Vejigante carnival mask of painted paper mache construction. Mask is mainly painted a light grey-blue, with purple and white dots, and purple dashes on the horns. The white face with cut-out holes at the eyes and mouth. There are floral-like designs in gold and purple that spiral out from around the eyes. The eye sockets and nostrils are painted purple, with large false lashes glued to the upper edge of the eye sockets. Three long curved horns project out from the top and sides. The top, centre horn extends up, and curves forward, and has a small gold cross in front of green fern-like leaves. The right horn curls forward, in front of the face, and the left horn curls up and over the head. The top of the head is lined with four large red flowers with yellow stamens, and two orange and black butterfly. On both sides, a small painted white metal key hangs from the horns. The snout has a large open mouth with black stitching along the lips, and three pointed white teeth with red gums. Black, grey and red ribbons are tied to each side of the mask and hang down. The interior is painted red. Signed and dated inside.

Large Vejigante carnival mask of painted paper mache construction. Mask is of a bright yellow, red, and orange sun, with alternating long and short horns extending in a half circle around the head. Mask has a long wide nose, slit eye openings, and wide open mouth with three-pointed teeth; mouth outlined with red paint, teeth done in white. There are pronounced nostrils above centre of mouth, and thin ridges across forehead that connect to horns. Wavy painted lines extend from mouth towards horns; done in dark red and various orange shades. Short horns have wavy uneven edges; long horns are conical with protruding ridges that curl along the length. Gold-coloured semi-circular bar connects the five large horns near their midpoints. Hanging rod, made of plastic pipe, attached to back centre. Interior of mask is painted red; artist signature and date made, "2018 Roman" inscribed along left interior side.

Vejigante carnival mask of painted paper mache construction. Mask is mainly painted yellow, with cut-out holes at the eyes and mouth. The eyes are outlined in a red dotted design, with yellow and red flame-like brow projections above. Six long curved horns project outward at the top and sides, four green at the sides and back and two multicoloured at the top. The snout has a large open mouth with two upper white canine teeth. Signed and dated inside. (Horn repaired since photograph.)

Museum Expedition 1903, Museum Collection Fund

Vejigante carnival mask of painted paper mache construction. Mask is mainly painted orange, covered in red and gold dots, with cut-out holes at the eyes and mouth. There is an eye-mask like swath of red across the eyes with red and yellow flame-like brow projections above the eye holes. Six long curved horns project out around top and sides, four orange and two red, and each side has red and gold ribbons tied at the side holes with one gold ribbon tied across the inside, for wearing. The snout has a large open mouth full of pointed white teeth with pink gums. Signed and dated inside.

Painted, wooden figure of Christ on the Cross with the Sacred Heart of Christ at his feet and painted cherub faces at each end of the horizontal bar of the cross.

Around 1700 the distinctive estípite column with its angular profile - widest in the middle of the shaft, narrower at the base and capital - became popular in Spain, particularly in Andalusia. Its transmission to the New World occurred when Spanish artist Jerónimo Balbás traveled to Mexico to design an altar screen for the cathedral. His Altar of the Kings (1718-37) included numerous polychrome and gilded estípite columns, which were rapidly copied and, unlike in Spain, also applied to some stone facades. The first known use of estípite columns on the northern frontier of New Spain is on the carved and painted stone altar of the castrense chapel (1761) in the style of Spanish-born artist Captain Bernardo Miera y Pacheao (1714-1785). The columns from the Lady of Guadalupe at Zuni Pueblo represent the second known example of this style in New Mexico and are exceptionally well-executed, provincial examples of the form. These were apparently gessoed and polychromed, not layered with gold leaf like estípite in central Mexico. The carving includes standard elements of the late Baroque or Estípite Baroque style characterized by Rococo decorative details such as geometric compartments in the shape of squares, circles, and rectangles as well as opposing S- and C-scroll motifs, seen on the upper shaft. The lower shaft displays chevrons, winged cherubs, vegetal filler overlapping the shaft's frame, and suspended bunches of Eucharistic grapes. Photographs and illustrations from the mid-to-late nineteenth century depict the altar screen with four large estípite columns (this one and three counterparts). The altar screen originally included a large oil painting of the Virgin of Guadalupe, images of Saint Dominic, Francis, Michael, and Gabriel, and a relief of God the Father at the top.

Museum Expedition 1903, Museum Collection Fund

A polychrome figure (bulto) of Saint Joseph set on a thick wooden base in a frontal pose with one foot in front of the other. He is dressed in a black short-sleeve robe with a red V-neck collar. A yellow cape with a step-shaped border is draped diagonally over the figure's torso. The skin has a yellow pallor and the eyes are painted white with large black pupils. Three floral motifs are painted on the front of the base. Smaller three-pronged motifs embellish the top surface. There is overall gesso and paint loss on the piece and fabric can be seen under the gesso on the back and sides of the base and cape. The entire left forearm has been broken and is missing.

Artist's rendition of a pair of glasses, with thick lenses and a crafted decorative frame painted brown, gold, red and black.