The rectangular stencil has a cut design of two wisteria medallions connected by a scroll motif. Register points are located along the edges of the design. Fan-shaped cutout along one long edge. Traces of Japanese script on the back.

The rectangular stencil has an overall komon design of small five petaled sprigs. A register point is located in each quadrant. Grid pattern drawn on the back of the stencil.

Daoist album leaf. Painting depicting Xu Xun reversing corse and pursuing reading. A man in blue robes is reading at a desk inside a building with three young male figures around him, and another outside with a red offering in his hands extended towards the reading man. There are trees in the foreground, and the building sits beside a body of water with hills and steep mountains in the background. The painting is mounted on off-white damask-patterned silk on paper.

Daoist album leaf. Painting depicting Xu Xun engaging in a hunt and awakening to cultivation. A group of men is standing beside a man on a horse with a young man in pink robes standing in front of them beside a spear that has been stuck into the ground. He is looking past a bow, a quiver of arrows, a duck, and a piece of fabric(?) that have been left on the ground towards two adult deer and a fawn. There are blue and green rocky outcrops in the foreground, and mountains overlooking water in the background. The painting is mounted on off-white damask-patterned silk on paper.

Daoist album leaf. Painting depicting Xu Xun and the five-coloured clouds marking his nascence. A woman is pictured lying on a bed inside a building with several female figures working around her, two of which are washing a baby in a basin. An undulating line rises from the baby's head to a billowy fabric-like cloud composed of blue, red and white undulating lines and grey curved lines on yellow. There are trees and the roof of a house in the foreground and a wall in the background. The sky is glue with pink and off-white clouds. The painting is mounted on off-white damask-patterned silk on paper.

Daoist album leaf. Painting depicting Xu Xun and the the golden phoenix revealing an auspice. A figure is reclining in a bed inside a building with two other figures standing outside and a yellow phoenix flying town towards the building. Blue rocks and a tree in the foreground with more rocks, a bush with flowers, and a wall in the background. The sky is blue with pink and white coulds. The painting is mounted on off-white damask-patterned silk on paper.

Daoist album leaf. Painting depicting Xu Xun and the lasting image of the perfected transcendent. A man in blue robes and two boys, one holding a red package, the other holding a sheathed sword, standing beside a river with a tree in the foreground and mountains in the background. The painting is mounted on off-white damask-patterned silk on paper.

Daoist album leaf. Gold painted Chinese calligraphy in six columns on a piece of brown silk that has been mounted on off-white damask-patterned silk on paper. The text relates to Xu Xun and the depiction of the lasting image of the perfected transcendent.

Painting depicting two figures at the centre, one with a round white face, the other with a square black face, both with large eyes and striped necklaces. They are flanked by two smaller standing figures, each with four arms, and there is an arc of multicoloured figures at the top, each in a cartouche shape. At the bottom of the painting, two four-legged creatures with tails and manes face outwards with a cylindrical object (a Lingum ?) in between them. Floral motif border in black, light blue and red.

Daoist album leaf. Painting depicting Xu Xun and his sense of equity deterring him from wrongful gain. A male figure in yellow and gold robes with a blue border stands pointing at an object with three legs. Standing with him is a man in blue robes, and two young men. They are standing on a grassy hill with a tree as well as blue and green rocky outcroppings. The background is composed of off-white and dark pink clouds, blue sky, and blue, green and grey mountains. The painting is mounted on off-white damask-patterned silk on paper.