Landscapes after old masters, Wang Hui (Chinese, 1632–1717), Album of twelve leaves; ink and color on paper, China

清 王翬 王時敏 仿古山水圖 冊 紙本
Landscapes after old masters

Wang Hui (Chinese, 1632–1717)
leaves k, l by Wang Shimin (Chinese, 1592–1680)
Qing dynasty (1644–1911)
dated 1674 and 1677
Album of twelve leaves; ink and color on paper
Ten paintings by Wang Hui (a–j): 8 5/8 x 13 1/4 in. (22 x 33.8 cm); two paintings by Wang Shimin (k, l): 10 x 13 in. (25.4 x 33 cm)
Credit Line:
Purchase, The Dillon Fund Gift, 1989
Accession Number:
On view at The Met Fifth Avenue in Gallery 213
In 1674, Wang Hui painted an old-masters album of twelve leaves for his teacher Wang Shimin. Though already in his forties when he made this album, Wang Hui still attempted to impress his teacher with his range and technical facility. Three years later, Wang Shimin made his own album in response, painted in a broader style suited to his failing vision. Portions of the two original albums were lost over the centuries, and the ten surviving leaves by Wang Hui and two by Wang Shimin were combined into the album on view here. It is a touching artifact of the unique bond between a teacher and his student.
#7590. Landscapes after Ancient Masters
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Inscription: Artists’ inscriptions and signatures[1]

Leaf A: Wang Hui (2 columns in standard script):

Buddhist Temple on a Clear Evening, after Oubo Laoren [Zhao Mengfu, 1254–1322]


Leaf B: Wang Hui (1 column in standard script):

Sand Banks and Rocks, after Chiweng [Huang Gongwang, 1269–1354]


Leaf C: Wang Hui (2 columns in standard script):

Shady Summer Woods, after Shuming [Wang Meng, about 1308–1385]


Leaf D: Wang Hui (3 columns in standard script):

Clouds girdle a thousand green peaks;
A single pavilion amid the autumn-tipped trees.
Following the brush ideas of Guan Tong [active ca. 907–23]


Leaf E: Wang Hui (4 columns in standard script):

Mountain torrent and deserted mountain path
Through old trees to a village’s bramble gate.
Using the brush manner of Juran [active ca. 960–85] to evoke the poetic ideas of Shaoling [Du Fu, 712–770]


Leaf F: Wang Hui (4 columns in standard script):

When mountains put forth clouds, clouds put forth mountains,
Transformed into continuous rain, they encompass all mankind;
From this one knows that the gods’ assembled banners and pennants
Are not in golden halls or rooms of jade.
After Minister Gao [Kegong, 1248–1310]


Leaf G: Wang Hui (3 columns in standard script):

When spring comes, peach blossom waters are everywhere;
If this is not an immortal’s spring, what place is?
Following Recipient of Edicts Zhao’s [Zhao Mengfu’s] methods of using colors.


Leaf H: Wang Hui (2 columns in standard script):

Level Vista with Trees and Water Buffalo, after Zhao Danian [Zhao Lingrang, active ca. 1070–after 1100]


Leaf I: Wang Hui (2 columns in standard script):

Wintry Grove on Ancient Banks, after Li Xianxi [Li Cheng, 919–967]


Leaf J: Wang Hui (12 columns in standard script):

Mountain Village after Snow, after Vice Minister Wang [Wang Wei, 701–761]


Yanweng Laoren [Wang Shimin] gave me a blank album and asked for some paintings. At the time I was traveling in Weiyang [Yangzhou] and was not able to comply. This spring I received an urgent letter [from him] so I quickly did these small scenes after various masters. Your disciple's embarrassing brush and ink is not worthy of entering your collection. Done by a rainy window on the fifth day of the second [lunar] month of the jiayin year [March 5, 1674]. Your pupil, Wang Hui of Yushan.


Leaf K: Wang Shimin (1 column in standard script):

After Li Xianxi’s [Li Cheng’s] Wintry Grove


Leaf L: Wang Shimin (10 columns in standard script):

After Recipient of Edicts Zhao’s [Zhao Mengfu’s] Shady Summer Woods

This album in the manner of various famous masters’ brush styles was begun in midautumn of 1674. I stopped, then completed the last four leaves three years later. Altogether there are twelve paintings. Now it is the sixth day of the fourth [lunar] month of the dingsi year [May 7, 1677]. Written by Wang Shimin.

倣趙承旨 《夏木垂陰》。

Leaf M: Wang Hui’s colophon, dated 1714 (5 columns in standard script):

In 1674, when master Fengchang [Wang Shimin] asked me to do this album, he was just 83 sui [eighty-two years old]. That was forty years ago; now I am 83 [sui]. The master’s grandson Qiuya has taken this out to show me. Examining again my earlier inscriptions done so many years ago I am overwhelmed with sadness and feel that the bonds of brush and ink that connect me with three generations of the Wang family cannot have been an accident. The eighth day of the tenth [lunar] month [November 14, 1714].


Artists’ seals

Wang Hui 王翬
Shiguzi 石谷子 [Leaf A, C, D, F, G, I, J (twice)]
Wang Hui zhi yin 王翬之印 (square, intaglio) [Leaf B, C, D, E, F, G, J (twice)]
Wang Hui zhi yin 王翬之印 (square, relief) Leaf M]
Wang Shigu 王石谷 (triple seal) [Leaf D, H]
Shangxia qiannian 上下千年 [Leaf M]
Gengyan Sanren shinian bashi you san 耕煙散人時年八十有三 [Leaf M]

Wang Shimin 王時敏
Yanke 煙客 [Leaf K]
Wang Shimin yin 王時敏印 [Leaf L]

Title strip

Zhang Zeren 張澤仁 (active mid-19th c.), 4 columns in standard script, dated 1865; 1 seal (on album cover):

An album of landscapes by the Mountain Man of Mount Wumu [Wumu Shanren (Wang Hui)] in the manner of ten masters of the Tang, Song, and Yuan dynasties. This fine, authentic work was acquired by the master of the Western Garden [Xi Yuan Zhuren (Li Moyuan, active mid-nineteenth century)] in the fourth year of the Tongzhi reign era, the eighth [lunar] month of the yichou year [September 20–October 19, 1865]. Guyu [Zhang Zeren] inscribed the label.
Also included are two leaves [of paintings] after old masters by Xilu Laoren [Wang Shimin]

附西廬老人仿古兩葉。 [印]: 古虞


1. Lu Shihua 陸時化 (1714–1779), 2 columns in standard script, undated; 2 seals (Leaf N):

Wang Shigu’s [Wang Hui’s] interpretations of the ancients
Vice Minister Wang’s [Wang Shimin’s] interpretations of the ancients

王石谷倣古。[印]: 聽松
王奉常倣古。[印]: 聽松

2. Li Moyuan 李墨緣 (active mid-nineteenth century), 21 columns in semi-cursive script, dated 1865; 2 seals (Leaf O):

Shigu [Wang Hui] did this album in the second [lunar] month of the jiayin year of the Kangxi reign period [1674]; at the time he was exactly 43 [sui. forty-two years old]. With a keen spirit he pursued the essential character and boundless spirit of all the great masters of the Tang, Song, Yuan and Ming until he got it just right. Since he did this album at the request of Yanweng [Wang Shimin], he put all his energies into it; it is not something one can talk about in the same year as common works. There are altogether twelve paintings with interpretations of ten masters [in this album]. Yanke [Wang Shimin] treasured them to the extent that in the midautumn of the same year he began [his own] twelve interpretations, which he completed three years later and kept in his collection. After his estate was divided, these albums were passed on to Wang Shimin’s fourth son. [Wang Shimin’s] grandson, Qiuya, who is mentioned in Wang Hui’s colophon, is the son of this fourth son.

After I acquired this album, my friend Zhang Guyu [Zeren] saw it and remarked that it was a treasure that had been handed down within the Wang family. In another gentleman’s record of the division of calligraphies and paintings [from Wang Shimin’s estate], a record one can trust, it states that of the fifteen scrolls and albums by Wang Hui in the list, this album was given to the fourth son; it further states that the title of the first leaf was Buddhist Temple on a Clear Evening. Happily, my album contains [a] painting [with the same title]. Furthermore, the division [of the estate] was in 1680 and Wang Hui inscribed this album again in 1714, some thirty years later, when Qiuya brought it out for him to see. This matches perfectly the [elapsed] time since the estate’s division, so there can be no doubt that this is the same album treasured by several generations. Unfortunately, only two leaves remain from Wang Shimin’s twelve paintings, while two of Wang Hui’s twelve paintings—those in the manner of Fan Kuan and Huang Gongwang—were taken by Zhang Zeren, so that, alas, the original creation is no longer complete. But this kind of treasure is watched over by ghosts and spirits and jealously guarded by heaven and earth. If you survey all the collectors’ seals from the time it was acquired by the Lu [Shihua] family of Taicang, [it is evident that] in no more than a few decades it has already changed owners three times [from Lu Shihua to Cheng Zhenyi to Zhang Zhiwan and, finally, to Li Moyuan]. During that time there was also civil unrest, and it might easily have been destroyed. It makes one frightened to think of it. Indeed, who am I to possess this? In seeking to return the album to its original perfection, so as to avoid arousing the jealousy of the gods, I have returned Buddhist Temple on a Clear Evening to its old position at the beginning [of the album] and placed the two leaves by Wang Shimin at the end in order to show how our forebearers learned from one another.

On the twenty-first day of the chrysanthemum [eight lunar] month of the yiqiu cyclical year, the fourth year in the Tongzhi reign period [November 9, 1865] the Master of the Western Garden [Xi Yuan Zhuren] wrote this at the Studio of Great Su [Shi, 1037–1101] and Little Mi [Youren, 1074–1151].

The two title strips are an early Qing man’s brush and ink, so I have mounted them on the first page; the two-character seal [on each title strip] Listening to Pines [Tingsong] was cut by Mr. Lu Runzhi [Shihua], who was the inscriber.

石谷此冊作於康熙甲寅二月,時年四十有三,正銳意求精,沈淫於唐、宋、元、明諸大家恰到好處時候。又為烟翁所命,竭盡生平以成此冊,非尋常數墨所可同年而語。計仿古十家,共十二幀,烟客寶之,亦於是年秋仲,照仿十二幅,三易歲而後成,並藏秘閣。後歸烟客第四子。石谷跋內“文孫秋涯”即四房之子也。余得此冊,友人張古虞見之,謂此王氏家傳之寶,載在異公所書鬮分書畫帳內,撿閱信然。帳內所存石谷卷冊共十五件,此冊分在四房,並註明首幅 《蕭寺晚晴》,今恰有此圖在內,且其鬮分在庚申之歲。石谷於甲午年重跋。事隔卅餘載,謂秋涯撿討出以見示,年代房分亦皆相符,其為當年世寶無疑。惜烟客十二幅僅存其二,而石谷十二幅又為古虞分去仿范中立、黃子久兩開,太璞不完,抑何可恨。然此等寶物,鬼神所瞰,天地所嫉。細按賞鑒各章,自太倉陸氏購藏後,不數十年而已三易其主,其間並遭兵燹,幾至同歸於燼,可懼也哉。余何人斯而竟得此,願少留缺陷,以免造物之忌云爾。今仍以 《蕭寺晚晴》 冠首,復其舊製,附烟客二幅於後,以識前人彼此相師一段佳話。 同治四年乙丑菊月廿一日西園主人識於大蘇小米之齋。兩額籤的是國初人筆墨,故并裝於首。按圖章“聽松”二字是陸氏次篆,其為潤之所題歟。 [印]:大蘇小米之齋、耳幸留鳴

3. Li Moyuan 李墨緣 (active mid-19th c.), 22 columns in semi-cursive script, dated 1870 (Leaf P):

On the day of the Duanyang [spring] festival in the gengwu cyclical year, the ninth year of the Tongzhi reign period [June 3, 1870], my friend Zhu Dingfu brought by an album of ten leaves by Wang Shimin for me to see, saying that it was the remaining [leaves from the album to which] mine belonged. Upon examining the small scenes interpreting various masters, [I realized that] they were nearly identical with those by Wang Hui; moreover, the hoary and old [style of the] inscriptions and the indistinct seals were no different from [those on my two leaves by Wang Shimin]. But at the back of this album [Wang Shimin had] inscribed several lines in a different month from those on the final painting [in my set], so I couldn’t be absolutely certain [they were from the same album]. So I took my Wang Hui album and compared it with this one; then I could see that these two sages’ works were in complete agreement.

Judging by the year and month [of their execution], it was Wang Hui who first made interpretations of the ancients for Wang Shimin and then Wang Shimin who made twelve interpretations after [Wang Hui]. Because of [Wang Shimin’s] advanced years and dim eyesight, he couldn’t follow the finer passages. Therefore, there are only six leaves that he copied closely, while for the rest he used the original composition but modified it or even followed some other model.

Among his interpretations, six leaves—Buddhist Temple on a Clear Evening after Zhao Mengfu [Leaf A], Sand Banks and Rocks [Leaf B], and Evening Colors on Pure Peaks [not in present album], both after Huang Gongwang, Deserted Mountain and Old Trees after Juran [Leaf E], Level Vista with Trees and Water Buffalo after Zhao Lingrang [Leaf H], and Wintry Grove after Li Cheng [Leaf I]—are the same. But even among these there are small differences. In Buddhist Temple on a Clear Evening the rocks and banks on the right side [of Wang Shimin’s version] lack several layers, he did not paint two fishing boats below the central peak, and the blue-and-green coloring is heavier. In Sand Banks and Rocks the deep red color is applied more thickly. In the painting after Juran the trees and village in the lower right are less detailed. Level Vista with Trees and Water Buffalo has been changed to a spring scene, with the flying birds omitted and the water done in thick ink, while Wintry Grove has been changed into a snowscape.

Among the remaining six paintings, Shady Summer Woods, after Wang Meng has been changed to a picture of bamboo, the painting in the manner of Guan Tong [active ca. 907–23] has been changed to a picture of cranes after Jing Hao [active ca. 870–ca. 930] and Guan Tong in the freely sketched [xieyi] style of brush and ink, and in Cloudy Mountains, after Gao Kegong the clouds have become more vaporous and the blue-and-green color thicker. Peach Blossom Spring, after Zhao Mengfu has been changed to Shady Summer Woods, after Zhao Mengfu, with colors applied in the freely sketched manner. [Wang Hui’s] paintings after Fan Kuan and Wang Wei have been replaced by Pavilion amid Streams and Mountains, after Ni Zan and Tree and Rock, after Wu Zhen. This is all part of making creative transformations in the process of imitation.

When the two albums are viewed together, one is so elegant you can taste it, one possesses the free-ranging quality of an old man’s brush; truly they show the fully realized genius of these two masters. Would it not be wonderful if both could be returned to one man! The Wang Shimin album is now in the collection of Zhang Xianbo [active mid-nineteenth century] of Jiaxing. This man is a descendant of Zhang Shuwei [Tingji, 1768-1848] and also knows about collecting. He is young, but he’s well-off; I’m afraid at present the two albums cannot be reunited. But he has only ten leaves; Wintry Grove and Summer Woods are mine. But my Wang Hui album also is missing two leaves, which is a big imperfection in the world.

Appended here is [a transcription] of Yanke’s [Wang Shimin’s] inscription at the end [of his original album]:

Since my energy declined, I have put away my brushes and ink stones and have for a long time neglected to paint grand landscapes. On top of it, my weakening eyesight makes it even more difficult to paint. Occasionally when the weather has been lovely, I have been inspired by the moment to paint small scenes after old masters to amuse myself. After a period of time they have accumulated into an album, in which I take great delight. When my grandson, [Wang] Yuanqi [1642–1715], was recommended for service in the capital, [his father,] my son [Wang] Kui [[jinshi, 1655], eagerly asked for it for Mr. Xueweng, whose family and mine have been friends for generations, saw and eagerly asked for it, thinking the young man would benefit from viewing it. I therefore gave the album to him for his generous correction, as if receiving his instructions personally. I knew that [my work] was too bad even for a laugh. During the Kangxi reign era, in the summer, the fifth [lunar] month, of the dingsi year [May 31–June 29, 1677], Shimin again inscribed at the age of eighty-six.

同治九年庚午端陽日友人朱定甫別駕攜烟客畫冊十開見示,云即余所藏之缺也。展閱之,仿諸家小景與石谷子畫本大半相同,而署款之字跡蒼老模糊,印章之剝缺亦與所存無異。惟冊後另題數行,與畫尾總跋月分少有參差,未能遽信,急取石谷冊校對,始見兩賢全璧。按其年月,當是石谷子為烟翁仿古,烟翁照仿十二開,因年邁目眵,于細密精緻處不能著手,故中有六幅照仿,餘或用原稿而變換之,或別模他本,如仿趙漚波 《蕭寺晚晴》、癡翁 《沙磧》 及 《晴巒晚色》、仿巨師 《空山古樹》、趙大年 《平林散牧》、李咸熙 《寒林》 六幅一樣,而其間亦少有不同。《蕭寺晚晴》 一幅,右邊沙磧少數層,中峯下兩漁舟未畫,青綠加重。沙磧一幅絳色較濃。仿巨師一幅右下村樹梢稀。平林散木改春[漏字加點],無上下飛禽,水道用焦墨。寒林變雪景。其餘六幅,仿黃鶴山樵則夏木垂陰改竹趣圖;仿關仝則改仿荊關載鶴圖,用墨筆寫意;高尚書雲山,變其位置,化雲為氣,青綠加濃;趙承旨 《桃花源》,改寫 《夏木垂陰》,設色寫意少;范中立、王右丞兩家,另仿倪高士 《溪山亭子》、梅道人樹石,是又於照仿中而自為變化也。合觀二冊,一則秀色可餐,一則老筆縱橫,誠為兩賢極得意之作。倘歸一人,豈非快事。乃烟客一冊,今為嘉興張氏翔伯所得,其人為張叔未族孫,亦知講收藏,年少小康,恐一時未能合璧,而彼僅存十開,寒林、夏木二開在余處,余所存石谷冊又少二開,亦天壤間一大缺陷也。景

附烟客尾題: 余自精力向衰,囊筆櫝硯,久疏盤礴,此更病目昏眵,益與無緣。偶逢風日清美,適乘興會,戲仿諸家小景,積久成冊,頗用自喜。茲因小孫原祁謁選入都,學翁老年台累世至誼,揆兒苦索之,以為孺子利見之資,遂以畀之,仰乞大方郢政,聊當親承指誨,知醜惡不堪獻咲也。康熙丁巳夏五時敏再題,時年八十有六。

4. Li Qingduo 李慶多 (active late 19th c.), 15 columns in standard script on green ruled paper, dated 1881; 2 seals (Leaf R):

This large album of twelve leaves by Wang Hui and Wang Shimin is an authentic and outstanding work. In the beginning it was a treasure transmitted within the Wang family of Taicang. Next it was in the collections of Lu Shihua and Cheng Zhenyi.

At the beginning of the fifth [lunar] month in the fourth year of the Tongzhi reign period [May 1865] [our family] acquired this in Jiangsu Province. Guyu, Zhang Zeren, the county magistrate, saw it and liked it so much he wanted it for his own collection. He even wrote several letters asking for it.

My father, Moyuan, placed it on the left side of his table, and every time he was not busy he would go over it several times. He is responsible for all the investigations recorded on the first two leaves.

This album of fine interpretations after various masters of the Tang, Song and Yuan, is incomplete, but one cannot feel badly, for it still contains the majority of the leaves and that is enough to feel satisfied about. In the spring of the twelfth year [of the Tongzhi reign period (1873)] my maternal great uncle Zhang Younong took the album to sell. Everyone who saw it said that [the album] was without a doubt authentic and furthermore that it was one of the best works by these two gentlemen. After this, [Zhang] treasured the album and kept it in his collection. Not only would he not sell it, but he would not return it to its owner. I suppose that paintings by famous men are public property and even if you take it forcibly from somebody it is difficult to keep it for yourself. Therefore, whenever I wrote a letter asking for it back, he always said it was inconvenient. And so I had to ask my brother-in-law, Zhang Yongnan, to travel south of the mountains to Haifeng County [in Guangdong Province], over a thousand li from the capital [Beijing]. That he was covered with dust and suffered every kind of hardship goes without saying. Furthermore his roundtrip cost over twenty pieces of gold. Finally, on the twelfth day of the fourth lunar month of the seventh year of the Guangxu reign period [May 9, 1881] it was returned.

When you carefully examine the album, it is like a fresh breeze coming into the sitting room or like meeting an old friend; moreover, owning it is a great piece of luck. This album was in the Li family collection, but since it nearly did not return from a long leave, it nearly was lost by the Li family.

The original album has come back, but it certainly was a close call and a great piece of good fortune. Now I realize that in this world everything has its rightful owner. He who wanted to sell it on consignment hid it; what a wasted effort to no avail.
On the twenty-third day of the fourth [lunar] month of the seventh year of the Guangxu reign period [May 20, 1881], written by Li Jisong [Qingduo] of Luhe [in Hebei or Shanxi].

王石谷、煙客山水大冊十二頁,此真精之品也。始為太倉王氏傳家之寶,嗣為陸潤之、程心柏兩先生珍秘。同治四年五月初得于蘇省,古虞張澤仁縣尊見之,愛不釋手,意欲藏之畫篋屢矣。先君墨緣公置之案左,每于無事時輒校閱數次,且有確實攷證,標之冊首兩葉。其畫係仿唐、宋、元諸家所作,冊內雖有殘缺,不能無憾,然既得其太凡,亦足如願相償云爾。十二年春張幼農太叔岳攜售,觀之者皆謂真蹟無疑,且為兩先生精極之作,于是寶而藏之,不惟不忍出售,並不願送歸舊主。大抵名人字畫本公共之物,縱欲強人所愛,終難奉為己有。因專函索取,總以無便為辭,只得託張詠南內弟命駕馳奔山左海豐縣,距京已近千里,其風塵荏染,辛苦備嘗,固不待言,而此行來去盤費已至廿餘之金,遂於光緒七年清和月十二日取到。細閱之下,直覺清風入座,如逢故人,且大有幸焉。竊謂此冊雖為李氏家藏,一自久假不歸,幾莫為李氏所有。茲既將原冊攜來,誠危乎其危、實幸乎其幸者也。噫!天地間物有定主,至今而恍然矣。彼以代售而欲匿此冊者,其亦徒勞而無益也夫。光緒七年四月廿三日潞河李氏季嵩謹書。 [印]: 李氏季嵩書畫之印、李慶多印

5. Weng Tonghe 翁同龢 (1830–1904), 5 columns in semi-cursive script, datable to 1882; 1 seal (Leaf RR):

I bought this album in the first [lunar] month of the spring of the renshen year [sic] in the Guangxu era. The dealer asked for a high price, and I purchased it with the money for my living costs. I have loved Lutai’s [Wang Yuanqi’s] painting all my life, but do not find Gengyan’s [Wang Hui] work very satisfactory, considering it inflicted with painterly mannerisms. In my collection, however, there are more great pieces by Gengyan, such as this album and the scroll Ten Thousand Miles of the Yangzi River. Weng Tonghe recorded on the twenty-first day of this month.

光緒壬申春正購此冊,賈人索重值,乃撤薪米之資畀之。余平生嗜麓臺畫,而於畊煙不甚滿意,以為有畫史習氣,然所收耕煙劇跡居多,此冊及 《長江萬里圖》 是也。是月廿有一日翁同龢記。 [印]: 翁同龢印

Collectors' seals

Lu Shihua 陸時化 (1714–1789)
Lu Runzhi cang 陸潤之藏 [Leaf H]
Runzhi zhenshang 潤之真賞 [Leaf L]
Runzhi suocang 潤之所藏 [Leaf M]
Huaiyan Ge Lu shi zhencang shuhua yin 懷煙閣陸氏珍藏書畫印 [Leaf P]

Lu Yuqing 陸愚卿 (active late 18th c.)
Loudong Lu Yuqing Yuanwu shi miqie tushu 婁東陸愚卿願吾氏秘篋圖書 [Leaf M]
Yuanwu miwan 願吾祕玩 [Leaf P]

Zhang Zhiwan 張之萬 (1811–1897)
Zhiwan shending 之萬審定 [Leaf A, E, M]
Ziqing 子青 [Leaf C, H]
Zhiwan 之萬 [Leaf I, J]
Zhiwan 之萬 (double seal) [Leaf K. L]

Cheng Zhenyi 程楨義 (active early to mid-19th c.)
Xinbo zhenmi 心柏珍秘 [Leaf A, C, E, F, J, K]
Zhenyi zhenshang 楨義珍賞 [Leaf B, D, G, H, I, L]
Cheng shi baowan 程氏寶玩 [Leaf M]
Zhenyi jiancang 楨義鑑藏 [Leaf M]
Wuzhong Cheng Zhenyi Xinbo shi mijia tushu 吳中程楨義心柏氏秘篋圖書 [Leaf Q]
Shushi Shuzhuang cang yin 漱石書莊藏印 [Leaf P]
Cheng shi Xinbo shending 程氏心柏審定 [Leaf P]

Zhang Ziren 張澤仁 (active mid-19th c.)
Guyu 古虞 [Album cover]

Li Moyuan 李墨緣 (active about 1865–1870)
Xiyuan wushang zhi pin 西園無上之品 [Leaf A]
Yunhu wushang zhi pin 韻湖無上之品 [Leaf A–H, J, L]
Yunhu suode 韻湖所得 [Leaf I]
Luhe Li shi Yunhu suocang 潞河李氏韻湖所藏 [Leaf K, M]

Li Chingduo 李慶多 (active 1873–1881)
Li shi Jisong shuhua zhi yin 李氏季嵩書畫之印 [Leaf A–M, P]
Xiyuan houren 西園後人 [Leaf M, O]
Li Qingduo yin 李慶多印 [Leaf O, P]

Sun Yuwen 孫毓汶(1833–1899)
Laishan zhenshang 萊山真賞 [Leaf A–M]

Li Darong 李大融(19th c.)
Xutang yumu 煦堂寓目 [Leaf M]

Weng Tonghe 翁同龢 (1830–1904)
Changshu Weng Tonghe mosuo shending 常熟翁同龢摩挲審定 [Leaf A–L]
Shuping suocang 叔平所藏 [Leaf K, L]

Weng Wange 翁萬戈 (Wan-go Weng, b. 1918–)
Weng Wange jianshang 翁萬戈鑑賞 [Leaf A–L]
Weng Wange cang 翁萬戈藏 [Leaf M, O, P]

Lu Poye yulao 陸朴埜娛老 [Leaf E]
Qingchuang yiri jihui kan 晴窗一日幾囘看 [Leaf M]
Tong Chen Weihan miu fu si tian 同陳微翰謬附斯天 [Leaf O]

[1] Translations from Department records published in Maxwell K. Hearn, ed., Landscapes Clear and Radiant: The Art of Wang Hui (1632–1717), New York: The Metropolitan Museum of Art, New Haven: Yale University Press, 2008, no. 15, pp. 200–204.
[ Wan-go H. C. Weng , Lyme, NH, until 1989; sold to MMA]
Zurich. Museum Rietberg. "The Mandate of Heaven: Emperors and Artists in China," April 2, 1996–July 7, 1996.

Museum für Asiatische Kunst, Staatliche Museen zu Berlin. "The Mandate of Heaven: Emperors and Artists in China," August 3, 1996–November 10, 1996.

New York. The Metropolitan Museum of Art. "The New Chinese Galleries: An Inaugural Installation," 1997.

New York. The Metropolitan Museum of Art. "Traditional Scholarly Values at the End of the Qing Dynasty: The Collection of Weng Tonghe (1830–1904)," June 30, 1998–January 3, 1999.

New York. The Metropolitan Museum of Art. "When the Manchus Ruled China: Painting under the Qing Dynasty (1644–1911)," February 2, 2002–August 18, 2002.

New York. The Metropolitan Museum of Art. "The Douglas Dillon Legacy: Chinese Painting for the Metropolitan Museum," March 12, 2004–August 8, 2004.

New York. The Metropolitan Museum of Art. "Landscapes Clear and Radiant: The Art of Wang Hui (1632–1717)," September 9, 2008–January 4, 2009.

New York. The Metropolitan Museum of Art. "The Art of the Chinese Album," September 6, 2014–March 29, 2015.

New York. The Metropolitan Museum of Art. "Streams and Mountains without End: Landscape Traditions of China," August 26, 2017–January 6, 2019.