Fine Chinese Painting - Mo Boji Family Collection #1

Huang Binhong (1864 – 1955)

Secluded Studio in Verdant Mountains

Ink and colour on paper, hanging scroll

118.5 x 52.8 cm

Courtesy of Sotheby's

Paintings and Calligraphy Works from the Mo Boji Family Collection

Widely recognised as the largest in Guangdong Province, the Mo Boji book collection boasted, at its peak, more than 500,000 ancient titles collected over 34 years. Mo Boji (1878–1958) was a wealthy merchant who established a western pharmacy in Guangzhou. Influenced by his father – an expert on Song Dynasty literature and an avid collector of books by notable figures of the Song and Yuan (1271–1368) dynasties – Mo developed a deep interest in Chinese classical studies. This collection of works comprises paintings and calligraphy which were directly dedicated to him and his family, as well as calligraphy couplets from Qing dynasty scholars and minsters.

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中國現代書畫 - 齊白石

張宗憲「雲海閣」藏齊白石作品

齊白石（1864 – 1957）
《富貴長年》
設色紙本，鏡框
68 x 32.5公分

《富貴長年》乃齊白石最晚期作品之一，寫於逝世當年，是年畫家之身體狀態已大不如前，
意識常處於迷糊狀態，畫筆卻未停輟，題材以牡丹為多。本幅呈齊白石最晚年牡丹之樣式：祗畫單枝，省略構圖之慮；大筆筆尖重蘸洋紅，筆根飽含水分，見牡丹淋漓盡致，或一朵，或二三朵，實已無法分辨，全賴其墨筆點蕊方可辨依稀大概。紅花頂頭在上，花葉披離於下，枝幹盡棄，省穿插之繁，花葉由上而下，用花青黃綠，墨寫葉筋。有人謂此類為風中牡丹，實齊白石最後作畫，順手順心而為，得暢快之意，筆筆從左而右，自然生發，似由風生，實從心出。

齊白石1957年逝世，是年作品多署「九十七歲」，但如本幅題「九十八歲」者並非孤例，據傳世資料所示，尚有多幅。畫中「歲」字有錯筆，似題字時精神略有恍惚，寫作「九十八歲」，或因精神狀態，或重施丁丑「改齡」之故計，意欲跨越「九十七歲」一年，以臻期頤！

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Courtesy of Sothey's

Fine Chinese Paintings - Qi Baishi

Qi Baishi Painting from the Robert Chang Collection

Qi Baishi (1864 – 1957)

 Prosperity and Longevity Ink and colour on paper

framed 68 x 32.5 cm

In his later career, Qi Baishi’s oeuvre took on a markedly relaxed and carefree spirit. Even when his health waned, Qi continued to paint – in particular peonies, which became one of his favourite subject matters at that stage. Created the same year he passed away, Prosperity and Longevity evokes the light-heartedness typical of works produced during Qi’s later days, with its bold, quick brushstrokes.

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Courtesy of Sotheby's

中國畫壇的人物畫創作 - 蔣兆和

捷克私人收藏蔣兆和作品

蔣兆和（1904 – 1986） 

《老翁》 1940 年作 水墨紙本，立軸 

107.3 x 56.8 公分

Courtesy of Sotheby's

在二十世紀中國畫壇的人物畫創作中，蔣兆和獨樹一幟，特別在思想內容與表現形式緊扣，承繼了「藝術為人生」的傳統，以寫實技巧去反映現實，體現了偉大的人道主義的深刻思想性。其人物畫創作高峰期約於1936年至1948年，技巧與內容、西方素描與傳統筆墨的互融，都取得了出色的成果，被喻為二十世紀中國現實主義繪畫的偉大作品之一的《流民圖》亦於這時期面世。但礙於種種原因，畫家創作鼎盛期作品傳世數量有限，除家屬珍存及部份入藏博物館外，其他作品只能見諸早期出版品刊印的圖版上，流入民間者甚稀。但其獨特風格深深打動一些當年在華的外籍人士，訂購或得於其展覽者，日後攜返所居地，數十載後，部分重新面世，本幅即屬其一。

畫家家屬曾於歐洲親睹此作，確認真迹，且原藏者五十年代在華工作時，於北京一畫廊購入。經逾半世紀，仍保持當年原裝裱，惟題款處有挖補痕迹，似刮掉上款或畫題，恐原藏者購入時已是如此模樣。

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Fine Chinese Paintings - Jian Zhaohe

Work of Jiang Zhaohe from a Czech Private Collection 

Jiang Zhaohe (1904 – 1986)

Old Man 1940 

Ink on paper, hanging scroll 107.3 x 56.8 cm

Courtesy of Sothey's

Jiang Zhaohe

In 20th-century China, artist Jiang Zhaohe was known for his realist figure painting. At the pinnacle of his career, in the 1930s and ‘40s, he produced Western-style sketches in traditional ink; notably, his masterpiece Refugees, was created during this period. However, aside from a handful of pieces collected by Jiang’s own family and museums, works from this era were rarely seen in private collections and known only through mentions found in publications. Some of these works have emerged on the market from collections of expatriates based in China during that time, who commissioned or purchased them through exhibitions. Among them is this piece, Old Man, now available once again after decades in private hands.

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