款識：
倣王晉卿筆。甲戌十一月寫於昆明湖上。蜀人張爰。

鈐印：「大千」、「大風堂」、「兩到黃山絕頂人」、「苦中作樂」。

-Creases can be found on the painting. Colour of certain parts has faded. 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."

「五十萬卷樓」收藏名家書畫（編號1282-1305）

近世廣東藏書之富，當首推東莞莫伯驥「五十萬卷樓」。莫伯驥（1878-1958），字天一，少年學醫，畢業後於廣州自設「仁壽西藥房」。莫氏一家以田力讀書為彝訓，陳編世守，嬋嫣不絕。伯驥父啟智有「庸言書屋」，精研宋學，所藏宋元名臣大儒之遺書森森連屋；伯驥少年時因生計棄儒從商而致富，獨甘飯蔬食，癡迷古書，練積三四🍸十年如一日，終以五十萬卷藏書「上企瞿楊，無慚丁陸」，惜其藏書多散失於抗戰動盪歲月；著作達五十種之多，亦毀於戰火，惟存出版〈五十萬卷樓藏書目錄初編〉及〈五十萬卷樓群書跋文〉兩種。

本輯所集「五十萬卷樓」書畫收藏廿四件，部份為藝壇時賢贈予莫伯驥、培樾父子者，若黃賓虹為「五十萬卷樓」命題之作、張大千寫贈之澳門紀游山水；其餘多為有清一代名臣碩儒墨跡。莫伯驥曾與友人言收藏：「予無力收書畫，但藏書家如潘文勤，家亭諸公手翰，則頗有之。予蓋欲得藏書家之墨迹以寄其心情也。」其子培樾自幼浸淫於乃父與容肇祖、盧子樞等學人雅士之交游中，深受薰陶，亦嗜文藝。故莫氏蒐集者迥異於一般藏畫家，自是出於藏書世家經世研學思路，輯中諸作，即可證之。

註：大千先生的沒骨山水畫早見於三十年代，具年款者，以中期居多，按是時技法已趨成熟，故取此法作畫，更可上溯三十年代初。題款多謂取法古賢，如六朝以迄唐宋之張僧繇、楊昇或王晉卿，惟上述諸家傳世可靠真迹幾稀，故他參考畫史資料記錄外，最重要依據者，實乃董其昌〈峒關蒲雪圖〉，可謂其遠接古人沒骨山水法之鑰匙。

本幅題曰「倣王晉卿筆」，與同期他筆下寫有多本〈巫峽清秋〉，設色、筆法相類，皆出於上述所敍淵源無疑，也是畫家託古之辭矣！畫中見臨江一角，巉巖橫伸，白衣高士，御風而立，袍袖飄揚，似江海聽潮之意，如此構圖，又與同期筆下題「仿張僧繇山水」之作，甚為類近，可知他擅於融通綜合，一法通，則百法生，或僧繇，或晉卿，同出此理！

參考資料：
張大千〈仿張僧繇山水〉可參見〈色籠墨染 ─ 近代中國繪畫〉（香港，聯齋古玩號，一九九三年），圖版9