c. 1800 Chinese Bronze Red Crab with Detailed Anatomy; Articulated Legs, Red Brown Patina

c. 1800 Chinese Bronze Red Crab with Detailed Anatomy; Articulated Legs, Red Brown Patina

Exquisitely cast bronze red crab with moveable legs. It was made in the 1800’s or before and attention to detail is extremely accurate. So accurate in fact that if you run your fingers along the surface of the crabs legs you will feel the spiky sharp bumps on the surface. You can actually cut yourself if you run in the opposite direction. This attention to detail is attribute to the skill of the metal smith that cast this crab.

The body of the crab is hollow, with opening where the eyes are. Each leg was cast in three parts: the nail on the tip, the joint at the second section from bottom and the main part of leg that attaches to body. It is just a beautiful work of art, so I took a lot of pictures to show how an item from that era was cast. Detail will show the workmanship and the patina that over time has deposited itself on the surface.

Wherever it was handled, and where the hand would hold this object , it has taken on a beautiful deep patina. In places where no handling has occurred it has turned almost black, which shows the actual patina it has acquired over a couple of hundreds of year. In cracks and crevices there is green. It has a wonderful brown copper red patina that was applied centuries ago.

It does have some missing pinchers on four of the legs, but even that could not take away from this stunning piece of art.

About twenty two years ago I would go to a local flea market that was at a storage facility. I remember when I saw this, that no one had bought it, for it was around noon that I would visit this flea market. I was thrilled to know that he only wanted $2 for it and I have had it ever since. I don’t know a whole lot about it, but I knew it was a work of love whom ever made it. You just don’t put this much detail into an object unless it was something that was special to you.

The crab is very heavy, all bronze. It measures 8 ½” at its widest and 3 ¼ from rear to front. And stands 1 ¾ inch from top to bottom.

 If you know anything about these type sculture, please email me and I will add to this description. robtnar@gmail.com


This is a work in progress and I will be updating the caption as I have time.                               

"The White Horse Carrying Sutras" 18th Century Chinese Silk Embroidery; Rendering of Ding Yunpeng original masterpiece in Palace Royal Collection, The Forbidden City, Peiping, China ; Similar in embroidery of 17th century Madam Han Ximeng foremost embroider Ming Dynasty

"The White Horse Carrying Sutras" 18th Century Chinese Silk Embroidery; Rendering of Ding Yunpeng original masterpiece in Palace Royal Collection, The Forbidden City, Peiping, China ; Similar in embroidery of 17th century Madam Han Ximeng foremost embroider Ming Dynasty

In the 1930's there was a Marine that was an embassy guard with the 38th company (I believe Fourth Marine) He had a friend named Rudy Terela that he served with prior to writing him a letter some time later.

In this letter he mentions time they spent together and that when he sees him again he had a very nice present for him. The letter was inside the back of the embroidery. The letter is dated Peiping, China, March 19, 1930 Marine Detachment, 38th Company American Legation Guard Peiping. He writes in the letter he was also stationed in Shanghai for nine months. I hope to latter post a picture of the two page letter.

I believe this is Chinese embroidery painting in the style of Madam Han Ximeng, that lived during the 17th century, Ming dynasty. Apparently Corporal William (Bill) Hamilton obtained this during his tour of duty in China.

There are different thickness of thread and different patterns in the composition of the rendering of Ding Yunpeng original masterpiece drawn on paper that is in the Peiping China Royal Collection, in The Forbidden City .

Even the ground has been contoured using these different methods. On the ground in some places there is very fine green silk that if you did not know better you would think you are looking at a watercolor produced image. But as you inspect it closely with a loupe you see that it is a very fine stitch. The skill that produced this treasure is breathless to behold.

These scrolls have little monetary value about $500, but it is rich in historical value. It once was mounted on a wood scroll which I still have and it retains remnant of silk material that was used to attach it to wood. I will evidently add a picture of it.

The stitching on the pine trees is done in such a way that it gives them a sense of depth. This is attributed to the different shades of silk so skillfully used. Only close examination using a loupe will you be able to see how they use even different shades of the same color to give it depth. Only a master embroider would have the skill to duplicate the painting made by Ding Yunpeng when this was produced in the 18th century.

I wonder if the embroider had access to the original for the rendering is exact, down to the expressions on the faces. The embroidery is 99% of what Ding Yunpeng drew, except for about an inch and one half (3.5cm) at the bottom of the painting of Ding Yunpeng original.

A few of the boulders and rocks at the bottom of the painting for this reason is not visible in this silk rendering. The inscription and seals were moved up so that all part of Ding Yunpeng drawing are visible on the embroidery.

The colors have remained vibrant with deep reds, many shades of browns, tans, light to dark greens and different intensity of black silk thread. I say silk thread but I am not 100% sure for it could be satin.


Where I found this beauty:


I used to go to a little town called Panacea in the Big Bend area of the panhandle of

This image below  is the front of the embroidery:

These next images are the back of the embroidery showing the back. It had these white repair tape on it when I took it out of the frame.