China. The domed body with short waisted neck and slightly everted rim, the exterior covered in a mottled raspberry glaze interspersed with green copper oxide splashes, a band of raspberry glaze around the inner rim, the interior and base covered in a white glaze.

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. The base with three old labels, 'Kang Shi F72.500 LC/3', 'AMA 4612/2', and 'Asia-Africa Museum Geneve', and a lacquered inventory number, '[…]612'. The wood stand with two old labels, 'AMA 2881/L/03 Kang-Shi' and 'AMA 4612/2' to the top and three old labels, 'AMA 2881 HC3 Kang-Shi', 'AMA 4612/2' and 'Lum Chai 28831' to the underside. A copy of a handwritten entry in the inventory of the collection, describing the present waterpot, accompanies this lot.
Condition: Very good condition with minor wear and manufacturing flaws including pitting. The wood stand with minor wear.

Weight: 360.0 g (excl. stand), 477.1 g (incl. stand)
Dimensions: Diameter 10.7 cm (excl. stand), 11.5 cm (incl. stand)

With a carved wood stand of circular form with four feet, dating from the same period. (2)

The recessed base with an apocryphal underglaze-blue six-character mark da Qing Kangxi nianzhi.

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.



十九世紀豇豆紅釉水丞
中國，圓唇，無頸，半球狀腹，圈足。通體施豇豆紅釉，口與圈足施白釉。

來源：瑞士日內瓦知名私人收藏，自 1960 年代開始收集，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。底足三個標籤 'Kang Shi F72.500 LC/3'，'AMA 4612/2'，與 'Asia-Africa Museum Geneve'，以及一個庫存編號 '[…]612'。木底座上有兩個標籤 'AMA 2881/L/03 Kang-Shi' 與 AMA '4612/以及底部三個標籤 'AMA 2881 HC3 Kang-Shi'，'AMA 4612/2' 與'Lum Chai 28831' 。隨附一份進入收藏的手寫庫存單複印件。
品相：狀況極好，有輕微磨損和製造缺陷，包括點蝕。木架有輕微磨損。

重量：360.0 克 (不含底座)，477.1 克 (含底座)
尺寸：直徑10.7 厘米 (不含底座)，11.5 厘米 (含底座)

來自同時期的四足雕刻木底座。 (2)

圈足内仿“大清康熙年製“六字款。

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。