款識：
黃鶴山樵〈天香書屋圖〉，層巒叠嶂，古茂盎然，乃其早年精品，深得鷗波衣缽，遠追摩詰手澤。蓋叔明精于繪理，自成風格，用筆蒼莽秀潤，足以掩映前人，誠雲林所謂「五百年來無此君」也。
癸巳仲秋月，梓湘殷錫梁並識。

鈐印：「殷錫梁印」、「梓湘」、「青照樓」、「豐樂堂」。

上海「朵雲軒」舊藏

展覽及著錄：
台北，國父紀念館，〈古萃今承─近現代名家精選〉展，二○○九年十二月五日至二○一○年一月廿七日，並刊於展覽目錄，圖版105
〈古萃今承 ─ 近現代名家精選展〉，刊於〈大觀〉月刊第三期（台北，雅墨文化事業有限公司，二○○九年十二月），頁37

-Water stains at the top and foxing can be found on the painting, 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."

註：殷梓湘擅寫馬，稱譽滬上畫壇，筆下見元人畫風，或放牧，或飲馬，有並馳齊奔者，有群駿競逐者，窮盡自然神態，往往教觀者忽略其作品整體構圖。若從畫中襯景、配置合視之，深嶺溪曲，一草一石，無不講究，自生牡丹綠葉之效。若純然視之為山水作品，亦大有可觀處，足見殷氏在山水造詣上毫不遜色於畫馬。若考其存世畫迹，純粹之山水畫作不多，頗集中於四、五十年代，以古人為師，尤上溯宋元，惟毋拘於一家一派，不局促於南北宗，畫中既有宋人之剛勁俐落，亦見元人之蒼潤清秀，足証融合貫通得法。本幅寫於盛年，以王蒙為本，佈局重巒叠嶂，用筆綿密細緻，皆山樵技法之正宗，惟其逼肖處，卻生變通之功，緊湊而不逼促，用筆繁密卻無瑣碎之弊。全畫以淡墨為基調，清澈明快，幽微中自生變化，氣格蒼古，誠其力作也。