Landscape and Trees after Wu Li, 1877Horizontal handscroll, ink and color on paper, the artist transcribing the original Wu Li inscriptions, followed by his own inscription dated dingchou, and signed Weng Tonghe, with two seals Tonghe siyin and Weng, mounted with a colophon by Lu Shufan (1868-1926) dated yimao (1915).12 5/8 x 54in (32 x 137cm), the painting only, exclusive of the colophons 翁同龢 臨吳歷《興福庵感舊圖》 設色紙本 手卷 一八七七年作陸樹藩題跋 Provenance/來源:China Guardian Beijing, 8 December 2000, lot 409中國嘉德，北京，2000年12月8日，拍品編號409Published/出版:Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-38, pp. 194-95戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-38，頁194-195Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp. 184-185Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁184-185Exhibited/展覽:New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日According to Weng Tonghe's inscription, someone offered to him the painting Xingfu an ganjiu tu (Remembering the past at the Xingfu Chapel, 1674) by Wu Li (ca. 1632-1718) for sale in 1877. Unfortunately, the painting was too expensive for him. Thus, he made a quick copy of the original work. Wu Li's painting is now in the collection of the Palace Museum, Beijing. Comparing the two works, Weng Tonghe's painting is not an exact copy, although it does retain the original composition and inscription. From the poem written by Weng Tonghe, the artist apparently was aware of the commemorative subject of the original painting, which was created to remember Wu Li's friend Morong (?-1671) -- a Chan monk who lived at the Xingfu Chapel. For further discussion on Wu Li's work, see Ning Yao's dissertation, Representing Absence and Death: Wu Li's (1632-1718) Handscroll Remembering the Past at the Xingfu Chapel (1672), Heidelberg University, 2013. Interestingly, the current lot was brought to the philanthropist, painting and book collector Lu Shufan (1868-1926) in 1915 together with other works for sale. In Lu's colophon, he notes his financial situation is similar to Weng Tonghe, and he did not have the means to add these to his collection. However, he sold his winter fur coat in order to acquire these works.根據翁同龢在本幅上的題跋，他在1877年曾有機會購藏吳歷（1632-1718）的《興福庵感舊圖》卷（1674年作），然終因對方要價過於高昂作罷，只能摹原作以寄欣賞之情。吳歷原作現藏於北京故宮博物院。對比二作，翁同龢的摹本雖保留了原作的構圖和題跋，但與原作卻並非完全一致。從翁題中可以看出，翁氏完全明瞭原畫乃是悼懷之作，所懷之人墨容（？-1671）乃江蘇常熟興福寺方丈，曾從吳歷學畫。有關此畫卷的更多討論，可參考姚寧《缺席者與亡者之形象──以吳歷（1632-1718）的〈興福庵感舊圖〉（1672）為例》，海德堡大學，2013年。有趣的是，本幅翁摹本在1915年曾與其他書畫一併為慈善家及收藏家陸樹藩（1868-1926）所見。而陸氏在此處所留題跋則表明他也曾如翁同龢般苦於資金不足，一度求購不得。然而陸氏終以出售貂裘籌得足夠資金，購得該批書畫