款識：
績羽為衣，葺荷成蓋；憑春灑翰，席月抽琴。
賡笙世兄大人清鑒。荄甫胡澍。

鈐印：「碩生」、「胡澍」。

藏印：「華陽練如珍賞」。

-Signs of restoration could be found on the painting, especially at one calligraphy character and along the bottom boundary of the first half couplet. Signs of stain could be found at the bottom of the first half couplet, and at the top and along the left border of the second half couplet, which can be improved by restoration. Otherwise, generally in fair to 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."

清中晚期名家書法專輯（編號1349-1358）

「同聲相應，同氣相求」，古今亦然。質諸文人學者，詩文唱和外，亦多因嗜收藏結為仝道。清中晚期道咸同光四朝收藏之風益盛，好之者，不論高踞廟堂之顯宦，又或外放之封彊大員，以至佐貳小吏，毋拘科名先後、輩份、官階高低，皆以摩挲碑板、析疑金石、考辨版本、品評書畫而往還，連結一氣。如趙撝叔刻「績谿胡澍、川沙沈樹鏞、仁和魏稼孫、會稽趙之謙同時審定印」，以「四人皆癖嗜金石，奇賞疑析，晨夕無間，刻此以志一時之樂」；而胡澍離京，翁同龢、潘祖蔭餞別之席，趙之謙、李文田等亦同座；又或聚於姑蘇沈秉成耦園之潘祖蔭、吳大澂等，種種關係皆因收藏而連結。至於阮元、吳榮光均對推動嶺南收藏風氣大有貢獻，若置於歷史時空坐標，上述諸人之庋藏經歷及交往，幾可勾劃出十九世紀收藏界之概貌。

本輯所集，始於阮芸台，以迄翁叔平，皆以學識淵博，精鑑賞，富收藏聞名，範圍廣涉不同門類，且工書，甚或繪畫及篆刻，故筆下所書，行楷篆隸，無一不精。如沈秉成擘窠大字巨聯（編號1351）、阮元仿漢瓦銘隸書聯（編號1355）、吳榮光八呎行書四屏（編號1358）等，均傳世稀見之物。而各家所選之紙材講究，多為各式臘箋，或灑金，或描花，色澤多姿，與墨彩相煥發，益添後世欣賞之趣味。

註：胡澍，字荄甫，一字甘伯，安徽績溪人。咸豐九年（1859）舉人，
官至戶部郎中。與趙之謙同年中舉，同作客於杭州知府繆梓幕中，復
共嗜金石碑板，撝叔在〈補寰宇訪碑錄〉序中引為「同志」。居京師期
間，他倆與潘祖蔭、沈樹鏞等研奇賞珍，鑑古論藝，日夕過從，交情
益切，趙氏更鐫印記之。
胡澍學養根柢深厚，擅書法，尤精篆書，樸實渾厚具古意，為藝壇仝
道所重。