款識：
癸未大暑，畫奉廷祺高夫人雅教。謝稚。

鈐印：「遲燕」、「稚柳居士」。

-Signs of restoration can be found in the blank area of the top, where there appears to be paper crack previously. Flaking off of white pigment can be found on the lady, which can be improved by restoration. 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."

上款：「廷祺高夫人」即陳廷祺，乃當時甘青寧監察使高一涵夫人。高一涵（1885-1968），安徽六安人。早年留學日本，回國後歷多所大學教職。一九三一年經監察院院長于右任提名，出任監察委員，一九四○年八月，調至甘寧青區監察署，擔任特派監察使，直至一九四七年調離。

註：畫中仕女腳著錦履，貼身紅訶子，外著黑滾邊黃短襦，灰襴白長裙，雙色帔肩，面為青、裏為藍；雲髻峩峩，簪以白梅、雲頭篦。臉若芙蓉，敷粉，紅妝，柳眉，嘴小若櫻桃，全是敦煌唐代壁畫中人物形象。唯手持碧苔白梅一枝，又添幾分後世文人方有之閑情逸興，見老蓮遺風。加之繪於灑金黃宣，更添壁畫古雅之趣。謝稚柳筆下花鳥較多，山水次之，人物少作，惟一九四二、四三年間在敦煌實地研究後數年偶有此題材，皆得自石室壁畫法乳。一九四四年秋個人畫展中有〈橅榆林窟初唐大士〉、〈橅敦煌石室初唐飛仙〉等人物畫作，沈尹默賦詩稱讚：「壁間大士示微笑，雲鬢一時盡年少。畫師作畫能逼真，願君更作如花人。」

高一涵與謝稚柳兩人交往中于右任起關鍵作用。謝稚柳一九四○年開始擔任于右任秘書，高氏則是于氏在監察工作上甚為倚重的學者。一九四一年十月于右任考察敦煌，高一涵同行，回到重慶後，于氏即倡議設立敦煌藝術學院，並推薦人員名單，高一涵、謝稚柳皆在其列。謝稚柳一九四二年敦煌之行也許不僅出於張大千力邀，于右任的因素亦不應忽視。

高、謝二人在一九四○年已有監察院仝事之誼，四二年赴敦煌之前便在蘭州寫〈紅葉雙禽〉付高氏；翌年，謝稚柳離開敦煌，在蘭州住過夏天，始返重慶，此間又有數幅佳作贈高氏夫婦：〈梅茶文禽〉贈高氏；取法自石窟藝術之仕女題材則贈其夫人，除本幅〈折梅圖〉外，同期尚有〈琵琶圖〉。

參考資料：
〈紅葉雙禽〉可參見〈謝稚柳˙陳佩秋的藝術〉上卷（市政局，香港藝術館，一九九八年），圖版8
〈梅茶文禽〉可參見香港蘇富比，二○○二年十月，中國書畫拍賣，編號102
〈琵琶圖〉可參見〈謝稚柳繫年錄〉（上海書店出版社，一九九一年）彩圖2