Three-dimensional male humanoid puppet: large head (part b) fits into body with jacket and skirt (part a), and a control rod (part c) with a long shaft passes through the body and fits into the neck of the figure's head. The body has jointed arms, each with a long controlling rod attached. The figure has a dark brown face, large round eyes positioned forward, black eyebrows, moustache and thin beard. Red lips surrounding gold teeth; upturned, pointed nose. Headdress consists of gold diadem (jamang) and upswept curve (gelung supit orang). Black hair hangs down back to shoulders. Clothing consists of close-fitting jacket in black cloth with beige cuffs and off-white frontispiece. Yellow bowtie, suspender-like chest straps. Red and black belt over wide brown waistband. Tufts of colourful fabric (mainly red and yellow) on figure's right breast and on shoulders. Arms are painted gold and each has a talon-like hand. Beige, brown, and dark blue batik skirt with flower and geometric motif.

Wooden staff with finial in the form of a standing male, holding a cup and carrying two large ears of corn on his back. The face and chest have the remains of a dark red resin-like paint. Fragments of copper or copper alloy sheeting adhere in several places and many metal tacks protrude from the front and back of the figure. A bright red-orange band of paint encircles the staff a few inches below the finial. The bottom of the staff is broken off.

Squatting figure; right arm broken off at torso, right leg, left arm and leg broken off leaving stumps of different lengths; open hollow mouth; hollow nostrils; slanting hollow eyes; slanting forehead; three horn-like appendages, one on top of head, one on each side of head; colour red-brown with light grey neck and front horn-like appendages; light grey circle around right horn-like appendage; hollow with loose material inside; 'R.20.' inscribed in black letters on back.

Small totem pole with five figures. Bottom to top: a bear, an unidentified four-legged mammal, a frog, a killer whale, and eagle. No base. A newspaper column entitled "totem poles" is glued on the back.

Model totem pole with four figures, all mounted on a rectangular wooden base. Figures from top to bottom: eagle with spread wings, whale, bear and an eagle from the torso up. Pole on a camphor edged base. Carvings are exceptionally high relief with minimal modeling. Background painted blue, beige and yellow. Figures painted dark blue with yellow, beige, purple. Paint irregularly applied throughout. Spread wings of top bird are solid wood with roughly painted blue and beige lines to suggest feathers. Back of pole is flat. Newspaper clipping about totem poles is glued on reverse.

Fragment of painted, plain weave cotton. The major motif is a frontal human with crescent shaped headdress. This figure is repeated in diagonally arranged squares. Adjacent diagonally stepped registers contain zigzags. A secondary motif of repeating profile birds occurs in a wide diagonal register between registers with zigzags. The original colours appear to have been red, blue and several shades of brown.

Unpainted mask, except for red along the outer surface of the lips and the inner circle of the eyes. Forehead is rounded and down sloping. Eyes are very deep set. Heavy raised eyebrows meet at the upper nose and extend upwards across the forehead and then down to the temples, and merge with the cheekbones. Narrow, sharply curved nose, hooks under the upper lip. Lips are narrow and flare at the corners and are pursed at the centre. Chin is a square ridge at the bottom front. Horsehair extends in twenty-six bunches from the top back edge of the mask. Two piece leather head strap is tied and nailed on the inside.

Rectangular piece of plain weave cotton with painted designs. The major figure is a human with two pronged headdress holding a plaque-like object. A profile bird hovers by the figure. Step frets fill adjacent registers. Red background, now very faded, and blue figures are outlined in thick brown lines with interior detailing in white. Parts of one warp and weft selvedge remain. The other edges are cut. The backside of the band is undecorated.

Wayang kulit (shadow puppet) Gunungan (mountain) or kayon (tree of life). Leaf-shaped filigree-cut leather object tied between stick split lengthwise with 3 carved bands at base and tapering handle. Base of leaf tapers out and into point at top. Light blue pedestal design at base, ends curled up; topped by upturned row of floral motifs. Oval enclosures in centre flanked by 2 large curved wings. Tree trunk grows from oval supporting rosettes, symmetrical sets of branches with 4 monkeys. Six birds in various positions between. All colours pale. Number on base (29-1919 ?) and inscription 'Bakoendean'.

Three-dimensional male humanoid puppet: large head (part b) fits into body with skirt (part a), and a control rod (part c) with a long shaft passes through the body and fits into the neck of the figure's head. The body has jointed arms, each with a long controlling rod attached. Light red face, red upturned eyes with black pupils; red lips with white protruding upper teeth. Black moustache, ring beard, eyebrows and shark tooth decoration on forehead. Short blunt nose, large ears shaped like inverted comma. Green and gold band around head ending in a tassel of red. Carved red fez shaped headdress. Gold tassel from top of fez with end of green, red and gold hanging down over straight neck length black hair. Pronounced adam's apple. Arms articulate at shoulder and elbow. Light red hands, fingers symmetrical and outstretched. Black tailored cloth jacket, front closure, no collar, pocket on right chest. Sarong with small pink flowers and grey-blue foliage on beige background.