董其昌 1555-1636

款識：
（一）倣趙吳興春山暖翠圖筆意，玄宰。鈐印：昌
（二）雲月有歸處，故山清洛南。如何一花發，春夢邊江潭。其昌。鈐印：宗伯學士、董氏玄宰
（三）擬北苑畫法，玄宰。鈐印：昌。
（四）溪逥路自轉，幽澗何冷冷。此中如有屋，便是草玄亭。董其昌。鈐印：宗伯學士、董氏玄宰
（五）松溪啚，玄宰寫。鈐印：昌
（六）青林何茸茸，長松出林表。所以薄生徑，無竹亦自好。其昌。鈐印：宗伯學士、董氏玄宰
（七）倣巨然秋雲出岫，玄宰。鈐印：昌
（八）霜風驚度雁，月露皓踈林。處處砧聲发，星河秋夜深。董其昌。鈐印：宗伯學士、董氏玄宰
（九）時倚巖前樹，遠看原上邨。玄宰。鈐印：昌
（十）明月雙溪水，清風八詠樓。昔年為客處，今日松君游。其昌。鈐印：宗伯學士、董氏玄宰
（十一）倣黃子久《溪山清樾圖》，玄宰。鈐印：昌
（十二）瀨聲喧極浦，沿步向南津。汎汎鳧隝度，時時欲近人。董其昌。鈐印：宗伯學士、董氏玄宰
（十三）倣趙令穰《江山亭子圖》，玄宰。鈐印：昌
（十四）江流何淼淼，懷古獨依依。漁父非賢者，蘆中但有磯。董其昌。鈐印：宗伯學士、董氏玄宰
（十五）亭皋木葉下，隴首秋雲飛。董玄宰。鈐印：昌
（十六）樹下孤石坐，草間微有霜。同此不同人，雲鳥自南翔。其昌。鈐印：宗伯學士、董氏玄宰

鑒藏印：歐陽林平五十以後審定（二鈐）

1. Heritage of the Brush (exhibition detail see lot 523)
2. Lyrical Traditions: Four Centuries of Chinese Paintings from the Papp Collection, The Frist Center for the Visual Arts, Nashville, June 22-October 7, 2007

1. Kei Suzuki (Compiled), Comprehensive Illustrated Catalog of Chinese Paintings (Vol. 2, Southeast Asian and European Collections), Tokyo University Press, 1983, pl. S13-034, pp. II-105 to II-107
2. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1989, cat. 5, pp. 34-39
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. 3, p. 78

- Overall in good condition. - Silk bears tanned tone due to age, with minor dirt.
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) After the brush idea of Zhao Wuxing's Warm Greenery on Spring Mountains.
(2) Clouds and the moon have their place; the familiar mountains of Luonan are clear. How has that single flower blossomed? A spring dream by a pool.
(3) After Beiyuan's brush method.
(4) As the stream turns, as does the path; how very cold, the quiet stream. If a building exists here, it must be Caoxuan Pavilion.
(5) Pines Over a Stream.
(6) How luxuriant the green forest, with tall pines standing above the rest. So the narrow and unfrequented path, is fine even without bamboos.
(7) Imitating Juran's Autumn Clouds Emerging from a Grotto.
(8) Frosty winds frighten the migrating wild geese; moonlight and dew illuminate the sparse forest. Everywhere the sound of washing clothes arises, as profound as the galaxy on an autumn night.
(9) Time and again I lean on the cliffside tree, and gaze distantly into Yuanshang Village.
(10) Under a bright moon, Shuangxi's water; in pure wind, the Bayong Tower. To where I sojourned yesteryear, Today I send my friend on his travels.
(11) After Huang Zijiu's Shade Amidst Mountains and Streams.
(12) The rapid currents thunder throughout the river, as I follow it towards its southern mouth. Wild ducks glide across the water, now and then seeming to approach me.
(13) After Zhao Lingrang's Pavilion Amidst Rivers and Mountains.
(14) How vast the flowing river! I am alone yearning for the past. The fishers are no sages; among the reeds are protruding rocks.
(15) On riverside ground leaves fall; around Mount Longshou autumn clouds fly.
(16) I sit alone on a rock beneath a tree; the grass has slight frost. The same scene but not the same person; clouds and birds fly from the south.