黃賓虹 繁花艷態

鈐印：「黃賓虹」（四鈐）（倒鈐）。

-The edges of the four leaves has turned slightly greyish. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

「五十萬卷樓」收藏名家書畫（編號272-288）

近世廣東藏書之富，當首推東莞莫伯驥「五十萬卷樓」。莫伯驥（1878-1958），字天一，少年學醫，畢業後於廣州設「仁壽西藥房」。莫氏一家以田力讀書為彝訓，陳編世守，嬋嫣不絕。莫伯驥父啟智精研宋學，所藏宋元名臣大儒遺書森森連屋；伯驥少年時因生計，棄儒從商而致富，獨甘飯蔬食，痴迷古書，練積三四十年如一日，終以五十萬卷藏書「上企瞿楊，無慚丁陸」，惜其藏書大多散失於抗戰亂世動盪歲月，著作五十餘種亦毀於戰火，惟存出版〈五十萬卷樓藏書目錄初編〉及〈五十萬卷樓群書跋文〉兩種。

本輯所集莫氏收藏書畫十七件，或為藝壇時賢贈予者，若黃賓虹為莫氏父子四十年代中後期所作系列畫作之一〈庸言書屋圖〉、盧子樞為伯驥子培樾所寫山水冊頁；或為出於地緣關係所集嶺南一地書畫，若宋光寶、二居、葉衍蘭等清中晚期活躍於當地之畫家；亦有伊秉綬、趙之謙、任伯年近代藝壇翹楚，令人得以窺見莫氏收藏趣味境界。

註：黃賓虹山水夙負盛名，花卉則屬偶出。幼齡已遵父命多次臨摹家藏金華倪易甫〈松菊圖〉。早年復見陳崇光雙鉤花卉，以其沉著古厚，力追宋元而心折之；其花卉師白陽，講筆趣，崇自然，這亦影響賓虹畫風。此外，亦受新安畫派雪莊和尚〈黃山異卉圖冊〉及黃呂臨本之啟發。識者讚賓虹花卉「取法高古，不同流俗」。其四十年代末以後花卉有較大變化，風格從淡靜古雅，變為具金石筆意，得「婀娜剛健」之美。

此四幀繪山丹、薔薇、紫苑、茉莉、紫玉簪等雜花八種，構圖取其折枝之貌，或一枝挺秀，或兩三交雜，自由生發，輕鬆天趣；用墨用色，皆筆筆中鋒圓融，色墨濃淡，互破互生。他曾謂畫花卉需用佳紙，對照此四幀，可理解其中緣由，蓋上佳生宣利於水份發散，色墨沉漬，花葉邊緣尤顯自然，無生硬之弊，教觀者胸襟舒暢。

四十年代中期，畫家自謂習花卉三十餘年，尚未有成，不敢問世，然未嘗一日間斷，可知寫此以陶情適性，多為贈友或習作自存，其中署款者尤少，以其遺贈浙江省博物館之作品，不少即屬花卉稿，間有鈐印，甚或無款無印，故花卉題材，斷代頗難。「五十萬卷樓」莫氏與賓虹藝緣締結於四十年代中期，由此推斷，本四幅似為該段時期所出，或屬畫稿，撿寄藝友，隨手鈐印，故有倒鈐之誤，可見率性無拘，亦成一趣。