款識：
戊辰初夏任頤小樓甫仿包山子法於甘溪庽齋。

鈐印：「任頤印」、「任頤長壽」。

香港蘇富比，二○一一年十月，中國書畫拍賣，編號1851

-Signs of restoration can be found, where there appears to be paper cracks, paper tear, and paper losses previously. Paper has turned greyish, and creases and paper cracks can be found on the painting, which can be improved by restoration. Otherwise, generally in fair 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：伯年作品除署款紀年及標示作畫地點外，極少題跋賦詩，亦鮮有援引前人技法，如擬某家筆法。本幅題曰「仿包山子法」，自稱師法明代吳門陸治，極為稀見。究其筆法，綫條雖尖削銳利，似非脈承包山，實襲其族叔任薰。他早歲畫風遠宗老蓮，近受阜長薰陶，且從其遊，得其指導，又獲引介與藝壇前輩訂交，故其二十餘歲之作品，無疑受阜長影響頗深。

畫中靈石、彝器與花果的配搭與佈局編排，皆是當時滬上流行清供圖之樣式，時代風格明顯。題曰寫於「甘溪庽齋」，正是伯年作客寧波時之居所。

此畫寫成於他追隨任薰赴蘇州之際，與其名作〈東津話別圖〉完成於相若時期，圖中人物亦包括阜長在內。