賴少其題跋

題識：
一九五四年，余於上海為先生舉辦畫展於法國俱樂部大廳，會後先生向余表示，將舉行花卉畫展。不意先生逝世，此幀花卉即為此時所作，故多未題識，更能證明此畫為黃賓虹先生所作，今見此畫，不禁愴然矣。一九八八年七月於香江，賴少其題。

鈐印：
〈黃〉 「黃賓虹」。
〈賴〉 「賴少其」、「興之所至」。

-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：黃賓虹寫花鳥，多為餘事，六十歲之前潤例只有山水題材，一九二四年為丁輔之畫梅收入〈一百家畫梅〉中，為其最早出版之花鳥畫。其後雖間有花卉作品面世、出版、贈友人，與山水相比終是鳳毛麟角。然四十年代後期、五十年代其花鳥題材畫作似比之前增多，大多設色，筆墨甚為恣肆，設色穠麗卻不失古雅，本幅〈紅榴湖石圖〉正是此間典型風格。湖石一塊幾用沒骨法寫出，石綠、赭石，因宿墨之漬染，渾不見皴筆勾勒，卻玲瓏剔透，無乾澀之弊，尤顯華滋生機，用水之妙令人嘆服。石榴不採其樹姿，只取一枝於石間，花青墨葉，淡赭花托，紅榴則敷胭脂於赭石上，渲淡入雅，鮮而不艷，古意頓生。賓虹給友人信中曾言：「僕近雅好花卉，搜羅古人及時賢真跡」，可見其花卉亦多從古而生，潘天壽又指賓虹花卉採民間壁畫風格，許正是指其用色而言。

本幅未署款，僅鈐名章，賴少其一九八八年於香港得見時遂題長跋。一九五二年，賴少其任華東文聯秘書長、上海文聯副主席兼黨組書記等職，上任不久即赴杭拜訪黃賓虹，翌年，全國美協杭州分會為黃賓虹舉行九十壽辰慶祝會，他代表華東行政委員會文化局授予其「中國人民優秀畫家」稱狀。賴氏於本幅題跋即點出畫家最後階段多寫花鳥緣由：一九五四年九月華東美術家協會為其主辦「黃賓虹作品觀摩會」之時，黃賓老已有舉行花卉畫展之願，怎奈天不假年，不過半年竟羽化登仙。賴氏此跋對黃賓虹研究自增添史料價值。