謝稚柳 (1910-1997)

款識：
松年吾兄法家雅教。癸未秋暮。稚柳弟謝稚同在渝州。

鈐印：「遲燕」、「謝稚」。

-A paper fold could be found at the lower section of the painting, where a small are of paint appears to have chipped off due to its thickness. Otherwise, generally in good 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：一九四三年四月，謝稚柳結束敦煌研習石窟藝術之行，轉赴榆林
考察，復與大千先生結伴往蘭州，約於八月返蜀。他抵重慶後，即有
作品贈友，題曰「癸未秋暮，時同在渝州」，本幅亦此時所製。
畫中仕女髮式，服裝以至敷色，均見自敦煌考察回來受唐人畫風影響
痕迹，開臉豐腴圓潤，尤為明顯。配置之寒梅奇石則出諸老蓮筆法。
如此風格共融於畫面上，也是畫家此段時期人物畫之特色。相類作品
可見於同年「癸未九月」所寫之〈倚扇圖〉。

參考資料：
〈倚扇圖〉可參見〈謝稚柳〉，上海博物館編（上海人民出版社，二○○二
年二月），頁4