A PEACHBLOOM-GLAZED ‘CHRYSANTHEMUM’ VASE, JUBAN PING, 19TH CENTURYChina. Of ovoid form, molded with a band of chrysanthemum petals above the flaring foot, surmounted by a tall trumpet neck, covered to the exterior in a glaze of raspberry suffused with speckles of mushroom and green copper oxide, running thinner on the rim and molded petals, the inner rim partly covered in raspberry thinning into white towards the interior. Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. Two labels, ‘4239’ and ‘Asia-Africa Museum Geneve AMA 4239’ to the base. A label ‘4239 AMA’ to the base. A copy of a handwritten entry in the inventory of the collection, describing the present vase, accompanies this lot. Condition: Good condition with minor wear, a small repair to the rim with touchups, and manufacturing flaws including minor firing cracks. The wood stand with minor wear.Weight: 321.7 g (excl. stand), 368 g (incl. stand) Dimensions: Height 17.3 cm (excl. stand), 20.4 cm (incl. stand)The recessed base with an apocryphal underglaze-blue six-character mark da Qing Kangxi nianzhi.With a carved and reticulated wood stand. (2)The peachbloom glaze has been the focus of scientific research since the mid-20th century. Both the overall soft pinkish red of the glaze, and the areas of clear green which appear to a greater or lesser extent within it owe their hue to copper. Firing in a reducing atmosphere creates the red color, while re-oxidation creates the green. This was therefore a glaze that had to be applied very precisely and fired with great care. Research suggests that a copper-lime pigment was applied between two layers of colorless glaze. The copper-lime pigment was applied by blowing through a bamboo tube with fine silk gauze over the end, to achieve an effect similar to modern spraying techniques. This allowed the thickness of the copper-lime layer to be adjusted so that some areas would be thicker than others. In those thicker areas, there was additional flux, which thinned the upper glaze layer and allowed the copper to re-oxidize and produce clear green. In the other areas, some of the pigment was undissolved making it appear slightly opaque and yet smooth on the surface, while the majority of the copper did dissolve and produced a rich pinkish red and creating one of the most highly esteemed glazes from the Qing imperial kilns. Auction result comparison:Type: RelatedAuction: Christie’s New York, 23 August 2017, lot 189Price: USD 4,000 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A Chinese peachbloom-glazed 'chrysanthemum' vase, juban ping, late Qing dynastyExpert remark: Compare the related form, glaze, and apocryphal Kangxi mark. Note the slightly smaller size (15.9 cm).十九世紀豇豆紅釉菊瓣瓶中國。瓶撇口、細長頸、圓肩、肩下漸收、圈足，近底處凸雕一周細長的菊瓣紋。通體施豇豆紅釉，呈現出深淺變化的粉紅色，其間夾雜少許綠色苔點。口沿露白色胎。來源：瑞士日内瓦知名私人收藏，收藏建於上世紀六十年代，保存至今。該收藏的一個重要部分被永久借出，並在日內瓦的亞非博物館展出了幾十年。底部有兩個標籤 ‘4239’ 與 ‘Asia-Africa Museum Geneve AMA 4239’；底部一個標籤 ‘4239 AMA’ 。隨附一份進入收藏的手寫庫存單複印件。 品相：狀況良好，有輕微磨損，邊緣有小修和製造缺陷，包括輕微的燒製裂紋。木架有輕微磨損。 重量：321.7 克 (不含底座)，368 克 (含底座) 尺寸：高 17.3 厘米 (不含底座)，20.4 厘米 (含底座) 圈足内青花六字款“大清康熙年製“六字款。 方形木雕底座。 (2) 紅釉是以氧化銅為著色劑，燒製時先在坯上施一層底釉，然後吹上一層顏色釉料，再蓋上一層面釉，入窯高溫還原焰燒成，呈色變化較多。最早出現於唐代的長沙窯。元代始成功地燒製出紅釉器物。明代永樂、宣德時燒製出著名的“寶石紅”釉。清代康熙時，在繼承前代的基礎上不斷創新，先後燒製出郎窯紅、豇豆紅和霽紅。其中以豇豆紅的燒製難度最大，在淡雅的釉色中有萬千變化，基本無大件器物。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年8月23日，lot 189 價格：USD 4,000（相當於今日EUR 4,500） 描述：清末豇豆紅釉菊瓣菊瓣瓶 專家評論：比較相近的外形、釉面和仿康熙款。請注意尺寸稍小(15.9 厘米)。