蔣兆和 老翁

款識：
廿九年冬。兆和。

鈐印：「兆龢」。

前捷克斯洛伐克駐華大使館人員約瑟夫．賽伏契克（JozefŠevčík）舊藏
賽氏於北京大學及北京外交學院習漢語，獲捷克駐北京大使館聘任，一九五九至六四年間，負責傳譯及翻譯工作。在華期間，他因好藝術，結識當時北京藝壇名家如齊白石、李可染等，並收有他們的作品。

-Signs of restoration can be found, where there appears to be paper losses and paper tear, especially in the lower and upper section, previously. Paper losses can be found at the upper right corner, where part of the inscription is believed to be removed intentionally. Foxing can be found especially on the left of the paper, which can be improved by restoration. Otherwise, generally in fair condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：在二十世紀中國畫壇的人物畫創作中，蔣兆和獨樹一幟，特別在思想內容與表現形式緊扣，承繼了「藝術為人生」的傳統，以寫實技巧去反映現實，體現了偉大的人道主義的深刻思想性。他的人物畫創作高峰期約於一九三六年至一九四八年，技巧與內容、西方素描與傳統筆墨的互融，都取得了出色的成果，被喻為二十世紀中國現實主義繪畫的偉大作品之一 —〈 流民圖〉亦於這段期間面世。但礙於種種原因，創作鼎盛期作品傳世數量有限，除家屬珍存及部份入藏博物館外，衹能見諸早期出版品刊印的圖版上，流入民間者甚稀。但其獨特風格深深打動一些當年在華的外籍人士，訂購或得於其展覽者，日後攜返所居地，數十載後，部分重新面世，本幅即屬其一。

畫家家屬曾於歐洲親睹此作，確認真迹，且原藏者五十年代在華工作時，於北京一畫廊購入。經逾半世紀，仍保持當年原裝裱，惟題款處有挖補痕迹，似刮掉上款或畫題，恐原藏者購入時已是如此模樣。

另據劉曦林著〈中國名畫家全集 ─ 蔣兆和〉書中，刊有〈日暮途窮〉一畫，稱「變體稿」，約寫於一九三七年。畫中人物造型、面部輪廓、衣褶起伏之明暗處理等，諸般細節，與本幅相對照，幾近一致，僅未具題款而已。按該書未明示出處，似轉錄自更早期之出版物。又據悉，本幅曾於一九五一年刊於荷蘭出版之天主教教會雜誌，由上述種種推斷，本幅極可能即上述〈日暮途窮〉， 袛是寫畢，尚未題款，已拍照存底，故最早刊印時，未具署款，日後方補上。

參考資料：
〈日暮途窮〉「變體稿」可參見〈中國名畫家全集─ 蔣兆和〉，劉曦林著（河北教育出版社，二○○二年三月），頁94