Small altar containing three dimensional figures representing the nativity. The exterior of the object is painted yellow-white. The side walls and top of the altar are bordered with dark blue. On each side of the altar, there are successive rows of yellow and pink dots over top the yellow-white background. The door of the object is attached to the altar with two pieces of leather that serve as hinges. There is a flower painted on the front of the door. It has pink, blue and green petals. Above the door, there is a triangular piece of wood attached to the front of the roof, giving the façade a triangular roofline. On the inside of the door, there is a pink flower with green leaves. Inside the altar, the back and side walls are painted dark blue. There are gold stars in the sky. At the back of the scene within the altar, two haloed figures stand in either corner. On the left side, the figure is a man who holds a staff in his left hand. In the right corner, the figure is a woman who has her hands clasped in prayer. Both of the figures look upon baby Jesus, who lies on a circular crib between them. The crib is yellow and has a crimped edge that is painted pink and gold. In front of baby Jesus, on the left side, there is a kneeling angel with yellow wings and a red cloak. She has her hands clasped in prayer. Opposite the angel, on the right side, there is a man in a brown hat and jacket; he plays a flute-like instrument. There are two sheep lying in front of the baby. One of them reclines on all fours. The other stands as if he is sniffing the baby. Both of the animals sit upon green mounds. There is a piece of tape stuck to the back of the object with a number written on it in blue pen.

Hand-carved sterling silver tie clip with human design. The silver has been patinated, resulting in a gray-on-black finish. Silver overlay technique on front; salmon-trout head motif with human hand. Inscription reads HAIDA ART Reid.

Clay ocarina. The body is bulbous and squat with a long mouthpiece extending to the front with a windway that opens on a windcutter bored into the body on the underside. Four pitch holes are bored into the top in an evenly spaced square, surrounded by incised dot and line decoration. Behind is a protruding nub with a necklace hole. A ridge circles the back of the body at the midpoint, decorated with incised lines. On the bottom of the instrument is a slightly protruding face with vertical slits for eyes, a large round nose with prominent nostrils and a thick lipped mouth.

Clay ocarina in the shape of an animal head(?). Ocarina is rounded with a short snout, blunt at one end, and has a large hole on the underside that opens into the hollow centre of the object. The top of the head has two curved projections and beneath the right-most a small pitch hole has been bored. To each side are small outcroppings with evidence of missing material. A pitch hole with a slight rim is bored into the back of the head. The bottom of the ocarina is flat.

Clay ocarina in the shape of a jug. The body is long and somewhat bulbous, wider at the base, with a straight neck and thick, slightly flaring rim. The mouth is filled and does not continue into the interior body of the jug. On the outside is a protruding mouthpiece with a windway opening next to an oblong windcutter bored into the hollow body of the ocarina. Next to the mouthpiece is an outcropping necklace ring, and beside that, two pitch holes. The instrument is decorated with brown and orange pigment on body, rim and base.

Clay ocarina in a donut shape. A thin mouthpiece projects at an upward angle from one side of the instrument, containing a windway that opens into a windcutter on the underside. Four pitch holes are bored into the top of the ocarina and three triangular nodes project from the sides, each with a hole bored through. The bottom, sides, and part of the top are decorated with incised lines in curves and triangles.

Clay ocarina in the shape of a bird. A thick, flat tail serves at the mouthpiece, with a windway that opens into a windcutter on the underside. Short wings are attached to a round body with two pitch holes bored into the chest. A small oblong head with a pointed beak sits on top of a curved neck with a hole bored horizontally though. On the underside are two rounded stubs that balance the bird and allow it to sit upright. The back and wings are decorated with curved lines of brown and orange pigment.

Elaborate dance cape representing the death of the last indigenous leader of the Inca Tupac Amaru. The form of the cape consists of a square piece of textile sewn to a half-moon piece of fabric that has a small hole to fit around the wearer’s neck. The background textile is purple. There is yellow fringe around most of the perimeter of the object. The images on the half-moon portion of the cape are ornamental. There are birds, flowers and leaves sewn into the purple background with silver, red, pink, green and yellow fibre. There are also silver and bronze-coloured sequins adorning these decorative motifs. At the top of the square portion of the cape, letters in dark purple read “Muerte de Tupac Amaru” (death of Tupac Amaru). On the left side of the title, two men have green and silver rope wrapped around them, as if they are tied up. On the right side of the title, a woman is tied with the same rope to a silver, pink, green and orange pole. Directly below the title, five men in military dress stand in a row; they wear green caps, silver jackets with red trim and gold buttons, pink pants and brown boots. They all hold yellow swords by their sides. On either side of the row of men, there are men in striped shirts riding silver and brown horses. The horses are running in opposite directions. In the lower right and lower left corners of the cape, there are two more men on horses. A green and silver rope connects each horseman to the hands and feet of the figure of Tupac Amaru, lying in the middle of the configuration of horses; he is being quartered. Tupac Amaru wears a yellow jacket, pink shirt, purple pants and light purple socks. Below the body of Tupac Amaru, there are two mirrors in embossed metal frames sewn onto the textile. The back of the cape is unlined, it is a loose weave fabric with various stitches in it. There is a piece of tape stuck to the back, it has a number written on it in blue pen.

Portable retablo containing three-dimensional figures representing Saint Cristobal and others. The altar is made of wood with fresco painted over top. The exterior walls of the altar are painted yellow-white or yellow with red borders. On the side walls, there are grey curlicues painted over the yellow-white background. The top of the altar is painted yellow with red stripes. Along the front edge, there is a triangular piece of wood attached to the top of the altar. It is painted yellow with red accents. Below, the front doors of the altar are painted pink with red curlicues over top. There are two pieces of ribbon threaded through two holes in each door. The ribbons are striped with red and white. The interior of the doors are painted with black flowers that have red and yellow centres. Saint Cristobal stands against the back wall inside the altar. He wears a yellow robe, red cape and holds a large green leaf in his hands. He has a halo, long black hair and a beard. A haloed child sits on his right shoulder with a blue ball in his right hand. Below, there are smaller figures of people and animals. The interior walls are painted yellow-white with red, black and yellow spots. Signed on the back in black paint. Also, the title of the work, location, date and a number are written in black ink.

Small altar with a wood base covered with fibre then a clay-like substance. The side and top walls of the altar are painted red-brown. The front of the object is painted pink with yellow, red, green and white detailing. There is a decorative edge slightly offset from the front of the object that wraps around the side walls and the top of the altar. The undulating lines of the edge are accentuated with yellow and red painted borders. The interior walls of the altar are light brown. There is a light grey and yellow pattern with purple flowers painted over top the light brown. A three-dimensional plastic figure of a man is standing within the altar. The man has a halo and a Franciscan style haircut. He holds a gold dagger in his left hand. He wears a white dress with blue lines underneath a short-sleeved robe. It is pink with a yellow, red, green and gold pattern over top. He stands on a three-part plinth. The top of the plinth is white with blue lines, the lower portion is gold and the bottom portion is green. The back and bottom of the altar are light grey.