李研山 竹石芙蓉

款識：
庚子夏日寫於九龍山居。李研山。

鈐印：「新會李居端鉨」、「上元山居」、「蘇井亭」。

香港大會堂，〈李研山逝世十四週年紀念展〉，一九七五年五月十一至十四日
香港藝術館，〈抗心希古 ─ 李研山的藝術〉，二○一一年六月十日至十月十六日

著錄：
〈李研山書畫集〉，李允鉌編（香港，東方文物圖籍出版社，一九七五年），頁139
〈抗心希古 ─ 李研山的藝術〉（香港藝術館，二○一一年），圖版70

-Signs of restoration could be found at the middle section of the painting, where a horizontal paper crack could be found. 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."

李研山家族珍藏書畫（編號1247－1251）

上世紀四十年代末，李研山在港定居，在鑑賞前人劇迹之餘，潛心畫藝。他寓目品評畫作頗夥，日夕觀摩鑽研，筆下風格亦自早年取法細筆文衡山，有系統性地追源溯始，從元人入手，遠追董巨，以全面掌握中國繪畫發展脈絡。

本輯所集主要出自上述期間，這亦是畫家生命最後之十年。雖多謂臨古，實浸淫有功，非生硬地搬移過紙，而是消融師承、模仿之痕迹，擺脫前人覊絆，以靈活筆墨，攝諸家神韵，技法全面，氣息古樸，從中流露了畫家自身之温婉儒雅、清秀淡逸，見其汲古而再生之功。