- 521
査士標 1615-1698
Estimate
150,000 - 250,000 USD
Log in to view results
Bidding Closed
Description
- Zha Shibiao
- 仿古山水
- ink and color on paper, album of twelve leaves
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
（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
Exhibited
Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, March 18- May 7, 1989; Mary and Leigh Block Gallery, Northwestern University, March 8-April 22, 1990; Arthur M. Sackler Museum, Harvard University, September 28-November 24, 1991; Spencer Museum of Art, University of Kansas, October 25-December 27, 1992; Columbus Museum of Art, Columbus, Ohio, April 18-June 20, 1993; Elvehjem Museum of Art, University of Wisconsin-Madison, January 29-March 20, 1994; Crocker Art Museum, California, October 30-December 31, 1997; Georgia Museum of Art, University of Georgia, January 31-March 28, 1999; Fleming Museum of Art, University of Vermont, October 3-December 10, 2000
Literature
1. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1989, cat.14, pp. 56-61
2. Claudia Brown, "Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting", in Orientations, vol. 22, no. 9, September 1991, fig. 6, p. 79
3. Claudia Brown, Great Qing: Painting in China, 1644-1911, University of Washington Press, 2014, fig. 1.10, p. 14
2. Claudia Brown, "Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting", in Orientations, vol. 22, no. 9, September 1991, fig. 6, p. 79
3. Claudia Brown, Great Qing: Painting in China, 1644-1911, University of Washington Press, 2014, fig. 1.10, p. 14
Condition
- 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.
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.
Catalogue Note
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
(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