査士標 1615-1698

款識：
（一）鳥与征帆遠，天連野樹低。士標畫唐人詩意。鈐印：槑壑
（二）仿白石翁歸莊圖筆意，丁卯（一六八七）春暮，士標。鈐印：二瞻
（三）秋溪垂釣，士標畫。鈐印：二瞻
（四）春亭遠璧，迂翁真跡，士標擬之。鈐印：槑壑
（五）洞庭帆影，士標畫于旅居之待雁樓。鈐印：二瞻
（六）雲泉圖，仿襄陽漫仕畫法。査士標。鈐印：二瞻
（七）臨子久《富春山居圖》片壑，筆法全學北苑，氣格高逸，當為子久畫第一品。士標。鈐印：二瞻
（八）九龍山人峽江歸帆圖，士標。鈐印：槑壑
（九）山亭高會。丁卯（一六八七）脩褉日，士標寫。鈐印：二瞻
（十）梅華道人《層巒山寺》，士標仿意。鈐印：二瞻
（十一）曹雲西畫《溪山圖》筆意与雲林老人似同實異，識者鑒之。士標識。鈐印：某壑
（十二）丁卯（一六八七）二月畫于邗上，士標。鈐印：槑壑

題扉頁：寄心清尚。九十三叟□道人。鈐印：春風致和、玉癡、煙嵐深處是吾家

《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九八九年三月十八日—五月七日；西北大學瑪麗和利布洛克藝術博物館，一九九〇年三月八日—四月廿二日；哈佛大學阿瑟 · 赛克勒藝術博物館，一九九一年九月廿八日—十一月廿四日；堪薩斯大學史賓賽藝術博物館，一九九二年十月廿五日—十二月廿七日；俄亥俄州哥倫布藝術博物館，一九九三年四月十八日—六月二十日；威斯康辛大學艾維翰藝術博物館，一九九四年一月廿九日—三月二十日；加利福尼亞州克羅克藝術博物館，一九九七年十月三十日—十二月卅一日；喬治亞大學喬治亞藝術博物館，一九九九年一月卅一日—三月廿八日；佛蒙特大學弗萊明藝術博物館，二〇〇〇年十月三日—十二月十日

一、《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九八九年，圖錄編號14，第56—61頁
二、布歌廸，「筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫」，（《美成在久》，第22期，第9號，一九九一年九月，圖版6，第79頁）
三、布歌廸，《大清—一六四四至一九一一年間的中國繪畫》，華盛頓大學出版社，二〇一四年，圖版1.10，第14頁

- Overall in good condition except paper bear darkened tone.
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:
(1) Setting off with the birds, the boat will sail afar. The sky mingles with the forest below.
(2) After the style of Baishiweng (Shen Zhou)'s Returning to the Cottage.
(3) Fishing on an Autumn Stream.
(4) Spring Pavilion and Distant Cliff is an authentic work by Yuweng (Ni Zan).
(5) Reflections of Sails in Lake Dongting.
(6) Cloudy Spring, in the style of Xiangyang Manshi (Mi Fu).
(7) I copy a portion of Zijiu (Huang Gongwang)'s Fuchun Mountains, which has brushstrokes following closely the style of Dong Yuan. Undoubtedly, because of its lofty sentiment, it should rank first among Zijiu's paintings.
(8) Returning Sails in the Gorges, by Jiulong Shanren (Wang Fu).
(9) Literary Gathering at a Mountain Pavilion.
(10) Temple amidst a Range of Mountains by Meihua Daoren (Wu Zhen).
(11) The style of Streams and Mountains by Cao Yunxi (Cao Zhibai) seems to resemble that on Yunlin Laoren (Ni Zan). In fact, they are different. Only those who are knowledgeable can distinguish this.
(12) Painted at Hanshang (Yangzhou).
- Translation courtesy of Jane Wai-yee Leong