款識：
大超吾兄 法釜巳酉中秋 靜山集錦 藝術家鈐印（右上）

亞洲重要私人收藏

〈郎靜山詩畫意趣攝影展〉台北市立美術館，台北，一九八八年九月一日至十二月四日 （另一版數）

〈靜山攝影〉中國攝影學會出版，台北，一九七二年
〈靜山集錦〉中國攝影學會出版，台北，一九八七年，八十一頁
〈郎靜山詩畫意趣攝影特刊〉台北市立美術館出版，台北，一九八八年，九十七頁

The work is in its original condition. There is a visible crease on the middle left area.
"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."

郎靜山在1988年出版的〈郎靜山詩畫意趣攝影特刊〉指出，《古閣重巒》取景黃山祥符寺亭：「其始本為湯院，宋大中元年勅為祥符寺，湯院者有湯池在焉……明嘉靖間即鑿石甃亭，年久失修，今始重建，非古所有，是日浴罷之人均增加體溫，甚為解寒，惟因陰雨陰暗不能攝影，亭後樹木幽茂老幹參天，姿態古樸，簡直為宋畫中原本，靜山攝松亭影，其後始作集錦法以重重山色作背景集合成章。」可見集錦技法對郎氏攝影在創作過程中，發揮著取長捨短的重要作用。
本作題款「贈大超先生」，應指國民政府要員李大超（1900至1984年）。李大超，廣東五華人，1922年北京大學畢業後，從事國民黨秘密宣傳工作，及後加入國民革命軍第十七軍。此後歷任新一軍顧問、煙台警備司令部政治部主任、福建《民國日報》社社長、廣東省參議等職務；1949年後，任台灣行政院設計委員，並致力外交與僑務。郎氏曾在1947年香港預展期間，與李大超、胡文虎、許世英合影，可證兩人彼此認識。