Zhao Mengfu, Attributed to 1254-1322

the painting with two seals of the artist, zhao meng fu yin, and zi ang; the calligraphy signed Zi'ang, dated xinmao of the Zhiyuan reign, third month, seventeenth day (April 17, 1291), and with two seals of the artist, zhao zi ang shi, and zhao meng fu yin

Sotheby's New York, Fine Chinese Paintings, June 1, 1988, lot 8

Shiqu baoji xubian (1793), pp. 1563-1566
Guobao chenfu lu: Gugong sanyi shuhua jianwen kaolue, Yang Renkai, ed., Shanghai: People's Art Press, 1992, p. 550
Gugong sanyi shuhua mulu, Chen Rentao, ed., p. 2

-The paper bears a tanning tone due to age -Some light foxings and minor restorations can be found, especially in the beginning section of the painting -The colors in the illustration appear to be more intense than that of the actual piece
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Artist's inscription:
In my youth I loved to paint. Whether I obtained an inch of fine silk or a foot of mulberry paper I never failed to order my brush to sketch patterns. This is a painting that was done when I was beginning to [focus on] the [the technique of] applying color. Although the brushwork lacks strength, the drawing is rough and has archaic spirit. Now that my beard and hair have turned completely white, my painting has improved. I have become lazy about mundane affairs, and I desire to produce one or two paintings like I did in the past, but I never get a chance to do so. I am writing a second inscription to this painting in order to record [my thoughts]. Mengfu.
A second inscription signed Mengfu, and with one seal of the artist, zhao zi ang shi. Attached colophons by Deng Shanzhi (1259-1329), Zhao Yong (ca. 1289-ca. 1362), Zhao Yihao, Wen Zhengming (1470-1559), and Zhang Zhao (1691-1745). Attached frontispiece and four colophons on the mounting by the Qianlong Emperor. With thirty-six seals of the Qianlong Emperor, one of the Jiaqing Emperor, and one of the Xuantong Emperor, and twenty-one additional collectors' seals, including four of Cai Yu (1488-1541), and two of He Liangjun.

Although included in the Qing Imperial Collection, the authenticity of this scroll is uncertain. Chen Rentao, in Gugong sanyi shuhua mulu, lists it as wei, inauthentic. Yang Renkai, in Guobao chenfu lu, suggests that it is a Ming dynasty copy. The superb quality of the painting, especially the masterful use of color, however, have led some scholars to propose that this painting may be a copy produced by the Ming dynasty master Qiu Ying.