方士庶 1692-1751

釋文：余家有趙榮祿《鵲華秋色圖》，為同年吳光祿易去，追想筆意寫此。董玄宰。
弁陽老人公謹父，周之孫子猶懷土。南來寄食弁山陽，夢作齊東野人語。濟南別駕平原君，為貌家山入囊楮。鵲華秋色翠可食，耕稼陶漁在其下。吳儂白頭不（肯）歸去，不如掩卷聽（殘）春雨。趙吳興《鵲華秋色》卷今在澈如年丈家，遺此伯雨詩，余重錄之。董其昌，壬子二月。

款識：雍正甲寅（一七三四）四月方士庶臨。鈐印：方士庶印。



題畫心：
（方貞觀）誰把家山（圖）畫作圖，離人歸夢正糢糊。莫言鄉思憑相慰，還似夢前唱鷓鴣。
右軍稧帖比猶龍，千載臨池若最工。踐跡群推褚登善，積薪今見米南宮。南唐貞觀題。鈐印：方貞觀
（方士偼）風流幾輩繼前賢，滿眼煙雲思渺然。直似鵲華頻選勝，可知文敏獲真傳。單樹獨聳屏間翠，秀澤重開鏡裏天。展玩不須長太息，前身應有瓣香緣。西疇士偼。鈐印：西疇



題裱邊：
（馬曰璐）鵲華秋色翠可食（張外史句），重見經營慘淡心。直與歐波爭片席，流傳那不到雞林。
畫聖詩仙兩足誇，池塘句好興無涯。如何三尺鵝溪絹，千古風流數謝家。半查馬曰璐題。鈐印：渉江
（馬曰琯）翠影嵐光刺遠天，濟南秋色滿窓前。王孫莫謂空千古，又見方壺繼畫禪。
容臺別寫鵲華圖，三趙同參意致殊（余家別有思翁鵲華長幅，其自題云「兼採三趙筆意為此」）。他日煩君重點筆，硨磲論百肯應無。
三回粉墨窮真宰，二老清詩照菶夷。慚愧慱山曾換得，風流儒雅捴吾師。嶰谷馬曰琯題于小玲瓏，時閼逢攝提格瑞午日。鈐印：五泉寓客



鑒藏印：
（孫殿齡）無上妙品、蓮叔審定、海陽孫氏蓮叔珎賞書畫印信、孫氏蓮叔珎藏圖章
一印漫漶不辨

1. Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, September 2-October 9, 1994; The Chrysler Museum, Virginia, November 13, 1994-January 8, 1995; Museum für Ostasiatische Kunst, Berlin, September 9-November 11, 1995; Museum für Kunst und Gewerbe, Hamburg, December 15, 1995-February 18, 1996; China Institute, New York, February 4-June 10, 1998
2. Le Parfum de l'encre: Peintures Chinoises de la Collection Roy et Marilyn Papp, Musée Cernuschi, September 23-December 30, 1999

1. Fang Shishu, Tianyong zhai Biji, (Zhongguo Shuhua Quanshu, vol. 12, Shanghai: Shuhua Chubanshe, 2009, 2nd ed., p. 459)
2. Ma Yueguan, Shahe yilao Xiaogao, (Congshu Jicheng Chubian, vol. 1, Beijing: Zhonghua Shuju, 1985, pp. 3-4)
3. Claudia Brown, "Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting", in Orientations, vol. 22, no. 9, September 1991, fig. 11, p. 81
4. Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1994, cat. 26, pp. 88-92
5. Philip Wu, "An Artist's Autonomy and the Use of Tradition in The Autumn Colors on the Qiao and Hua Mountains", in Marsha Weidner (Ed.), Perspectives on the Heritage of the Brush, University of Kansas, 1997, fig. 19, p. 55-64
6. Le Parfum de l'encre: Peintures Chinoises de la Collection Roy et Marilyn Papp, Musée Cernuschi, 1999, cat. 28, pp. 103-107
7. Ju-hsi Chou, "Chain of Causation: Fang Shishu's The Autumn Colors on the Qiao and Hua Mountains after Zhao Mengfu and Dong Qichang", in Judith Smith (Ed.), Tradition and Transformation: Studies in Chinese Art in Honor of Chu-tsing Li, University of Kansas, 2005, fig. 2, pp. 281-303
8. Wang Yao-ting, The Painting and People Behind Fang Shishu's "In Imitation of Dong Yuan's 'Mist and Fog in Summer Mountains'", Yunlin Zongmai Symposium, Macau Museum of Art, 2012, fig. 11, p. 7

- Overall in good condition except silk bears tanned tone and minor restoration.
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.

See e-catalogue for full translation of artist's inscriptions, and collectors' inscriptions on painting and mounting border.