Low-fired pottery figure of a woman with orange detailing. The woman’s hair is in two braids which meet at the top of her head. Eyebrows, a nose with nostrils, eyes, lips and ears have been added to her face. There are small lines incised in her eyebrows to represent hairs and there are small lines around her eyes to represent wrinkles or eyelashes. Orange tear drop earrings hang from her ears. She also wears an orange necklace made of six orange dots of clay. In her left arm she carries a pot which is positioned so that the opening faces the front. The pot has an orange rim. There is a basket in her right arm; it has an orange handle made from two pieces of twisted clay. In the middle of her body there is a flower with orange petals. She wears a round skirt to the ground. On the front of the skirt there are two birds in profile facing each other; there is another flower with orange petals in between their bodies. The bird’s feet and feathers are incised in the clay. Directly below the bird’s feet are the woman’s own small feet, which stick out from under her skirt. Around the back of her skirt, there are three more flowers with orange petals. On both sides of each of these flowers, there are two orange leaves or petals. The interior of the woman’s body is hollow.

Dark painting of a Saint in a shoemaker’s shop. At the top of the image, the Saint sits behind a table against a dark red background. He is depicted from the waist up and is the largest figure in the image. He wears a brown hat with gold accents, an orange cape with gold embroidery and a draped brown and yellow-white robe with yellow and red at the waist. There is a yellow halo around the man’s head. He has long brown hair, a brown mustache and beard and holds a black staff in his right hand. His left hand gestures with the index and middle finger upraised. Hanging from the upper right and left corners are bright red curtains that are tied back. Under each curtain, there is a man standing with his hands clasped in prayer. The men wear blue swashbuckler-style hats with gold trim; red tunics with yellow-white, black and gold trim; short blue pants; and black shoes with gold accents. The Saint is seated behind a table covered by a green and gold tablecloth. There are five pairs of black and gold boots and two pairs of horseshoes on top of the table. Also, there is a flat orange object that is shaped like a rectangle with two triangles attached to one of its long sides. In front of the table, in the foreground, five small men cobble shoes in various stages. All of the cobblers wear black wide-brimmed hats, yellow-white button down shirts, red belts, black pants with gold stripes and black sandals. The cobbler in the middle has a halo around his head. The canvas is nailed to a wooden frame and then held within a larger wooden frame. On the back of the object, there is a piece of tape with a number written on it in pencil.

Panel from a dance cape representing Simon Bolivar. The background of the panel is a soft orange fabric; it may be velvet. The central figure, Simon Bolivar, is depicted from the upper legs and up. The bottom of his body is bordered by a half moon motif formed by gold, blue, green and red thread. In the centre of each half moon, there is a yellow dot. Bolivar wears yellow-white pants and yellow jacket with an embossed pattern. His jacket has gold epaulettes and a pink collar. He also wears a yellow, red and gold sash and belt. Bolivar holds a green scroll in his right hand. His skin is pink and he has brown hair. The background of the panel is decorated with flowers and vines made from gold, pink, red, yellow, green, orange and blue thread. There are also silver sequins and small blue beads adorning the panel. The velvet fabric is folded over the back of the panel. On the back of the panel there is a looser weave fabric. There is printed paper sandwiched in between the velvet fabric and the loose-weave fabric. There is an orange sticker and a piece of yellow on the back of the panel that have numbers written on them in pen.

Iron roof cross. Traditionally, roof crosses are put on top of newly constructed houses for protection. The bottom of the cross is plain and has a pointed end. Above this section, there is a curved banner with the year stencilled through the metal. This banner is suspended between two angels in profile. The angels have black hair and shoes. Their wings and torso are painted pink and their skirts are red. They have their arms bent at the elbow, as if in prayer. Further up the cross, there is a gold, multi-tiered chalice. This chalice seems to have the sun emerging out of its top. At the intersection of the horizontal and vertical portions of the cross, there is a large red heart. This heart has a small, white cross emerging from the top of it. There are also yellow rays of sun extending outwards from behind the heart. On either end of the horizontal portion of the cross, there are grey shapes with hollow centres that resemble three leaf clovers. At the top of the cross there is a grey fleur de lis. There is a piece of tape on the back of the image with a number written on it.

Wooden painted carving of two oxen yoked together; part of a "San Isidro Labrador" set. Both oxen are painted black with brown eyes, dark brown horns and hooves, and have a thick ridge of muscle running around their necks. The ox on the left of the image gazes forward and has its mouth open. Its tongue extends out of its mouth to lick its nose; its mouth and nostrils are painted pink. The left ox has its tail bent and resting on top of its back. The ox on the right has white patches on its black fur, including a triangular white patch on its forehead and a line of white hair along its spine. This ox has its head tilted to the right and its mouth is closed, and its tail down. The oxen are yoked by a piece of wood which rests on the front of their shoulders. Over each torso the yoke is curved to fit the bodies and is affixed with leather rope which wraps around the left ox’s neck twice and the right ox’s neck three times. Hanging down from the yoke and attached by a piece of string, there is a long cylindrical piece of wood that extends in between the oxen bodies and further back. There is a square hole through the end of the piece. The oxen stand on a square base that is painted green-blue. Part b is a rectanglular piece with a triangular point at one end and a smaller rectangle cut out of the other end. Part c has a horizontal portion at one end which meets the remainder of the piece at a right angle. Upwards from this right angle, another portion of the object branches off at a more acute angle. There is a small hole through the object at one end.

Large Tigua painting depicting the countryside and a fiesta in a village. The canvas itself is formed by a piece of skin stretched and nailed over a wooden frame. The sky and the countryside serve as the background of the painting. On the left side of the painting, there is a green and orange-brown cliff set against the horizon. There are two stone-walled buildings with brown thatched roofs nestled in front of the cliff. To the right, two more buildings rest atop a yellow hill. To its right there is a blue snow-capped mountain. Two couples lead their llamas along a path toward the leftmost buildings. There are a number of houses. A grey path runs along the bottom of the hill, upon which a couple walks toward the left leading, on a brown harness, a donkey carrying a package. On the right side of the path, a couple leads two llamas, one yellow-white and one black, through an arch in the brown cliff. In front of the hillside, there is a field with yellow grains being cut by two women and a man with sickles. Yellow-white llamas graze in a field right of the hillside. A woman spins wool in the lower right corner of the field. A grey path curves upward from the right edge of the image, and two women and two men carrying yellow bundles on their backs walk up the path. A woman leads a llama with a bundle tied to its back on the path as well. The village is delineated from the countryside on the left side of the painting by a wall of orange dirt. On the right, a brown wall of dirt serves the same purpose. From the left side of the image, a large yellow-white building is set on a diagonal toward the centre of the town. It has a dark grey stone patio, and a man stands on it with his back turned. Another man stands on the patio holding a blue book in his hands, facing the viewer. Two couples watch the men on the patio with their backs to the viewer. There are three small stone buildings with thatched roofs. In between the buildings, two masks sit on the ground and are yellow with pointy ears and large eyes. In front of the three buildings there is a blue pot with water, a brown cylindrical object and a low square table. On top of the table there are three more masks and a small white dish of water. Scattered around the table are six more masks, two drums, a rug, a pink box with a skull affixed to it, and a woman spinning wool. In front of the yellow field there are two stone buildings. Right of the buildings, there are two people wearing elaborate, colourful box-shaped costumes. They carry silver objects shaped like arrowheads with handles. There is a table in front of one of the stone buildings with three men drinking at it. Along the bottom edge of the painting, there is another table with five men drinking around it. Throughout the crowd, which expands right of the tables, there are figures costumed in masks like those on the left side of the painting. The figures also wear jumpsuits that are split down the middle with a different colour on each half and printed with flowers in various colours. The masked figures carry gold bottles and silver cups in their hands. Two men play large round drums in different parts of the crowd. There are also two men on horses who wear furry pants. A woman carries a silver stick with an elaborate cross at its top. Five men play gold and silver horn instruments around the perimeter of the paddock. Within the paddock, four men wave patterned textiles in various colours in front of a large black bull.

Carved and painted wood figure of a man in colonial African cothing. The man wears a white pith helmet with a dark brown button on top of it. The man’s face and the rest of his skin is dark brown. In the left side of his mouth, he holds a small cigarette made of plastic. He wears a khaki uniform. The shirt has a collar, rolled-up sleeves and pockets on either side. There are four buttons down the front of his shirt. He stands with his hands in the pockets of his khaki shorts. His khaki shorts are secured with a dark brown belt and have two pockets on the back. His torso is quite long in proportion to his legs; only a small portion of his calves are visible underneath his shorts. He wears white socks which are pulled up high. He also wears light brown shoes. The man stands upon a dark brown, round base.

Carved wooden parrot. The head of the parrot is angular: flat on top with either side meeting the front and back of the head at an acute angle. The beak of the parrot points downwards. The edge of the beak and the parrot’s eyes are incised into the wood. The head is the highest point of the parrot’s body which is on a low horizontal plane. Its wings are closed, resting along the bird’s back. The figure is balanced on top of a base. The base is rectangular with two lines in the middle of either side to represent the parrot’s feet. Its tail is long, thin and slopes slightly downwards.

Carved and painted wooden figure. Pair with 2903/56; together the pair is a traditional wedding couple known as Loro Blonyo. This figure is the female; her black hair is pulled back into a large bun and she wears a gold piece of jewelry in her hair. She also wears gold earrings and a gold necklace. The necklace is large and is a half-moon shape. Her skin is yellow. The woman’s eyebrows and pupils are painted black. Her coat is blue with three gold buttons in the front and gold arm bands. Her hands rest on her thighs. The woman’s legs are enveloped in a red skirt which obscures her legs from view, but she appears to be sitting. The object is very light weight with two holes in the bottom of the woman’s skirt, suggesting the object is hollow.

Small Tigua painting depicting peasant life. The canvas is a piece of skin stretched and nailed over a wooden frame. The outside of the frame is painted black. The landscape is broken up into shapes with straight and curvilinear lines. On the left side, in the foreground, there is a square yellow patch in which a man and woman are cutting grains. In front, there are six bundles of grain and behind there is a dense field. They both hold large sickles in their hands. There is a dark green field inhabited by grey llamas. On the left side of the painting, there are raised bluffs above the field of llamas. They are bright green with large leafy plants, large pink flowers, small pink flowers, yellow flowers and bushy green trees against the horizon. There are also bluffs on the right side of the painting. The two bluffs are separated by a dark dirt road that curves down from the middle to the right side of the painting. There are three people walking up this road; two men who have tall bundles of grain strapped to their backs and a woman in a pink shirt and dark blue skirt. A white dog trails behind the woman. Walking down the hill are a woman and a man. At the bottom of the road, there are two buildings. One has a brown roof and grey walls and the other has a light brown roof and white walls. There is also a bundle of sticks and a large orange pot with a handle. There are two different patches of land on the bluffs on the right side of the painting. One is dark green with small dense tufts of pink and green flowers. Above this patch, there is one with a dark green background with plants that have blue stems and yellow and pink flowers. Also atop the right bluff, there are two buildings and a tree against the horizon. The sky is a mixture of yellow and light blue paint. There are many black birds in silhouette against the sky.