Wooden double triptych altar, or icon, with paintings inside. Rectangular in shape with tiered feet protruding from the bottom corners. Designs carved on front and back of altar, including interlocking lines, abstract crosses, and an archangel. The archangel is on the back of the altar, with its head and wing tips visible from the front. It is carved in high relief and is holding an upraised sword in its right hand and a staff in its left. There are dot motifs throughout the archangel’s robes. Written characters are carved in high relief in the bottom left corner. Two sets of hinged doors on the front side, secured with string, open outward, with paintings on them and the altar interior. Two panels on each door for both sections. In the top section there are two long paintings on the altar interior, in the bottom section there are two columns of two paintings. The background is done in orange and yellow. Plain black lines divide each panel, with written characters, also in black, in each panel. All figures in the panels wear plain robes, done in red-orange, blue, light green, white and grey. The images of Christ and the Virgin Mary have halos of orange and yellow painted around their heads.

Wooden triptych altar, or icon, with paintings inside. Rectangular in shape with rounded top. Designs carved on front of altar, including geometric and linear motifs. Hinged wooden doors, secured with string, open outward, with paintings on them and the altar interior. Four panels on each door, two columns of four painted panels on the altar interior. The paintings depict Christian-themed scenes, including primarily: the crucifixion of Christ (centre), the coronation of the Virgin Mary (left), and Christ, with his apostles, performing miracles(?) (right). Background of all paintings done in orange and yellow. White lines, with squares throughout them, divide all panels. Christ is wearing red-orange outer robes, with blue-grey and white-grey inner robes, in majority of panels depicting him. Blue-grey inner robes have yellow dot motifs throughout. There is a ring of orange and yellow painted around Christ’s head in all panels. Christ and his apostles all have dark hair, Christ with a matching beard and the apostles are clean-shaven. The Virgin Mary is wearing dark blue outer robes, with yellow dot motif throughout, and a red-orange inner robe, in all panels depicting her. Red string knotted through bored hole on top of altar.

Wooden triptych altar, or icon, with paintings inside. Rectangular in shape with a tiered triangular protrusion on top, in centre. Top tier is concave. Designs carved on front and back of altar, including angels, abstract crosses, geometric and floral motifs, and interlocking lines. Hinged wooden doors, secured with string, open outward, with paintings on them and the altar interior. Three painted panels on each door and on altar interior. The paintings depict: the crucifixion of Christ (centre top), Virgin Mary seated in majesty afoot the devil, surrounded by archangels (centre), and Christ with his apostles (centre bottom). Background of all paintings done in orange and yellow. White lines, with black lines through them, divide all panels. Christ, apostles and archangels are all dark-haired, the apostles and Christ with matching beards, and wearing robes of red-orange and blue-grey. Red-orange robes have yellow dot motifs, blue-grey robes have red dot motifs. Christ has an orange and yellow ring around his head in all depictions. Archangels are holding swords and have feathered grey wings with red and yellow dot motifs throughout. Mary is depicted throughout the paintings wearing dark blue outer robes and red-orange inner robes, both have yellow dot motifs throughout. In the centre painting she is wearing a crown and holding a sceptre. In the side paintings, on the door interiors, Mary is depicted with a dark blue head covering. String knotted around triangular protrusion on top of altar.

Rectangular tapa cloth with geometric designs in black, dark red-brown and tan against an off-white background on one side. The tapa cloth is divided by patterned lines into four rows of six rectangles. The first, third, fourth and sixth squares contain a diagonal cross design with four diamond-like shapes. The second and fifth rectangles contain a large diamond with four smaller diamonds within. Edges uneven.

Dark reddish brown painted, wooden face mask. Face has an angular nose, slit-like eyes and protruding lips. Area surrounding eyes is sunken, carved teeth are small and pointed. Geometric motif incised on forehead, lines and ovals carved across cheeks, linear design along chin. Square-like ears on either side of face, with holes drilled through the lobes. Mask has holes for eyes, nose and mouth. A bulbous headpiece is carved above the face. Circles imprinted across sides, at intervals, and top. Headpiece has an additional woven component, attached to the upper back and sides. Woven headpiece is made of thickly braided fibre, shaped by an inner slat frame. Rectangular sections of knotted fibre protrude from the sides and top. Below the headpiece is an open-weave net made of plant fibre, that hangs down behind the wearer's head.

Artwork representing a carver’s adze (part a) and two glass mauls (parts b-c). The adze blade is made of glass, the handle is maple, painted black. Handle is mostly cylindrical, but narrows towards the top, coming to a point. The blade is oblong, flaring out near the bottom edge, attached to hafting platform with thin, clear plastic twine. More plastic twine wrapped around the handle, near the bottom, to form a handgrip. Artist signature and year engraved into blade, directly below the twine. The larger maul (part b) has a small circular top, tapering handle, and a flared circular bottom. Both ends are flat. The other maul (part c) has a small circular top, tapering handle, and a flared circular bottom. Top has tall, rounded point in centre. Bottom end is flat. Artist signature and year engraved along the bottom edge of both mauls, on the centre back.

Small rectangular tapa cloth. Completely covered in geometrical and linear patterns on one side. The repeated designs in black and off-white form concentric rectangles to the central red-brown solid rectangle which contains two star or flower designs.

Tall six-sided bottle, with lid (part b). Each side has a panel with three images - the top and bottom generally feature a building, sometimes with a large bird. The centre image is a framed machine. The edges and top of the bottom are decorated in blue - repeating V's creating a vine, and small repeating arches around the mouth. The lid has a ceramic handle painted to appear metallic. Around the handle reads, '1906-1990 IVAR KAROLUS LUNDGREN'. The artist's signature is on the base.

Hand puppet of a 'Minelvina' character (doll-like in form). The fabric body is light pink. Her face is white, and facial features are drawn. She has black eyes and nostrils, and a red mouth. She wears a long, shiny white dress that is gathered at the waist. Her feet are black fabric boots. Her red-brown hair is worn down, and worn under a white veil that extends the full length of her body.

Hand puppet of a 'Boi (bull) Coração' character. The brown bull is carved from wood and covered with fabric. It has carved small ears, black horns, and a long black tail. Black eyes and nose, and nostrils are painted on. The bull has a silver applique bridle on its head. In place of legs, a tube of blue with red and yellow floral fabric extends down, with orange-yellow lace border, which is where the hand is inserted.