設色絹本 手卷
惠均署簽 徐邦達題跋

簽書：
春郊閱駿圖。孝同。

題跋 ：
此近人馬晉的筆，馬學郎士寧尚可，佈景余不欲論之矣。海上徐邦達觀記。

鈐印：「孚尹」。

二○○四年十一月得於北京

〈榮寶齋畫譜〉第一四一期，畫馬部份·馬晉繪（北京，榮寶齋出版社，二○○二年七月），頁26-31

-A little foxing can be found. 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."

註：郎世寧〈春郊閱駿圖卷〉繪製於乾隆九年，唐岱補繪樹石，內府收藏。「庚子拳變」時流出宮外，為金拱北得於琉璃廠。他珍同拱璧，據其子金潛厂言「視為平生收藏清畫之冠」。一九一七年秋首屆「京師書畫展覽會」中，將此卷公諸於世。金氏過世，潛厂承父業，孜孜於古法傳播及與日本書畫界交流，一九二八年攜此畫參加東京「唐宋元明畫展覽會」。他最終將此卷轉售藤井善助，入藏藤井齊成會有鄰館。

按郎世寧此卷衍生而出者眾：其一為清宮廷畫家姚文瀚在郎氏過世後依乾隆之囑再繪，卷中畫法沿襲郎氏一路，位置景致皆據其本，惟諸馬動態毛色則出己意，乾隆之形象亦較蒼老。

其二為湖社弟子馮諄對臨本，今亦歸有鄰館。〈湖社月刊〉一九三○年曾分七次刊登郎世寧〈春郊閱駿圖卷〉，仍注明為金潛厂收藏。一九三四年春，馮諄依潛厂所囑對臨。是年四月末，金氏攜古畫及時人作品赴日參加密宗講演大會；郎、馮二卷或許是次一并轉售藤井。

其三即為本卷。馬晉對臨，無款印，具「湖社」社友惠柘湖題簽及徐邦達跋。徐氏對馬晉臨郎世寧馬無不誇讚。馬晉少年從清宮畫家習畫，醉心於郎世寧畫風，曾臨摹其〈十駿圖〉、〈百駿圖〉、〈羚羊圖〉等，二十世紀臨仿郎氏者無出其右。馬晉十八歲投金城門下，獲賜號「雲湖」，二一年金城為其擬定潤格，二五年二人以合寫作品參加中日繪畫展覽，器重之甚矣。金氏過世，湖社成立，馬晉雖非其中骨幹，仍給學員作點評、為〈湖社月刊〉供稿，故金潛厂請人摹寫郎氏作品留作資料、教學之用，馬晉實為不二人選。卷上未具款印，更印證此臨本用作資料。馬晉、馮諄二人，畫功、輩分，皆有差別，各臨郎氏一本，潛厂釋出時，當自留更佳者。

馬晉此本用絹為上品，細密堅韌，應為宮絹，無論人馬樹石，與郎氏一卷細節幾無紕漏，應照原作嚴格對臨而成，可謂下真跡一等之作。其中乾隆與侍從畫像，更是馬晉極少涉獵之人物寫真。

另有謂此卷乃馬晉畫馬，祁崑補景。他們為民國時期臨寫清宮畫作之翹楚，多有合作。然此卷嚴格對臨，隱去二人畫風之本貌，且無文字佐証，僅存此一說，不妄下結論。