', deux panoramas pliants de la série originale Colnaga. Le premier est colorié à la main, ' La ville et le port de Sébastopol avant le siège, vu depuis la tour de guet au centre de la ville ' par Carlo Bossoli. Le second est un panorama par E.T. Dolby, ' Fortifications de Sveaborg et de la ville de Helsingfors, forteresses russes sur la mer Baltique ' (la feuille déchirée a été recollée). Le panorama de Sébastopol (140 cm x 40 cm) est extrêmement rare. William Simpson (1823-1899) était un peintre de guerre et correspondant de guerre britannique d'origine écossaise qui, après le début de la guerre de Crimée, fut chargé de créer des images reflétant la réalité du front pendant cette période. Simpson est arrivé en Crimée le 15 novembre 1854 pour immortaliser les événements du siège et de la prise de Sébastopol. Pendant son séjour au front, il a envoyé ses aquarelles à Londres, où les lithographes Day & Son les ont transférées sur pierre. En 1855, deux parties de l'album avaient été publiées et étaient dédiées à la reine Victoria, principale mécène de l'artiste.
Central Asia.- Crimean War.- Simpson (William) The Seat of War in the East... First Series [&] Second Series, 2 vol., first edition, tinted lithographed titles and 79 plates, lithographed dedication, plate guards, a few in vol 2 lacking, some foxing occasionally to plates though mostly marginal, occasional light finger-soiling to margins and some corner creasing, contemporary ink ownership signature to front free end papers, contemporary green half morocco, some splitting to joints, some bumping and wear to spine ends and corners, covers and spine rubbed and darkened, g.e., [Abbey, Travel 237], folio, Paul & Dominic Colnagh, 1855-56.
William Simpson (1823-1899) "A Tartar Village" Watercolor and pencil on paper. Signed, inscribed, and dated 'Fountain with Girl washing clothes / Tartar Village of Warnoutska - Crimea / Wm. Simpson 1858' (lower left and lower right). Provenance: Christie's London, South Kensington, Travel, Science & Natural History, 10 October 2013, Lot 230.
WILLIAM SIMPSON (Scottish, 1823 - 1899) Country scene, watercolour, signed and dated 1842 at lower right, 22 x 33cm. Simpson was sent to cover the Crimean War with artworks to be published in English periodicals. He had a number of royal commissions and many of his works are held by the Victoria & Albert Museum.
WILLIAM SIMPSON (BRITISH, 1823-1899) WILLIAM SIMPSON (BRITISH, 1823-1899) Mount Ida, Island of Crete (1869) signed, titled and dated 'Mount Id, Island of Crete, Greece, W Simpson, Jan 1869' (lower left) watercolour over pencil, heightened with white 27 x 42 cm. (10 5/8 x 16 1/2 in.) Provenance With Karen Taylor Fine Art, 44 Bassein Park Road, London
Attributed William Simpson (1823 - 1899), "The spot where The Emperor Napoleon III delivered himself up to the King of Prussia 2nd September 1870", pen and ink wash on paper, annotated William Simpson 12th September 1870, 43cm x 13.5cm, framed
Simpson (William) The Seat of the War in the East, first edition, 2 vol., first edition, [comprising first- and second-series], tinted lithograph titles, 79 tinted lithographs, plate-guards, faint marginal spotting, original cloth, rebacked with green calf, title in gilt to upper covers, vol. 2 with abrasion mark to upper cover, a little rubbed, bumping to corners, housed in modern dropback box, [Abbey, Travel 237], folio, Paul & Dominic Colnaghi, 1855-56
SIMPSON, William (1923-1899). A Mani or Praying Wheel, Soonum, Himalayas. Pencil, pen and grey ink, grey wash, heightened with white on paper. Signed lower right "Wm Simpson" and inscribed lower left "Praying Wheel at Soonum". 10 1/2" x 8 1/4" visible, 19 1/2" x 17" framed. Provenance: With Hartnoll & Eyre, London; Christie's London, June 1997, Lot 147. A finished watercolour of this subject was exhibited at the Fine Art Society, London, Mr William Simpson of the Illustrated London News, Pioneer War Artist 1823-1899, 8 June-4 July 1987, no.79. In 1861 Simpson embarked on his second Himalayan tour. After a dramatic journey from Agra to the source of the Ganges, where Simpson and his party had to fight through rain, snow and a flooded river, they arrived at the Manja Kanta Pass at some 13,000 feet, where many of the party suffered from snow blindness. Once they had made their way over the Roopin Pass, said to be as high as Mont Blanc, they finally arrived at Soonum. At Soonum, Simpson was fascinated by the variety of praying machines, some of which were driven by water. From Soonum they rejoined the route to China and crossed the Parung and Tanglung Passes at 18,000 feet. Simpson continued to wander the Himalayas until recalled by Lord Canning to Allahabad in early November.
WILLIAM SIMPSON (BRITISH 1823-1899) THE SOLITARY SURVIVOR Signed, inscribed ‘Dr. Brydon as he arrived at Jellalabad, 19th Jan. 1842’ further inscribed on contemporary label verso (see note) and dated 1879, watercolour 31cm x 41cm (12.25in x 16in) Note: A contemporary label to the backboard reads: 'This drawing has been done from descriptions given on the spot, in January 1879, by Major Bailey, 4th Bat. Rifle Brigade - who saw Dr. Bryden as he came into Jellalabad on the 13th Jan.1842 - Major Bailey served at that time in the 'Illustrious Defence of Jellalabad under Sir Robert Sale and was again in active service at the same place in the late War. The landscape shows part of the walls of Jellalabad with the Caboo Gate and the Ram Koond Mountain nearly 18000 feet high. Sketched on the spot in Jan. 1879. Price 35 guineas.
Simpson, William The Seat of the War in the East London: P. & D. Colnaghi, 1855-56. First edition, 2 volumes in one [First & Second Series], folio, 55.5 x 35.5cm, lithographed pictorial titles and 79 tinted lithographed plates, occasional spotting, mostly light, occasional slight marginal dust-soiling, plate 11 in part 1 and plate 20 in part 2 torn without loss (9cm and 19cm tear respectively), lithographed pictorial caption guards, occasional dampstains, contemporary maroon half morocco gilt, morocco gilt lettering piece to upper cover, spine gilt in compartments, g.e., rubbed
Russia.- Simpson (William) The Seat of the War in the East, 2 vol., first edition, comprising first- and second-series, tinted lithograph titles, 79 tinted lithographs, tissue-guards (some captioned), occasional marginal spotting and water-staining, not affecting images, chipping to edges of some text ff., previous owner's ink signature and bookseller's label to front pastedown, gutta percha perished with plates and text ff. loose or becoming so, contemporary morocco-backed boards, a little rubbed, bumping to corners and extremities, [Abbey, Travel 237], folio, Paul & Dominic Colnaghi, 1855-56. *** Provenance: Inscribed to Lady Buchan, and dated ?Jan [18]57. Label of Messrs Fores Repository of Works of Art.
This two volume set is William Simpson's Sketches at the Sea of War in the East. The work was published in London by Paul & Dominic Colnaghi & Co. between 1855 and 1856. The volumes, which detail the Crimean War, feature 81 lithographs and is bound in original half red morocco. It is the first and second series complete with dedication and lists of plates and features original hand-coloring. William Simpson (1823–1899) was a Scottish artist, war artist and war correspondent. The Crimean War was one of the first wars documented extensively in written reports, drawings, and some photographs. Simpson helped cover this war, which was the first time Britain was able to follow the day to day realities. “These plates are indeed an impressive piece of work, not only artistically and technically, but also as pictorial reporting. Simpson must in this way rank as an early war correspondent.” (Abbey) “After the Crimean war broke out Simpson was engaged upon views of the Baltic battles for Colnaghi & Son; and when that firm decided to publish a large illustrated work on the Crimean campaign from sketches made on the spot, Simpson was selected for the work on Day’s recommendation. He started on short notice, arrived at Balaclava in November 1854, and remained with the British army till the fall of Sebastopol. Simpson was thus the pioneer war-artist, and received several commissions to paint incidents in the war for the queen. The Seat of War in the East was published in two volumes by Colnaghi in 1855-6, and is still regarded as a brilliant example of lithographic work.” (DNB)
Simpson (William) The Seat of War in the East, First & Second Series, 2 vol. in 1, lithographed vignette titles, lithographed dedication and 79 tinted lithographed plates, all with tissue guards, several with printed key to plate, first title a little soiled and damp-stained, some plates with light marginal soiling or water-staining but images clean, a few with plate number shaved, plate 22 of First Series and plate 1 of Second previously removed for framing but remounted on stubs (captions a little browned, key to first cut out from tissue), contemporary half red morocco, spine gilt, rubbed and stained, spine ends and corners repaired, large [Abbey, Travel 237], folio, Paul & Dominic Colnaghi & Co., 1855-56.
After William Simpson (1823- 1899), a set twenty prints from 'The Seat of the War in the East' comprising, Bastion Du Mat, from the Central Bastion; The Cavalry Affair of the Heights of Bulganak, The First Gun; Sketch in the Interior of the Mamelon Vert, Looking South; Sebastopol from the rear of Fort Nicholas, Looking South; Camp of the 3rd Division; The Town Batteries or Interior Fortifications of Sebastopol; Cape Aiya, Looking North towards Balaklava; Camp of the 4th Division, July 15th 1855; Sebastopol from the 26 Gun Battery on the Extreme Right of French Attack; The North Side of the Harbour of Sebastopol, from the top of the Harbour, 22nd June 1855; Public Library and Temple of the Winds; The Investiture of the Order of the Bath, at the Head Quarters of the British Army before Sebastopol; Redan and Advanced Trenches of British Right Attack; Burning of the Government Buildings at Kertch; Charge of the Heavy Cavalry Brigade, 25th October 1854; Commissariat Difficulties, The road from Balaklava to Sevastopol at Kadikoi, during the wet weather; Huts and Warm Clothing for the Army; Cavalry Camp, July 9th 1855; Kertch from the North; Church of St Peter and St Paul, published 1856 Colnaghi's Authentic series, coloured lithographs, images approximately 27 x 44 cm, each framed and glazed 39.5 x 57 cm Qty: (20)
WILLIAM SIMPSON (ENGLISH 1823 - 1899)TWO EGYPTIAN VIEWS AT NIGHTWatercolour heightened with white on buff paperThe first signed, inscribed and dated '1878' (lower left)10.5 x 16.5cm (4 x 6¼ in.) (2)Provenance:Christie's South Kensington, The Scottish Sale, 14 March 2006, lot 60 (sold with three views in the lot), where purchased by Robert Kime
WILLIAM SIMPSON (GLASGOW 1823-1899 LONDON) Property from a Private English Collection WILLIAM SIMPSON (GLASGOW 1823-1899 LONDON) A British soldier in a cave during the Crimean War signed and dated W. Simposon April 1855 (lower left) watercolour and bodycolour, heightened with white, over traces of pencil 27 x 44 cm PROVENANCE: Sotheby's, Lot 134, 13.11.1997 William Simpson was born in Glasgow in 1823 and began his artistic career as an apprentice lithographer. He moved to London in 1851. In 1854, shortly after the outbreak of the Crimean War, he was commissioned to create a drawing of the city of Sebastopol under siege. However, he was unable to find any source material to work from, as no British artist had ever been to Sebastopol to sketch it first-hand. The lithography firm Colnaghi and Co. approached Simpson and asked if he would like to make the trip. He accepted, and arrangements were made for him to accompany the British Army to Crimea. Simpson produced hundreds of first-hand sketches of the people and places he encountered on his travels. He became one of Britainâs very first war artists, earning himself the nickname âCrimean Simpsonâ.
WILLIAM SIMPSON (BRITISH 1823 - 1899) WILLIAM SIMPSON (BRITISH 1823 - 1899) Praying wheels at Soonum inscribed Praying- Wheels at Soonum (lower left) and To S.R. Hutt from W.m Simpson. 10th NOV. 1896. (lower right) watercolour 34 x 24.2 cm These praying wheels appear as fig. 2 of in Simpson's book The Buddhist praying-wheel (published in 1896). William Simpson (1823 - 1899) was a distinguished watercolourist and war artist. Having established his reputation by documenting the Crimean war in 1854, Day and Sons, the London lithography firm, commissioned him to sketch well-known sites in and around Delhi associated with the Revolt of 1857 by Indians against the rule of the British East India Company. Simpson arrived in Calcutta (Kolkata) in 1859 and travelled widely. His rapid pencil drawings formed the preparatory studies for his finished watercolours done after his return to London in 1862. His detailed journal, sketches and pictures from India resulted in final highly coloured, evocative, and romantic interpretations of the landscape and architecture.
Crimea.- Simpson (William) The Seat of War in the East, First Series, tinted lithograph frontispiece and 40 plates, each with key plate, foxing, mostly marginal, bookplate, contemporary half calf, scratched, spine in compartments with raised bands, edges gilt, Paul and Dominic Colnaghi, folio, 1855.
SIMPSON, William (1823-1899). Sardis, Turkey. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5 1/4" x 6 3/4" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Temple of the Broken Statue of Memnon at Thebes. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5 1/4" x 6 7/8" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Ruins and City of Thebes, Egypt. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 1/2" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). The Mountains of Lebanon. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 3/4" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Entrance to Petra. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 6 7/8" x 5 1/4" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Entrance to Petra, or Edom. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 6 7/8" x 5" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Temple of Petra. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5 3/4" x 6 3/4" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). The Street of Grief, Jerusalem. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 6" x 4 3/4" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). Tomb of Absalom, Jerusalem in the distance. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 1/2" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom").
SIMPSON, William (1823-1899). The City of Tiberias, and the Sea of Galilee. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 5/8" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). Attribution to William Simpson is based on stylistic grounds (see Bonhams, London: April 29, 2003, lot 40 watercolor of the Great Wall) and technical findings including J Whatman watermarked paper also found in signed watercolor album sold at Christie's: London, October 4, 1999, lot 106 (see "A Ruined Temple & the Broken Statue of Memnon at Thebes" watercolor with identical provenance). Remembered as a war artist in the Crimean War, William Simpson documented the battle of Sebastopol for lithographers Day & Son in 1855, before joining the British Army as a camp follower in Abyssinia and covering the Franco-German War in 1870. In 1869, Simpson was commissioned to sketch the opening of the Suez Canal for the Illustrated London News. During the same time he visited Jerusalem on behalf of the Palestine Exploration Fund to record the excavations of Charles Warren. The present watercolor may be situated within the context of Simpson's archeological interest in Classical Antiquity. From a set of 15 views formerly preserved in red and gilt leather album.
SIMPSON, William (1823-1899). The Walls of Jerusalem. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 1/2" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). A panoramic view of Jerusalem showing the Eastern wall and the Dome of the Rock with a pastoral gathering in the foreground. Highly-finished watercolor from a set of 15 views formerly preserved in red and gilt leather album, maybe intended as a souvenir or for publication. Attribution based on stylistic proximity to Simpson's late period (compare Bonhams, London: April 29, 2003, lot 40 watercolor of the Great Wall) and material evidence including paper watermark "J Whatman" (see "A Ruined Temple & the Broken Statue of Memnon at Thebes" from the same set) matching characteristics of signed watercolor album sold at Christie's: London, October 4, 1999, lot 106. Remembered as a war artist in the Crimean War, William Simpson documented the battle of Sebastopol for lithographers Day & Son in 1855, before joining the British Army as a camp follower in Abyssinia and covering the Franco-German War in 1870. In 1869, Simpson was commissioned to sketch the opening of the Suez Canal for the Illustrated London News. During the same time he visited Jerusalem on behalf of the Palestine Exploration Fund to record the excavations of Charles Warren. It is tempting to situate the present watercolor within the context of Simpson's archeological interest in Classical Antiquity.
SIMPSON, William (1823-1899). Tomb of the Sons of David. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 6 1/4" x 5" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). View of the rotunda and Aedicula enclosing the Holy Sepulchre, showing large sail with the Jerusalem cross, groups of pilgrims (Franciscan monks) and locals conversing with a (Jesuit?) priest wearing a white cassock with the Christogram in the right foreground. A rendering of the Aedicula and its surroundings in their 19th-century appearance (a fire ravaged the rotunda in 1808) with the chapel's Osmanic Baroque-style decoration and massive candelabra. The perspective is vaguely reminiscent of David Roberts's lithograph of the same subject. Formerly part of a set of 15 watercolors ascribable to the war artist William Simpson on material evidence and stylistic grounds (cf. Bonhams, London: April 29, 2003, lot 40 watercolor of the Great Wall).
SIMPSON, William (1823-1899). Temple Excavated out of the Solid Rock at Petra. Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5 3/4" x 7" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). A sunset view of the archeological city of Petra in southern Jordan showing the rock tombs behind the Treasury at the foot of the mountain en-Nejr and its stone theatre embedded within rose-colored mountain walls. Pictorial representations of Petra date back to the explorations of Léon de Laborde and Linant Pasha (Linant de Bellefonds) in 1828. The narrative and lithographs of David Roberts further modeled a Romanticized vision of Petra during the Victorian Age which it is tempting to connect with Simpson's markedly serene rendition of the ancient city. Attribution to William Simpson is based on stylistic grounds (see Bonhams, London: April 29, 2003, lot 40 watercolor of the Great Wall) and technical findings including J Whatman watermarked paper also found in signed watercolor album sold at Christie's: London, October 4, 1999, lot 106 (see "A Ruined Temple & the Broken Statue of Memnon at Thebes" watercolor with identical provenance). Remembered as a war artist in the Crimean War, William Simpson documented the battle of Sebastopol for lithographers Day & Son in 1855, before joining the British Army as a camp follower in Abyssinia and covering the Franco-German War in 1870. In 1869, Simpson was commissioned to sketch the opening of the Suez Canal for the Illustrated London News. During the same time he visited Jerusalem on behalf of the Palestine Exploration Fund to record the excavations of Charles Warren. The present watercolor may be situated within the context of Simpson's archeological interest in Classical Antiquity. From a set of 15 views formerly preserved in red and gilt leather album.
SIMPSON, William (1823-1899). Mount Ararat (Wrongly inscribed "Tomb of Absalom, Jerusalem & Gileam in the far & middle Distance, from the Brook Kedren" on verso of matting.) Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 5" x 6 3/4" Sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). View of the Ararat Plain with Mount Ararat in the background. Bedouin caravan descending towards a tent in the middleground. A view of the Biblical mountain considered the resting place of Noah's Ark. Rainbow framing the mountain summit as memento of the covenant between God and Noah (Genesis 9:13-14: "I have set my rainbow in the clouds, and it will be the sign of the covenant between me and the earth. Whenever I bring clouds over the earth and the rainbow appears in the clouds I will see it and remember the everlasting covenant between God and all living creatures of every kind on the earth.") A watercolor from a set of 15 views formerly preserved in red and gilt leather album. Attribution to William Simpson is based stylistic grounds and material evidence, including the J Whatman watermarked paper (see "A Ruined Temple & the Broken Statue of Memnon at Thebes" from the same set) matching characteristics of signed watercolor album sold at Christie's: London, October 4, 1999, lot 106.
SIMPSON, William (1823-1899). Tombs of the Kings, Jerusalem (Mistakenly inscribed "The Mountains of Lebanon above Jaffa" on verso). Watercolor and pencil on paper laid down on tinted paper mat. Ca. 1869. 7" x 5 1/2" sheet. Provenance: Parker Fine Art Auctions, Farnham, Surrey: November 26, 2020 (Lot 10, ascribed as "Circle of Thomas Allom"). View of the rock-cut Tombs of the Kings (actually Tomb of Queen Helena of Adiabene) north of Jerusalem's city walls, traditionally believed to be the burial place of the Judean Kings. Romanticized view of the rectangular tomb entrance with its carved architrave, triglyphs, and frieze decoration consistent with 19th-century iconography (see David Roberts's "Entrance to the Tomb of the Kings" or Lemaitre and Cassas's 1845 engraving of the same subject). William Simpson visited Jerusalem on behalf of the Palestine Exploration Fund and recorded the archeological work of Charles Warren before traveling to document the opening of the Suez Canal in 1869.
Attributed to William Simpson (1823-1899) Portrait study of Ahmad Khan inscribed 'Cabool [Kabul] Horse Merchant, 5th August 1861' watercolour and pencil on paper 17.2 x 11.5cm; together with A portrait by another hand thought to be of Mohammad Abdulla, assassin of Judge John Paxton Norman, Calcutta, 1871 watercolour on paper, oval 12 x 9.5cm (2)
William Simpson signed watercolor [Chapel of the Invention of the Cross, Jerusalem]. Signed and dated 1871. Measures 14-in. x 10.25-in. EX condition. Unframed, loose and not glued or mounted. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
* Simpson (William, 1823-1899). Sebastopol from the Greek Battery, circa 1855, & 2 others similar Simpson (William, 1823-1899). Sebastopol from the Greek Battery, circa 1855, watercolour with white bodycolour and black crayon on buff paper, signed lower left, full height crease towards right side, narrow mount stain to left edge, mounted on card, with ink manuscript title, approximately 17.7 x 30.8 cm (7 x 12 1/8 ins), window mounted, framed and glazed (38 x 50 cm), together with: Yalta, circa 1855, watercolour with white bodycolour on paper, signed lower right, few tiny spots, minor adhesion to lower left corner, mount aperture 16 x 25.7 cm (6 1/4 x 10 ins), mount with adhered ink manuscript title, framed and glazed (26.5 x 37.5 cm), plus: Inkerman, City of Caverns, circa 1855, watercolour with white bodycolour on paper, few minor spots or faint marks, mount aperture 19.8 x 30.3 cm (7 3/4 x 11 7/8 ins), mount with adhered ink manuscript title, framed and glazed (31.5 x 39.5 cm), (none examined out of frames) QTY: (3)
Simpson (William, 1823-1899). Rock cut tomb, Ancient Kherson, Crimea, 1869 Simpson (William, 1823-1899). Rock cut tomb,Ancient Kherson, Crimea, 1869, pen and ink and pencil and monochrome wash en grisaille with a few bodycolour highlights on thin light buff card, titled, signed and dated to upper margin, 16 x 26 cm, framed and glazed QTY: (1) NOTE: Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
Simpson (William, 1823-1899). Monument at the Salient of the Redan Simpson (William, 1823-1899). Monument at the Salient of the Redan, Crimea, 1869, pen and ink and watercolour en grisaille with touches of white highlighting on thin card, titled, signed and dated to lower area of image centre and right, a little minor spotting evident in the sky area, 18 x 27 cm, framed and glazed QTY: (1) NOTE: Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
Simpson (William, 1823-1899). Balaklava, Crimea, April 1869, pen and ink and monochrome wash Simpson (William, 1823-1899). Balaklava, Crimea, April 1869, pen and ink and monochrome wash with some bodycolour highlights on thin buff card, some spotting and a little damp-staining to upper sky area right and lower margin right, titled, signed and dated lower right, 24 x 39.5 cm, framed and glazed QTY: (1) NOTE: Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
![Central Asia.- Crimean War.- Simpson (William) The Seat of War in the East... First Series [&] Second Series, 2 vol., first edition, Paul & Dominic Colnagh, 1855-56.](https://image.invaluable.com/housePhotos/Forum-Auctions/00/804000/H20198-L422634019.jpg)
![Central Asia.- Crimean War.- Simpson (William) The Seat of War in the East... First Series [&] Second Series, 2 vol., first edition, Paul & Dominic Colnagh, 1855-56.](https://image.invaluable.com/housePhotos/Forum-Auctions/93/795293/H20198-L409521314.jpg)
