Ink and watercolors on silk. A vast and colorful depiction of exactly one hundred cats engaged in various pursuits, such as chasing butterflies or each other, drinking water, climbing a tree, or hiding in unexpected places.

Inscriptions: Lower left, signed ‘Guangling Yu Zhiding’ with artist seal and several collector’s seals.

Provenance: From an old private collection in southern Germany, assembled between 1970 and 2002, and thence by descent.
Condition: Very good condition with only minor wear, minimal creases, stains and soiling, and small losses.

Dimensions: Image size 333 x 29.2 cm, Size incl. frame 356 x 38.6 cm

With a silk brocade mounting and framed behind glass.

Yu Zhiding (1647-1716) was a Chinese painter during the Qing Dynasty (1644–1912) and a native of Jiangdu (present-day Yangzhou) in Jiangsu province. His style name was Shangji and his sobriquet was Shenzai. He served in the Imperial Painting Academy during the reign of the Kangxi Emperor.

Expert’s note: For obvious reasons it can never be established with absolute certainty that the present painting is from the own hand of Yu Zhiding. However, given the complex nature of the subject, a considerable number of sketches must have been drawn for preparation. Sketching is a sophisticated process which can take several months, sometimes even years. Most artists use, to a greater or lesser degree, the sketch as a method of recording and working out their ideas. The sketchbooks of some have become well known, including those of Leonardo da Vinci. The remarkably lucid structure in the depiction of the one hundred (!) cats as well as an uncountable number of butterflies, plants, rocks and the like certainly does not come from genius improvisation, but rather from extensive preparatory work. On top of this is the fact that every single cat is shown in a different position and with a different expression, a different character. We find playful cats, hunting cats, caring cats, vicious cats, hidden cats, old and young cats, fat and slim cats, black and tiger cats, to name just a few examples of the sheer endless variety in the subject. Bottom line: It just seems improbable that a painter, capable of creating such a work, would go into hiding and sign it in the name of a different master.

Literature comparison: Compare a related but much smaller study of a cat by Yu Zhiding, at China Guardian, in Classical Chinese Paintings and Calligraphy, on 20 June 2018, lot 1111. (42 x 47 cm)

禹之鼎 (1647-1716) 款《百貓圖》
絹本設色。御花園中小貓們玩耍的情景，或藏於花叢中，或置於竹林下，神態各異，或叼食，或仰視，或遊戲，或睡眠，活靈活現，別有情趣。形像生動，妙趣橫生。

款識：左下角“廣陵禹之鼎”以及其他收藏印。

來源：德國南部一個私人老收藏，購於1970 and 2002間，保存至今
品相：狀況極好，只有輕微磨損、極少摺痕、污漬，輕微缺損。

尺寸：畫面333 x 29.2 厘米, 總356 x 38.6 厘米

絲綢裝幀，玻璃棉。

禹之鼎 (1647-1716) 清朝書畫家，江蘇人，寄籍江都。字尚吉，號慎齋，曾在康熙朝供奉南薰殿，尤以肖像著稱。

專家注釋：雖然永遠無法確定此畫是否為禹之鼎親筆所做，但是鑒於該題材的複雜性，且必須繪製大量草圖進行準備。白描是一個複雜的過程，可能需要幾個月，有時甚至幾年。大多數藝術家或多或少地使用草圖作為記錄和實現他們想法。一些人的速寫本已經廣為人知，包括列奧納多·達·芬奇的速寫本。一百隻貓以及無數蝴蝶、植物、岩石等場景描繪當然不是天才的即興創作，而是前期的準備。最重要的是，每隻貓都不同姿勢、不同表情，并且不同的性格，畫面中中無窮無盡的變化。總而言之，一個有能力創作出這樣作品的畫家會隱藏自己身份而以他人名字簽名，這似乎是不可能的。

文獻比較：比較一件的禹之鼎《貓圖小品》(42 x 47 厘米) ，見中國嘉德 Classical Chinese Paintings and Calligraphy 2018年6月 20日 lot 1111。