Landscapes, 1890Album of twelve leaves, ink on paper, the final leaf with an artist's inscription dated gengyin, with a dedication to Langfu, and signed Ruobo, with a total of 14 artist's seals reading Ruobo, Ruobo, Yunhu, Gu Yun si yin, Ruobo Huayin, Gu Yun, Gu Yun and Gu Yun. 10 7/8 x 12 1/4in (27.6 x 31cm), each leaf (12). 顧澐 山水 水墨紙本 册頁十二開 一八九〇年作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, A50-50, p. 203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，A50-50，頁203 Andrews, 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, pp. 40-41Andrews, Julia Frances, Michael Knight, and 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40-41 Little, 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. 180-181 Little, 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180-181 Exhibited/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 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Gu Yun was a native of Wuxian (now Suzhou), Jiangsu province, courtesy name Ruobo. He was a follower of the Loudong and Yushan Painting Schools. Painted as a guide for painting students, the album does not elaborate on color or complex composition, but rather it emphasizes on how to effectively use ink and brushwork depicting basic landscape elements. The plainness here actually is an indicator of solid artistic skills that the artist had acquired from studying the ancient masters over the years. It was said that Gu Yun was a frequent visitor of Gu Wenbin's famous Hall of Passing Clouds, where he copied the collection's masterpieces from the Song to Qing dynasties.