Landscapes, 1895Album of twelve leaves, ink or ink and color on paper, the last leaf inscribed with a dedication, dated the second month of yiwei and signed Wu Dacheng, with two artist's seals reading shigui shanfang and Kezhai, and two collector's seals Xuezhai jingyan and Haiyan Shen shi zhencang.4 7/8 x 10 3/8in (12.5 x 26.4cm), each leaf(12). 吳大澂　仿古山水冊　設色紙本　冊頁十二開　一八九五年作Provenance/來源:Far East Fine Arts, San Francisco, California, 1992加州舊金山遠東藝術中心，1992年Published/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, A50-52, p. 204戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版社，東京，2013年，A50-52，頁204Andrews, Julia Frances, Michael Knight, and Pauline Yao。 Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979, San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, p. 72Andrews, Julia Frances, Michael Knight, Pauline Yao,《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，李鐘文亞洲藝術文化中心，舊金山，加州，2000年，頁72Little, 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 Museum of Art, 2007, pp. 188-189 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲牧師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188-189Exhibited/展覽:Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年10月25日至2001年1月14日New Songs on Ancient Tunes, Honolulu Museum of Art, Honolulu, Hawaii, August 30-October 28, 2007《古調新歌：費立哲牧師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The inscription on the last leaf has a dedication to Liqiao. Among Wu Dacheng's contemporaries, there was a calligraphy and seal carving enthusiast named Zhou Xianyi (?-1917) from Hunan province, courtesy name Liqiao. Zhou Xianyi shared the same interested as Wu Dacheng, who was interested in studying epigraphy and collecting ancient bronze. 上款：「笠樵」應為周銑詒（？-1917），字荔樵、笠樵，號仲澤，室名岳色堂、共墨齋。湖南永明（今永州）人。清同治拔貢，值中書，任思賢學院監學官。癖金石，工書法、篆刻，好收藏。除金石文物外，亦藏書數萬卷。傳世有《永明周氏岳色堂印董》、《鈢印及六朝唐宋官印譜錄》、《昈齋遺詩》、《永明縣志》首一卷及末一卷、《沅湘耆舊集續編》等。與胞弟周鑾詒（1859-1886）合輯《共墨齋藏古璽印譜》十卷。鑾詒字薈生，號季譻。光緒三年丁丑科（1877）年十九歲考中進士，授翰林院編修。光緒十一年（1885）為廣東鄉試考官。光緒十八年（1892）八月，愙齋到湖南巡撫任，「蒞湘不及三月，已頌聲大作矣」。次年奏請設立湘省求賢館，「不徒為延攬將才而設，但取其志向遠大，操守謹嚴」。據顧廷龍《吳愙齋先生年譜》，光緒十九年（1893）正月，愙齋購求賢館及孝廉書院房屋，「周薈生太史久矣作古，乃兄荔樵中書，欲將其宅出售，議價一萬三千三百金，購作求賢館」，此即周鑾詒之舊居。