SIMPSON, William

The Seat of War in the East.

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Colnaghi, 1855- London, 1856. Two volumes, folio, lithographed title and dedication, and 39 tinted or coloured lithographs and 20 sketch keys in the first part and lithograph title and 40 tinted or coloured lithographs and 16 sketch keys in the second part - a total of 81 plates (the title of the second part is plate 37) and 36 sketch keys; a particularly good copy in contemporary half crimson hardgrain morocco, matching cloth sides (stamped with the Spottiswoode crest), all edges gilt. First edition of this pioneering work of war art. In 1851 William Simpson moved to London and joined Day and Sons, the first London house to use pictorial lithography. Although he had served his apprenticeship in Glasgow, the techniques were so different, and standards so high, that Simpson felt that he had learnt his profession over again.

On Day's recommendation, he was selected to cover the Crimean War, and arrived at Balaclava in November 1854. He immediately set to work on the illustrations that would establish his reputation. His wonderful depictions included highly detailed views of the military actions as well as the people and places of the region. In muted colours, Simpson managed to demonstrate the cycle of boredom and terror that we have come to recognise as warfare. Abbey confirms: 'These plates are indeed an impressive piece of work, not only artistically and technically, but also as pictorial reporting...'. Indeed, the rare quality of his images was such that Queen Victoria commissioned him to paint several pieces illustrating the conflict.

Simpson's career culminated in the publication of his India ancient and modern in 1867. He had spent three years touring India, and four subsequent years developing his sketches into watercolours. By 1866 he had delivered two hundred and fifty images to Day and Sons. Heartbreakingly, the firm declared bankruptcy and his work was retained as property of the firm. The publication of the book was bittersweet for Simpson, not least because it contained only fifty of his images. Its proper publication would, no doubt, have resulted in a work on a par with both Hodges and the Daniells.

This is a fine copy in its original binding.
Godrej and Rohatgi, pp. 98-9; Lipperheide, 2121.

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