Beschreibung:

QI BAISHI (1864-1957)Album of Miscellaneous Subjects
Album of twenty-six leaves, ink and color on mica paper, inscribed by the artist on the verso of the front cover and signed Baishi Qi Huang, with a dedication to Watanabe Shimpo (1867-1938) and an artist's seal reading Baishi weng, all the leaves signed by the artist and with an artist's seal, the verso of the back cover inscribed by Xu Linlu (1916-2011) in 2002, the titleslip inscribed by Xu Bangda (1911-2012).
9 3/4 x 6 1/2in (24.8 x 16.5cm), each (26).Footnotes齊白石（1864-1957） 雜畫冊 設色雲母箋 冊頁二十六開
題簽
萍翁真跡二十六幅，邦達署。
鈐印：徐邦達印
題記：
渡邊先生屬正，此冊共二十六頁，為人物、山水、花竹、工蟲所畫成，乃余平生之僅作，以博先生一笑耳，白石齊璜並記。
鈐印：白石翁
款識：
其一：白石老人
其二、十五、二十及二十五：借山老人
其三、十一、十八、二十一及二十三：齊璜
其四及十七：老萍
其五、九、十二、十四、十六、十九、二十二及二十四：白石
其六：萍翁
其七：老萍
其八：三百石印富翁齊璜
其十：寄萍老人
其十一及十三：齊璜
其二十六：白石山翁
鈐印：木人、齊白石、齊大、白石翁、借山翁
跋文：
先師白石老人為渡邊先生所畫人物、山水、花卉、工蟲二十六頁，乃罕見之作，頁頁皆精絕，洵可寶也。八十七叟許麐廬敬題，時壬午（2002）。
鈐印：蓬萊、許
Provenance:
The collection of Watanabe Shimpo (1867-1938)
Sungari International Auction, Beijing, 2 November 2003, lot 1168
來源：
渡邊晨畝（1867-1938）舊藏
中貿聖佳，北京，2003年11月2日，拍品編號1168
This magnificent album of 26 leaves showcases Qi Baishi's ability to paint in a broad range of subject matter, including flowers, fruits, figures and landscapes, his free brushwork contrasting with meticulously rendered insects, a hallmark of the artist's style. The dedication indicates Qi Baishi painted this tour-de-force for the Japanese painter Watanabe Shimpo, who organized two exhibitions of Chinese paintings in Tokyo in 1921 and 1922. The second exhibition played a crucial role in Qi Baishi's success as an artist, exposing his work to a new, appreciative audience, when success in Beijing was elusive. As a fellow artist interested in Chinese painting techniques, Watanabe would have welcomed the overview of the artist's style as presented in the album.
Although undated, Qi Baishi likely created this album between 1922--the year of the second Tokyo exhibition--and 1931, when Japan attacked Shenyang in September of that year. After the attack and eventual invasion of Manchuria, the spirit of cultural exchange between Japan and China suffered gravely, and Qi Baishi refused to engage with Japanese collectors who knocked on the door of his Beijing studio seeking the artist's work.
此妍巧精妙的二十六開冊頁展現了白石翁處理各類題材游刃有餘的繪畫能力，花果人物、山水造境以隨性之筆寫之，與代表其標志風格的細工草蟲平分一紙秋色。開篇跋文言明，此冊乃白石翁為日本友人渡邊晨畝所作。渡邊先生曾於1921及1922年在日本東京組織了兩場中國繪畫展覽，當其時，白石老人在京華藝壇尚名不經傳，第二場東京畫展對其作品在日推廣至關重要，為其招徠一批眼光獨到的藏界新貴。渡邊身爲白石老人畫壇同行，對中國繪畫技巧好感有加，領收是冊時定亦對其中所展現的齊白石繪畫風格概貌欣然迎納。
此冊雖未紀年，但極可能作於1922至1931年間。這一時期，渡邊已於東京組辦完第二次畫展，白石老人與其往來當與日頻繁。1931年九一八事變，日本侵占滿洲里後，中日文化交流隨之衰落。此後，雖有日本藏家叩門走訪白石老人在北平的畫室求畫，但老人執意拒絕與日本藏家結交共事。