Pinckney MARCIUS-SIMONS (New York, 1867 - Bayreuth, 1909) Sunset with the Wallace pump and the Bagatelle terraces; Paris Oil on canvas (Original canvas) Signed 'P. MARCIUS SIMONS' lower left No frame Sunset with the Wallace pump and the Bagatelle terraces, oil on canvas, signed, by P. Marcius-Simons 36.81 x 48.03 in. 93.5 x 122.0 cm Provenance: Gérard Lévy Collection ; Then by descent Born in New York, Marcius-Simons moved to Paris as a young man, where he studied under Jehan-Georges Vibert, before enjoying some success at the Salon from 1892 onwards as a painter of history and genre scenes. Influenced for a time by Laurence Alma Tadema and Richard Wagner, he favoured symbolist subjects and took part in the Salons de la Rose+Croix from 1893 to 1897. With his gradually freer and more fragmented brushstrokes, his works convey a singular atmosphere imbued with Wagnerism. At the turn of the century, the artist undertook a major series illustrating Parsifal, which drew praise from Louis Vauxcelles: "The only influences I can see in this mysterious painting are the golden twilights of Claude Lorrain; the blazes and fires of Turner; the figures would readily resemble those of Gustave Moreau, whose "peacock's breast blues" and intense purples Marcius Simons is fond of; and the design of certain faces may also evoke the Anglo-Saxon type of Burne Jones's ephebes. Despite these memories, Marcius Simons is a personal young master, aware of his strength, and rightly proud of his fierce isolation<a href="about:blank" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>." <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Vauxcelles, Louis, "Petites visites", Gil Blas, 1 December 1903, p. 1. Pinckney MARCIUS-SIMONS (New York, 1867 - Bayreuth, 1909) 93.5 x 122.0 cm Born in New York, Marcius-Simons moved to Paris as a young man, where he studied under Jehan-Georges Vibert, before achieving a certain success at the Salon from 1892 onwards as a painter of history and genre scenes. Influenced for a time by Laurence Alma Tadema and Richard Wagner, he favoured symbolist subjects and took part in the Salons de la Rose+Croix from 1893 to 1897. With his gradually freer and more fragmented brushstrokes, his works convey a singular atmosphere imbued with Wagnerism. At the turn of the century, the artist undertook a major series illustrating Parsifal, which drew praise from Louis Vauxcelles: "The only influences I can see in this mysterious painting are the golden twilights of Claude Lorrain; the blazes and fires of Turner; the figures would readily resemble those of Gustave Moreau, whose "peacock's breast blues" and intense purples Marcius Simons is fond of; and the design of certain faces may also evoke the Anglo-Saxon type of Burne Jones's ephebes. Despite these memories, Marcius Simons is a personal young master, aware of his strength, and rightly proud of his fierce isolation<a href="about:blank" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>." <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Vauxcelles, Louis, "Petites visites", Gil Blas, 1 December 1903, p. 1.