款識：
己丑四月寫似履川吾兄雅屬並正。弟稚柳調歗閣用北苑灋。

鈐印：「謝稚」、「稚柳居士」、「定定館」。

香港蘇富比，一九九二年四月，中國書畫拍賣，編號164

〈名家翰墨〉第四十四期，謝稚柳特集（香港，翰墨軒，一九九三年九月），頁24

-Signs of restoration can be found on the painting, where there appears to be paper crack across the painting previously. Foxing can be found, 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."

上款：「履川」即曾克耑（1900-1975）

註：抗戰期間，文藝界人士避寇，輾轉隨政府遷蜀，結聚於陪都，重慶一時成為文化界集中之地。時曾謝兩人俱活躍於此間文壇，他倆皆張大千好友，且擅書法詩文，與潘伯鷹、沈尹默等常有過從，彼此交誼頗深。謝氏與友通信，亦常提及履川，詢其近況，曰「至念」。

本幅寫於一九四九年四月，題「用北苑灋」，蓋謝氏山水師法宋人，取徑郭李，復涉董巨，尤以四十年代中期後，鑽研北苑畫法尤深，此或與大千得董源劇迹影響所及。他有詩謂「應憐老董風流盡，平淡天真下筆難」，其墨筆追尋，正是北苑畫中一片江南秀色，平淡天真，亦與畫家本人恬淡稟性攸關，毋乃畫如其人之反映。

畫中結構嚴整，平湖近渚，遠山迤邐，密樹重巒，中見曲流分瀉，高人倚閣聽泉，佈局井然生序。而長線條運用，法北苑卻更偏近巨然，墨色淋漓，濃淡中見層次分明，直是畫家創作盛年用心傑構。