設色紙本 立軸 一九二四年作

款識：
甲子十月擬大滌子。老萍。

鈐印：「白石翁」。

-Mild foxing and paper creases could be found on the painting, 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."

註：齊白石嗜畫葫蘆，早年見於工筆冊頁。二十年代初期寫意葫蘆風格成熟已見端倪，頗受吳昌碩影響：葫蘆以沒骨大寫意法，葉形偏圓，先染復以墨勾筋。是幅作於一九二四年，款題擬石濤甚為少見；且迥異於前之缶老面貌，構圖繁密之極，類似於一九二○年為胡南湖作花卉四屏。二十年代中後期，齊白石葫蘆畫法再次回溯，以缶老風格為基礎，構圖更簡明，葫蘆用純色藤黃，葉用濃墨，色彩更鮮明，最終定型為其畫葫蘆的基本樣式。

二十年代齊白石畫作由日本而北京漸次打開銷路，一時名聲大噪，傳吳昌碩曾以一句「北方有人學我皮毛，竟成大名」有暗諷之意。白石最持自尊，是年即借石濤句治印「老夫也在皮毛類」，反復鈐用，對吳態度也自此前後有別。是幅寫於此段期間，也許白石有意避開吳氏畫風，嘗試自辟蹊徑。畫面由上而下，自密而疏，先用赭石、藤黃，淡墨畫葫蘆四枚，再以盤中餘下色墨遍染上方三枚葫蘆外沿，細密勾得葉片輪廓與葉筋，襯托葫蘆似從鬱鬱濃蔭中擠出；下方葫蘆則搭配以粗藤一枝，枝葉伸出左下方，與上方之濃鬱拉開空間距離，觀者視覺至此得以舒緩過渡。