Painting of the virgin Mary holding a child and a sceptre. Mary is depicted wearing a red gown with gold brocading, and lace-trimmed sleeves. On her chest she wears a red and gold emblem of the Mercedarian order. Both Mary and child wear broad-brimmed black pilgrim hats with white feathers. Mary holds a gold sceptre in her left hand, and child in her right. They appear to be on a red and gold seat. Painted on a board, in a carved wooden frame.

Painting of St. George on a white horse, spearing a coiled dark green fire-breathing dragon or serpent below. There is a stone structure in the background, on the right. Canvas on wood frame with paper around edges. Frame slightly bent.

Dark brown and off-white sash with long brown and off-white fringe with colourful tips. The fabric has a plaid pattern with squares of dark brown, off-white, and squares with a fine dark brown and off-white pattern. The rows alternate between rows of off-white and patterned squares, and rows of dark brown and patterned squares. The patterned squares are made up of a 6 by 6 grid of small squares with diagonal stripes, where the direction of the diagonal stripes alternates with each square which appears as a fine X or diamond pattern. The top horizontal row ends halfway up the squares. Most vertical rows have either one or two vertical lines up the centre of the squares, in off-white in the dark brown rows and dark brown in the off-white rows. The fringe is made up of dark brown and off-white strings, alternating with four strings in each row. The top row is half the height, so only has two strings. The strings are either dark brown or off-white, depending on the row colour. The fringe strings have short pieces of brightly coloured yarn tied around the knotted ends with a contrasting colour of yarn and white thread. The sets of dark brown and off-white strings are mostly finished with the same bright colour, a few are mixed.

A small knitted cap (chullu) made of handspun and dyed fibre, probably sheep’s wool. Birds and geometric designs.

A pair of protective sleeves (mangas, maquitas) knitted in hand-spun sheep’s wool, including undyed (black and white) and colours dyed with aniline dyes. Geometric designs predominate, plus figurative foxes.

Wasa watana (hair tie). A braided hair tie made in the combined techniques of oblique interlacing (brown threads) and oblique twining (white and red). One end of the hair tie has a tassel made of 3 bands (1 intersecting warp), but the main band just above the other tassel is broken and sewn back together. The other end of the hair tie has a tassel made of 4 bands (1 intersecting warp and one sewn on band).

Wasa watana (hair tie). A hair tie that is made in a mixture of techniques: oblique interlaced bands with zigzag embroidery for the main band and woven bands made in complementary warp weave that intersect with the main band. Each end has two intersecting bands, and two of those also have intersecting bands. Each end has three tassels made of three bands. Most of the secondary intersecting bands are braided. Combination of techniques used: braiding, weaving and embroidery.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding intersecting warps that are woven as separate bands. Warp fringes. Each end has one intersecting warp band, which makes a tassel with three woven bands. Alpaca and sheep’s wool, finely spun.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by intersecting warps that are woven as separate bands. The added bands also have intersecting warps that are woven, but the two ends do not have identical numbers of bands. Warp fringes. Alpaca and sheep’s wool fibre. Spinning is fine and hard twist.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding a single intersecting warp band to each end. Small white and silver beads, threaded on the weft before weaving, line the edges of the main band and the intersecting warp bands. Warp fringes. Woven of commercially spun yarn, probably synthetic or a blend.