














請留意本拍品不接受網上即時競投。若閣下欲以其他方式登記並競投本拍品,請聯繫香港邦瀚斯客服團隊。
電話:+852 2918 4321,電郵:[email protected]
Collection of Mark S. Pratt, Washington D.C.
Bonhams is pleased to offer works of art from the collection of Mark S. Pratt (班立德總領事). With deep family roots in Salem, Massachusetts, and as a relative of Frederick Townsend Ward (華爾, 1831-1862), Mark Pratt developed an interest in Chinese culture from an early age. A lifelong art collector, Mr. Pratt's distinguished United States State Department career afforded continuous opportunities for building an important collection over the course of sixty years.
Mr. Pratt made his first Chinese art purchase in 1947 while stationed in Qingdao with the United States Navy. Following his two-year service with the Pacific Fleet, and with academic training at Harvard University, Brown University, The Sorbonne, and Georgetown University, Mark Pratt joined the United States Foreign Service in 1956, his initial posting at the United States Embassy in Tokyo from 1957 to 1959. Moving to Taichung, Taiwan to continue Chinese language study in the years 1959-1960, his next station was Hong Kong, serving as the Mainland Economic Officer at the United States Embassy until 1963. With later posts in Laos and Paris, Mark Pratt was head of the Taiwan desk prior to finishing his career as Consul General at the Guangdong Consulate in 1989, his retirement ending three years of service in that position.
Witnessing the momentous geo-political transformation in Asia during the second half of the twentieth century, Mr. Pratt's keen collector's eye was also perpetually on the lookout for a treasure. Patronizing many of the most hallowed names in the Chinese art market, he discovered outstanding paintings and Song dynasty porcelain at Tokyo's Confucian Temple (Yushima Seido) and purchased works of art from Kusaka Shogado in the 1950's. In the decades that followed, the antique shops and art galleries in Taipei and Hong Kong were frequent haunts, making key purchases of Ming and Qing paintings from Chang Ding-chen and fine huanghuali furniture from Y.K. Ma. Mark Pratt's diplomatic role afforded him contact with numerous living painters and calligraphers; he met Zhang Daqian on several occasions and formed a lasting bond with Tang Hong (唐鴻, b.1926), a student of Yu Fei'an who relocated to Taichung after 1949 and later to Hong Kong, concurrent with Mr. Pratt's diplomatic postings.
Many objects from the Pratt collection are now entering the market for the first time in fifty years, making this offering a truly rare and remarkable find.
美國華盛頓班立德總領事收藏
邦瀚斯謹此盛意推介班立德總領事收藏的精美藝術品。出身於馬薩諸賽州塞勒姆望族,作為 Frederick Townsend Ward (沃德, 1831-1862) 旁系親屬的班立德總領事早年即對中國文化產生了濃厚的興趣。作為一個矢志一生的收藏家,班立德成功的外交官生涯六十年來為其提供許多機遇以構築此重要的收藏。
1947年,當班立德供職於一艘以青島為基地的美國海軍艦船時,購入了首件中國藝術品。結束其在太平洋艦隊的兩年服役後,因為其在布朗大學、佛儸倫薩大學、索邦大學和喬治城大學所接受的中國和日本語言、文化、歷史方面的學術訓練,班立德於1956年加入了美國外交部。他的首任期是1957至1959年供職於東京的美國大使館。1959年至1960年,他前往台灣台中市繼續學習中國語言文化。其後直至1963年,他前往香港擔任美國大使館的大陸經濟官,其後又依次轉任至老撾、巴黎。後任美國在台協會處長,於1989年遷駐廣州,任總領事,供職三年後於此任榮休。
目睹了二十世紀下半葉亞洲地區地緣政治的巨大變革的同時,班立德總領事作為一個熱衷的藝術品藏家,他也始終聚焦於蒐集珍稀的藝術精品。二十世紀五十年代,他光顧了諸多中國藝術品市場上備受推崇的商家,在東京孔廟(湯島聖堂)收獲了書畫精品和宋瓷,在 Kusaka Shogado 處買到古玩工藝品。其後數十年間,他頻頻穿梭於台北和香港的古董店以及畫廊,從張鼎臣處購入了重要的明清字畫,Y. K. Ma 處購入了精美的黃花梨傢俱。班立德總領事的外交官生涯也讓他接觸到了眾多當世的畫家和書法家。他數次和張大千會面,並且和于非闇的學生唐鴻(生於1926年)建立了長期的聯繫。後者1949年後徙居台中,後來又移居香港,和班立德總領事的幾次轉任恰恰偶合。
班立德總領事的許多重要藏品,五十年來首次在拍場中亮相,實屬難得。
Wang Hui (1632-1717) Album of Landscapes
Sold for HK$35,960,000 inc. premium
Looking for a similar item?
Our Chinese Paintings specialists can help you find a similar item at an auction or via a private sale.
Find your local specialistAsk about this lot

Wang Hui (1632-1717)
Foreleaf: Collector's seals Taishang Huangdi Zhibao, Chunhua xuanbao
Leaf 1: ink and colour on paper, inscribed by the artist wuyin, chunri (1698, spring day), using Shuming's method, and signed Wang Hui followed by two artist's seals reading Wang Hui zhiyin and Shigu, accompanied by an inscription by the Qianlong emperor with one calligrapher's seal reading Cheng guan.
Collectors' seals: Guxi tianzi, Shou, Bazheng maonian zhibao, Qianlong Yulan Zhibao, Chunhuaxuan tushu zhenmibao, Sanxitang Jingjian xi, Yi zisun, Ciben, Shiqu Baoji, Shiqu dingjian and Baoji chongbian (Qianlong Emperor, 1711-1799)
Zhengyi shuwu zhencang tushu, Shenpin (Yixin, Prince Gong 1833-1888)
Shengxinzhai Zhencang (Pu Ru, 1896-1963)
Daqian jushi (Zhang Daqian, 1899-1963)
Leaf 2: ink on paper, with an artist's inscription, noting the painting is in Yuan style, signed Haiyu Wang Hui with two seals of the artist reading Shigu and Wang Hui zhiyin accompanied by an inscription by the Qianlong emperor with two calligrapher seals reading Cong de and Lang Run.
Collector's seal: Zhang Yuan (Zhang Daqian, 1899-1983)
Leaf 3: ink and colour on paper, with an artist's inscription reading copying Huang Zijiu's Autumn mountains and signed Wang Hui with one artist's seal reading Wang Hui zhiyin accompanied by an inscription by the Qianlong emperor with one calligrapher's seal reading Ji xia yiqing
Collector's seal: Zhang Yuan yin (Zhang Daqian, 1899-1983)
Leaf 4: ink and light colour on paper, with an artist's inscription copying Zhao Wenmin's Water Village and signed Wang Hui followed by two artist's seals reading Shigu and Wang Hui zhiyin, accompanied by an inscription by the Qianlong emperor with one calligrapher's seal reading Xie sheng
Collector's seal: Zhang Daqian (Zhang Daqian, 1899-1983)
Leaf 5: ink on paper, with the artist's poetic inscription, signed Wang Hui with two seals of the artist reading Shigu and Wang Hui zhiyin accompanied by an inscription by the Qianlong emperor with a calligrapher's seal reading Po mo
Collector's seal: Daqian (Zhang Daqian, 1899-1983)
Leaf 6: ink and light colour on paper, with an artist's inscription signed Wang Hui followed by an artist's seal reading Wang Hui zhiyin, accompanied by an inscription by the Qianlong emperor with two calligrapher's seals reading Hui xin bu yuan and De chong zhu fu.
Collector's seal: Zhang yuan si yin (Zhang Daqian, 1899-1983)
Leaf 7: ink on paper, with the artist's poetic inscription, signed Wang Hui with an artist's seal reading Wang Hui zhiyin accompanied by an inscription by the Qianlong emperor with a calligrapher's seal reading Zhong he
Collector's seal: Zhang yuan zhi yin (Zhang Daqian, 1899-1983)
Leaf 8: ink and light colour on paper, with an artist's inscription signed Haiyu Wang Hui followed by two artist's seals reading Shigu and Wang Hui zhiyin, accompanied by an inscription by the Qianlong emperor with one calligrapher's seal reading De jia qu
Collector's seal: Daqian xi (Zhang Daqian, 1899-1983)
Leaf 9: ink on paper, with the artist's poetic inscription, signed Wang Hui with two artist's seals reading Shigu and Wang Hui zhiyin accompanied by an inscription by the Qianlong emperor with a calligrapher's seal reading Zhong xin zhi shui jing
Collector's seal: Daqian xi (Zhang Daqian, 1899-1983)
Leaf 10: ink and light colour on paper, with an artist's inscription dated wuyin(1698) noting he is following the brush method of Ju Ran, and signed Haiyu Wang Hui followed by two artist's seals reading Shigu and Wang Hui zhiyin, accompanied by an inscription by the Qianlong emperor, dated guisi (1773) with two calligrapher's seals reading gu xiang and tai pu
Collectors' seals: (clockwise from the upper left) Chunhua xuan, Qianlong chenhan, Xin tian zhu ren, Qianlong jianshang, Ciben (Qianlong Emperor, 1711-1799)
Huang liu zi, Gongqin Wang, Zi sun bao zhi (Prince Gong, 1833-1898)
Zaiying zun cang (Zaiying, 1861-1909)
Chen Heng Yong Zun cang yin, Heng jiu xian jia zhencang (Wanyan Hengyong, 1881-1965)
Daqian(Zhang Daqian, 1899-1983)
Album Titleslip: Chunmiao Imperially inscribed Wang Hui album of ten leaves, Ledao Tang Collection. Calligrapher's seal Gongqin Wang
25.5cm x 39cm (10¼in x 15½in).
Footnotes
Provenance:
The Qianlong Emperor, Imperial Collection
Yixin, Prince Gong (1833-1898), the sixth son of the Daoguang Emperor
Zai Ying (1861-1909), the second son of Yixin, Prince Gong
Wanyan Hengyong (1881-1965)
Pu Ru (1896-1963)
Zhang Daqian (1899-1983)
Chang Tingchen, Hong Kong
Collection of Mark S. Pratt, Washington D.C.
王翬 山水冊 設色紙本 冊頁十開 一六九八年作
來源:
乾隆內府舊藏,1711-1799
恭親王奕訢舊藏,1833-1898
載瀅舊藏,1861-1909
完顏衡永舊藏,1881-1965
溥儒舊藏,1896-1963
張大千舊藏,1899-1983
香港張鼎臣舊藏
美國華盛頓班立德總領事收藏
畫後鈐印:淳化軒寶、太上皇帝之寶(乾隆印璽,1711-1799)
(一)蒼山蕭寺
款識:戊寅(1698)春日,用叔明法。王翬。
鈐印:王翬之印、石谷
乾隆題詩:碧宇蒼山空不空,林間微見寺樓紅。板橋流水隔塵界,祗合習禪付義公。
鈐印:澂觀
藏印:
古稀天子、壽、八徵耄念之寶、乾隆御覽之寶、淳化軒圖書珍秘寶、三希堂精鑑璽、宜子孫、賜本、石渠寶笈、石渠定鑑、寶笈重編(乾隆印璽,1711-1799)
正誼書屋珍藏圖書、神品(恭親王奕訢藏印,1833-1898)
省心齋珍藏(溥儒藏印,1896-1963)
大千居士(張大千藏印,1899-1983)
全圖蒼山競秀,草木華滋,尺幅雖小,卻有千里江山的遼闊之境,可謂小中見大。
(二)草廬款鶴
款識:元人畫簡澹中一種風致,非近史縱橫習氣也。海虞王翬。
鈐印:石谷、王翬之印
乾隆題詩:誅茅竹裏學僧庵,鶴子殷勤似對談。一種元人傳簡澹,縱橫畫史豈容探。
鈐印:從德、朗潤
藏印:張爰(張大千藏印,1899-1983)
此圖構圖簡約,古木叢篁處,一高士坐於草堂,有一鶴信步於階下。坡石的畫法及空間的表現近於倪雲林。王翬對於元人的追求並非止於筆墨的表現,更注重畫中意境的營造。
(三)秋山溪閣
款識:倣黃子久秋山圖意。王翬。
鈐印:王翬之印
乾隆題詩:颯颯秋山澹澹溪,溪光山色蔚茫迷。幾楹水閣憑虛架,合付騷人點筆題。
鈐印:幾暇怡情
藏印:張爰印(張大千藏印,1899-1983)
此圖仿黃公望〈秋山圖〉筆意,多用皴擦,再輔以淡色。董其昌以來,文人畫力求追摹董巨和元四家,強調筆筆有來歷,一山一石,一草一木皆有出處。四王更是熱衷於此,從此冊中可以了解王翬對宋元諸家的體悟,在摹古的同時,參以個人對古人筆墨等方面的理解。
(四)溪橋策杖
款識:縈迴水抱中和氣,平遠山如蘊藉人。倣趙文敏水村圖筆意。王翬。
鈐印:石谷、王翬之印
乾隆題詩:背郭茅堂竹作垣,碧溪澹沲繞衡門。板橋策杖知誰氏,文敏目成圖水村。
鈐印:寫生
藏印:張大千(張大千藏印,1899-1983)
此圖仿趙孟頫〈水村圖〉筆意寫之,阡陌交錯,溪水環屋,有高士策杖獨行。畫幅題詩「縈迴水抱中和氣,平遠山如蘊藉人」一句出自陸游《登擬峴台》:
層台飄渺壓城堙,倚杖來觀浩蕩春。
放盡樽前千里目,洗空衣上十年塵。
縈迴水抱中和氣,平遠山如蘊藉人。
更喜機心無復在,沙邊鷗鷺亦相親。
(五)雲在水流
款識:水流心不競,雲在意俱遲。王翬。
鈐印:石谷、王翬之印
乾隆題詩:白雲似水偏常在,碧水如雲卻自流。不競俱遲誰解會,都從石谷筆端收。
鈐印:潑墨
藏印:大千(張大千藏印,1899-1983)
本幅寫杜甫詩意,群巒矗立,飛流直下,近處林木蓊鬱,有古剎藏於其間,遠景縱深,有遼闊之感。乾隆題詩中一句「都從石谷筆端收」,表現出他對王翬的畫藝讚賞。「水流心不競,雲在意俱遲」一句出自杜甫《江亭》:
坦腹江亭暖,長吟野望時。水流心不競,雲在意俱遲。
寂寂春將晚,欣欣物自私。故林歸未得,排悶強裁詩。
(六)江村曉色
款識:江村曉色。王翬。
鈐印:王翬之印
乾隆題詩:柳放絲條桃作花,籠村籙竹暎波斜。平江春曉行舟處,祗惜溪煙一半遮。
鈐印:會心不遠、德充竹付
藏印:張爰私印(張大千藏印,1899-1983)
此幅寫初春景色,漁舟輕棹,水岸一帶,小橋縱橫,阡陌交錯於村捨與田野之間。
(七)古木寒鴉
款識:寒鴉飛數點,流水遶孤村。王翬。
鈐印:王翬之印
乾隆題詩:歸鴉繞樹覓棲枝,村舍柴門欲閉時。早作暮休無別事,阿瞞那學賦雄詞。
鈐印:中和
藏印:張爰之印(張大千藏印,1899-1983)
寫寒鴉繞樹,村舍數間隱於林下,遠山蒼暮,水岸清曠。全圖意境深遠,得元人超逸悠遠的情致。 「寒鴉飛數點,流水繞孤村」一句出自隋煬帝楊廣《野望》,全詩為:「寒鴉飛數點,流水繞孤村。斜陽欲落處,一望黯消魂。」
(八)秋林遠岫
款識:偶見董宗伯秋林遠岫圖,因倣其意。海虞王翬。
鈐印:石谷、王翬之印
乾隆題詩:秋林蕭颯意含霜,遠岫雲端色欲蒼。不擬畫家倪範派,瓣香獨識有香光。
鈐印:得佳趣
藏印:大千鈢(張大千藏印,1899-1983)
寫秋景,極盡蒼茫蕭颯之態。從王翬題識中,可知為仿董其昌〈秋林遠岫圖〉之意。故乾隆在題詩中有「瓣香獨識有香光」之句。雖為仿董之作,但更多的還是運用宋元諸家筆意,以此造境。董其昌的山水即是以宋元為宗,尤以元人筆墨為先,四王得其衣缽,因而在當時有「畫學正宗」之說。
(九)山光竹影
款識:門靜山光別,園深竹影連。王翬。
鈐印:石谷、王翬之印
乾隆題詩:溪上書堂暑氣消,板橋過客早相招。共欣竹影宜疎密,解使山光能盪搖。
鈐印:中心止水靜
藏印:大千鈢(張大千藏印,1899-1983)
寫隱居之樂,林木掩映,書堂數間,竹林環繞,有高士持杖踱步於曲徑。全圖展現唐朝詩人張籍《和令狐尚書東莊近居李僕射有寄十韻》之詩意:
平地有清泉,伊南古寺邊。漲池閒繞屋,出野遍澆田。
舊隱離多日,新鄰得幾年。探幽皆一絕,選勝又雙全。
門靜山光別,園深竹影連。斜分採藥徑,直過釣魚船。
雞犬還應識,雲霞頓覺鮮。追思應不遠,賞愛諒難偏。
此處堪長往,遊人早共傳。各當恩寄重,歸臥恐無緣。
(十)雲林濕翠
款識:冷光濕翠相摶處,曾向廬山六月來。戊寅(1698)春正,倣巨然筆法,海虞王翬。
鈐印:石谷、王翬之印
乾隆題詩:春雲低似掩林扉,步向叢間欲濕衣。寺閣可看不可入,絶蹊徑處是禪機。癸巳(1773)仲春御題。
鈐印:古香、太璞
藏印:
淳化軒、乾隆宸翰、信天主人、乾隆鑑賞、賜本(乾隆印璽,1711-1799)
皇六子、恭親王 、子孫保之(恭親王奕訢藏印,1833-1898)
載瀅尊藏(載瀅藏印,1861-1909)
臣衡永尊藏印、衡酒仙家珍藏(完顏衡永藏印,1881-1965)
大千(張大千藏印,1899-1983)
此圖仿巨然筆法,寫春山一隅,古寺掩映於山林,遠處群山霧靄,近處溪橋流水。 「冷光溼翠相摶處,曾向廬山月下來」之句出自元人高克恭的題畫詩。
乾隆御題詩全文,著錄於《清高宗御製詩文全集》「御製詩四集」卷十,頁十八至十九
本幅山水冊共十開,作於康熙戊寅年(1698年),每開畫幅上既有王翬的本款,又有乾隆的題詩一首。作品主要以元人筆法,融古人詩意,自出機抒,體現出王翬體悟前賢筆法並融會貫通的高超技巧。乾隆的題詩全部著錄於《清高宗御製詩文全集》中,每首冠以標題,其內容皆根據畫意而出,可謂詩畫合璧。此冊曾入藏清內府,後為「賜本」,庋藏宮外。
函盒題簽:乾隆御題王石谷山水冊。湘南秘藏。雪齋署耑。
鈐印:雪齋、溥伒
冊頁題簽:純廟御題王翬畫冊十幅。石渠寶笈神品。樂衟堂尊藏。
鈐印:恭親