signed Jinshui Huang He, with two seals of the artist, huang he, one illegible

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
3. 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. Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1994, cat. 17, pp. 56-57
2. Le Parfum de l'encre: Peintures Chinoises de la Collection Roy et Marilyn Papp, Musée Cernuschi, 1999, cat. 18, pp. 72-73

- Overall in good condition except silk bears tanned tone with 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.
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'As with most of the professional artists, Huang He’s birth and death dates are unknown. But since he was included in the Tuhui Baojian Xuzuan, with which Feng Xianshi was closely connected, his historic setting would have been the Kangxi era. This is borne out also by the style of his painting in the Papp collection which is marked by the presence of the dragon vein, a pictorial phenomenon most apparent during the late seventeenth to early eighteenth centuries in which mountains and hills flow and flux in a fully integrated and serpentine manner. After the Kangxi era, the artistic impulses bypassed that lively movement in favor of carefully coordinated layers of images. Tangdai, a Manchu and disciple of Wang Yuanqi, exemplified the latter trend.
For the setting in the Papp painting, Huang He must have depicted an actual location which includes such landmarks as a tall and slender pagoda and the nearby rapids. Huang He travelled extensively, even to as far as the frontier. The anecdotal details are vividly cast and the presence of boats and houses encourage comparison with Zhang Zeduan’s Qingming Shanghe though far later in time and distant in style and approach. Other than its genre quality, the landscape itself is reminiscent of such Southern school masters as Dong Yuan and Juran, from which come the pima cun (hemp fiber) and the resultant paralleling folds and fissures in the hills carried to a far greater level than would orthodox masters like Wang Jian and Wang Shimin.' 
- Scent of Ink, p. 56