Zheng Xie (1693-1765)

three seals, one of the artist, the other two indecipherable

There are creases and losses scattered throughout the surface, visible on the catalogue illustration. The area most affected is on the right hand side, where some of the creases have cracked and there is a 1 inch wide loss to the paper. Some of the older creases and losses have old restoration, now a slightly gold-brown color. The far edges of the painting obscured underneath the mount. Inspected within the frame. The background of the painting is a slightly warmer color than the gray that the catalogue image suggests.
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.

Zheng Xie, known as Banqiao, was one of a group of painters active in 18th century Yangzhou, collectively known as the Yangzhou baguai ('Eight Eccentrics of Yangzhou'). Zheng was renowned for his paintings of bamboo, orchids, and rocks. This painting demonstrates his mastery of expressive, calligraphic brushwork. With just a few vigorous strokes of ink--wet and dry, dark and light--he was able to construct a complex scene of bamboo, orchids and rocks, capturing not only their outward form but also their spiritual essence. The lengthy calligraphic inscription written across the top of the page creates a perfect visual counterpoint to the painting. This large-scale work, one of the largest known, is a classic example of 18th century scholar painting. 

The calligraphy on the painting can be translated as: '... working on painting without any rest or break, then [I] would refrain from chastising others. But after three days of no work, I start concocting the idea of doing a painting of ink on paper, just to relieve the/my sullen and gloomy mood. This is my petty nature. 

'This morning, after rising, I idly did chores around the house, sweeping the floors, burning incense, making tea, and cleaning up the ink stones. Out of the blue, a friend's papers unexpectedly arrived.  Pleased, I picked up the brush and set to work – several pieces of rocks, a couple stalks of orchid flowers, and a few bamboo leaves here and there – imbued with quite a quality of unworldly grace and purity. Such is the best time when the brush is available and so is the best moment to paint. 

'Yet, when being asked to paint, I refuse; when being asked by no one, I simply have to paint. It is indeed a vice on my part. [You] who know human nature so well, then, just bear with me and listen to my rambling with only a smile as response. 

I present this piece to my long-term senior associate and learned friend Yuhuang. [Signed] Banqiao Zhengxie'