Short-sleeved white cotton T-shirt with a ribbed crew neckline and ribbed sleeve cuffs. The front carries a screen-printed graphic: "TRIMILLONARIA" in an arched black banner over three overlapping five-pointed stars (yellow, blue, green), above "BRIGADA VENCEREMOS" in red and "ZAFRA 1970" in black. The shirt is heavily worn, soiled, and stained throughout — discoloration, ground-in dirt, and abrasion consistent with hard manual labor (cane cutting). No maker's label is visible in this view.

Soviet lady's dress wristwatch, case and movement only (no strap). The square gold-plated case has a radiating engine-turned (sunburst) bezel surrounding a round dial framed by a rope-twist inner bezel. The silvered/champagne dial reads "CHAIKA," "17 JEWELS," and "MADE IN USSR," with applied baton hour markers and gilt hands; the crown is at 3 o'clock. The reverse is a plain stainless-steel snap caseback seated within the gold-plated case. Mechanical hand-wound movement.

Woman's short-sleeved shirtwaist dress in black printed polyester, knee-length with a soft collar, a buttoned upper placket, and a matching self-fabric belt. The allover print is a baroque "chains-and-shields" design: ochre/gold chain links forming a lattice that frames red/coral heraldic crest medallions (each with a small black-and-white shield), on a black ground. Brand "Exclusiva".

Small round compact in black molded plastic with a hinged, snap-closing lid. The lid exterior is printed in gold with a stylized rosebud-and-leaf device above the brand name "FANTASIA." Inside, a circular mirror is set in the lid and a pressed iridescent rouge (blush) cake sits in the base. The underside carries a printed paper label.

A retail card of black metal hair grips (bobby pins), with about 18 pins held in three rows under cross-bands on a printed card. The card has a red banner with Flower Brand in script; below, BEST QUALITY and the Chinese name 名花牌发夹 at left, HAIR GRIPS at right over a red-and-white striped panel; a black roundel with a white rose/peony device labeled TRADE MARK; and at the foot SHANGHAI CHINA / 中国上海.

An unused (new-old-stock) silver-tone expansion (stretch) watch band mounted on its original printed retail display card. The band is the linked-block stretch type — rows of small rectangular steel links over internal springs — held across a blue-and-pink card by a wire clip. The card is printed in Korean and English: a pink panel at the left reads "시계줄" (sigyejul, "watch band/strap") with a hexagonal logo and Korean text; the blue field reads "Watch Band," "MADE IN THE DEMOCRATIC PEOPLE'S REPUBLIC OF KOREA," and "GANGCHOL BRAND." The card is worn, edge-torn, and foxed; the band is bright with light tarnish.

Men's automatic wristwatch on a stainless-steel bracelet. Round steel case with a silvered dial (now heavily degraded), applied baton hour markers, and gilt hands; signed for Poljot with "Automatic" and jewel/shockproof text. Knurled crown at 3. The Soviet steel bracelet has a brick/"beads-of-rice"-style link pattern and a folding clasp. The clasp's outer face is hand-engraved in cursive Spanish: "Del Ministro de las F.A.R." The screw/snap caseback carries English durability legends; the clasp underside is stamped in Cyrillic.

A pair of women's black leather dress pumps with a high stiletto heel and a slingback strap with a small buckle. The toe is close (covered) and squared-to-tapered, decorated across the vamp with woven/interlaced leather straps and a flat leather bow, with an open cut-out at the throat. The slingback strap fastens at the heel; the heel is a slim covered stiletto. Inside, the insole carries a printed/stamped maker's inscription, and the back strap carries a second inscription of size/lot codes. The pair shows wear consistent with use. Counted as one object in two parts (left and right shoe).

Round chrome-plated watch head, no strap or bracelet. Cream/off-white dial signed SLAVA over QUARTZ, with painted Arabic 1–12 hour numerals and a segmented outer minute track. Two concentric red arcs read ATTENTION and 30 BEAT COUNT; an inner pulsometer scale graduated roughly 40–130 allows a heart-rate reading by counting 30 pulse beats against the sweep seconds hand. A running-athlete pictogram in a rounded square sits at the 6–7 position. Black hour and minute hands with a red central sweep seconds hand. Knurled crown at 3. Plastic (acrylic) crystal; brushed-metal caseback.

Small round lady's mechanical watch head (no strap fitted), with a chrome-plated case and spring bars in the lugs. The aged silvered/champagne dial has full Arabic numerals 1–12 and a recessed central medallion signed "SLAVA" with the factory's circular logo above center and "7 JEWELS" below; slim dark hands. Knurled crown at 3. Plain steel snap caseback with a stamped serial.

Small square-cased wristwatch on a dark navy/black resin strap with a gilt buckle. The cream dial has Arabic numerals 1–12 around a printed central illustration of a hedgehog carrying a red apple on its back, with a small bird (swallow) at upper left. Slim hands; crown at 3. Plain steel snap caseback stamped "642."

A small mechanical wristwatch with a brushed silver-tone (chromed/steel) cushion-shaped case and a deep red dial. The dial has white Arabic numerals at 12, 3, 6, 9 with baton markers between, white hands, and printed text reading "SLAVA," "17 jewels," and "MADE IN USSR"; a winding crown is at the right side (3 o'clock). The watch is mounted on a heavily worn strap made of pale buff fabric/webbing (a textile band, frayed and soiled) combined with a separate brown leather keeper and a metal buckle, with red stitching visible.

Pair of men's/unisex low-top casual lace-up shoes of plimsoll/sneaker construction. Uppers are a coarse brown woven textile (jute/linen-type hopsack) with white leather or vinyl saddle-style overlays around the lacing, finished with scalloped/pinked edges. The topline is bound in brown leather/vinyl forming a padded collar; the tongue/throat is a brown ribbed knit gusset. Closure is brown round laces through metal eyelets. A blue-and-gold woven brand label reading YUMURÍ sits at the left throat. Soles are pale rubber/crepe with a thin foxing band (vulcanized/cemented, espadrille-like edge). Insoles are textile, heavily soiled and degraded.

Small lady's mechanical wristwatch with a gold-tone (gilt) round case, on a brown leather strap with a gilt buckle (not original). The champagne/gilt sunburst dial is signed "ZARIA," with "17 JEWELS" and "MADE IN USSR" toward the center/lower dial, slim gilt baton hands, and a faceted gilt bezel. Crown at 3.

Gold-tone (gilt) cushion/tonneau-cased mechanical wristwatch with a date window, on a black leather strap with a base-metal buckle. The dial — now heavily degraded — is signed "ZARIA" with "22 jewels" and a date aperture near 4–5 o'clock; gilt baton markers and hands. Crown at 3. Steel caseback with Cyrillic durability legend and a serial number.

A pair of aviator-style sunglasses with a thin metal frame (now a dull, tarnished gold/base-metal tone), teardrop lenses in a red-to-clear gradient tint, a straight double brow bar, twin saddle nose pads, and metal temple arms ending in amber plastic (acetate) tips. Both lenses present.

A single rigid bangle bracelet of warm butterscotch/amber-toned plastic, circular with a rounded (D-shaped) cross-section — a smooth, undecorated domed band, wider and thicker at the outer wall and tapering slightly to the inner edge. The surface is glossy with light surface scratches, small scuffs, and a few shallow nicks from wear; the color is an even caramel/ochre with faint mottling. There are no markings.

A graduated-bead necklace combining a yellow gilt-metal curb-chain back section with a front section of graduated marbled / pearlescent yellow-cream celluloid or early-plastic spherical beads interspersed with smaller pearl-like beads and two prominent gilt-metal scroll-shaped spacers. Closure is a gilt rectangular bar-and-loop clasp. DESCRIPTION: A single-strand necklace combining two distinct visual sections: Back section (upper half of the necklace as worn): a flexible yellow-gold-toned curb chain (small linked metal loops, classic "cadena cubana" or "Cuban link" curb-chain pattern). The chain terminates at the closure — a gilt rectangular bar-and-loop clasp (a flat horizontal rectangular bar fitting into a corresponding loop, the standard "fold-over" or "box" clasp pattern). Front section (lower / decorative half): a graduated arrangement of spherical beads strung on small wire-link connectors. The beads are of marbled / pearlescent appearance, ranging from translucent cream-yellow to deeper gold-yellow with internal swirls and "veining" — the visual signature of celluloid, Bakelite, or early thermoset plastic beads simulating amber, agate, or pearl. The bead arrangement is graduated: smaller beads flank the outer edges where the bead section meets the chain, with the bead size increasing toward the front-center bottom of the necklace where the largest bead hangs. Between the larger beads, smaller accent beads are interspersed in pairs or singles. Two prominent gilt-metal scroll-shaped or "comma"-shaped ornamental spacers interrupt the bead sequence at roughly symmetrical points on either side of the center, framing the central section as a focal pendant-like grouping. Each bead is individually linked to its neighbors by short wire-link connectors (not strung on a single continuous thread), giving the necklace a chain-like structural integrity throughout the front section as well.

A long single-strand necklace built as a continuous chain of beads and metal links. Short groups of small dark-blue (cobalt/navy) cube or rounded-square beads alternate with single metal wire bar-links and, at intervals, larger clear colorless faceted round glass beads, so the strand reads as repeating segments: several blue cube beads, a wire link, a clear faceted bead, and so on around the full length. The fittings are silver-tone (wire links with looped ends joining the bead units). The closure is a rectangular decorative box clasp (push-in tongue type) with an ornamented silver-tone face. The necklace is long (opera-length).

A single-strand necklace built as a chain of beads joined by gold-tone wire links. The beads alternate in an irregular repeat: faceted translucent peach/pink glass beads, faceted smoky amethyst/purple glass beads, and opaque white marbled (mottled gray-white) beads, each bead wire-linked to the next by looped eye-pins. The clasp is a flat rectangular gold-tone tab clasp. The metal is a warm gold tone; the beads are bright with good faceting.

A single-strand necklace of opaque round beads in apple/olive green and white, arranged in graduated size — small beads at the back rising to large statement beads at the front centre — and alternating green/white along the strand. Each bead is individually mounted on a gold-tone metal eye-pin and joined to its neighbor by wire links, so the beadwork forms a linked chain rather than a continuous threaded strand. The back of the necklace is completed with a fine gold-tone curb chain and a decorative rectangular box-type clasp. The bold two-color scheme and graduated round beads give the piece a "mod" mid-century fashion character. The beads are glossy and appear sound; the gold-tone findings show light wear.

A single-strand necklace. The front centerpiece alternates five larger gold/champagne pearlescent baroque (irregular nugget-form) beads with white round beads and tiny tube spacers; the sides continue as a single row of uniform white round beads back to the clasp. Closure is a bent-wire hook with a brass-tone curb-link chain extender.

Small flat rectangular coin purse densely surfaced in rounded plastic beads over fabric, with a top zipper (brown tape, metal pull). The beadwork forms an allover geometric design: horizontal zigzag/chevron bands and a central row of diamonds enclosing rosette centers, worked in cream/pale-yellow, orange, coral-red, black, and green beads on an orange ground. Back not shown. Beadwork largely intact with minor loss/soiling; zipper functional.

Small flat rectangular coin purse densely surfaced in rounded plastic beads over fabric, with a top zipper (tan/beige tape, metal pull). The beadwork forms a row of large circular rosette/sunburst medallions (yellow centers ringed in red) linked by black zigzag/lattice motifs, over a ground of ivory, cream, and pale-yellow beads with a black-and-red dotted upper border. Back not shown. Beadwork largely intact with minor soiling; zipper functional.

Rectangular belt buckle with slightly bowed (curved) face, made from a polished white-metal plate. Applied to the front is a cast figural relief of a rodeo cowboy aboard a bucking bronco — the hatted rider with one arm raised, the horse pitching forward with head down and legs kicking. The reverse has a hand-soldered belt-loop bar at one end and a bent-wire hook at the other; the appliqué is fixed through the plate with two rivets/solder points.

Rectangular belt buckle with slightly bowed face, made from a polished white-metal plate. The front bears a cast relief of a frontal, stern-faced mask — furrowed brow, broad nose, open mouth with teeth, and a beaded band across the forehead — set within a many-pointed radiating sunburst. The reverse has a hand-soldered belt-loop bar at one end and a bent-wire hoo

Adult's round, flat-crowned beret of olive-green woven cloth. Constructed crown with a separate tan twill lining; headband finished with a dark leather or imitation-leather sweatband; interior woven-cotton adjustment tape/drawstring exits at the rear. No badge, cockade, or unit insignia present or retained.

Leather belt, coiled for the photograph, roughly 3 cm wide. The grain (outer) face is finished black, now heavily crackled and flaking to reveal a tan leather core; the flesh (inner) face is exposed tan rough leather. The buckle is a single-prong curved (horseshoe/D-form) buckle in plated white metal (nickel/chrome), attached at the strap end by a folded leather loop; a leather keeper is present.

Women's bifold wallet in black leather immitation with a snap-tab closure on the front. The interior fits a billfold/note compartment with a woven textile lining, a clear acetate ID/photo window over a pocket, and a coin pocket closed by an envelope-style snap flap. Edges are stitched throughout; closures are metal snaps.

Pair of women's open-toe (peep-toe) ankle-strap sandals in black leather. The forefoot is covered by two wide leather bands crossing in an X over the instep; a slim ankle/slingback strap with a small metal buckle on the outer side, and a curved, set-back high heel. Footbeds are natural tan leather, now heavily darkened and worn. The toe edge is rounded with a substantial sole. The sock lining carries the cursive maker's stamp "Joya," barely visible.

Belt strap, coiled for the photograph, roughly 3.5 cm wide, in black imitation leather with a pebbled "shrunken/buffalo" grain. Both faces are finished black; the edges are finished and run-stitched with a contrasting grayish thread. A row of adjustment holes is punched toward the tapered tip. No buckle, keeper, or buckle-end hardware is present — the buckle is absent; one end is folded where a buckle would attach. No fastening hardware remains.

Belt, coiled for the photograph, roughly 3.5 cm wide. Both faces are black, with repair additions of both black and tan leather, secured through two rows of white contrast topstitching. The buckle is a solid single-prong square buckle in brass/bronze, attached at a folded end secured by a metal snap. Adjustment holes are at the opposite (billet) tip.

A length of cream/off-white woven cotton elastic strap fitted with a flat molded white plastic adjuster, salvaged from a discarded brassiere and kept for possible reuse. The plastic piece is a small rectangular plate with an open hook at one end and two oblong slots through its body; the elastic passes into the plate and is threaded back on itself so that the length can be set, while the hook is the attaching point — the standard adjustable slide-and-hook hardware of a bra strap. The webbing is about an inch wide, plain-woven, lightly soiled, with frayed cut ends where it was removed from the rest of the garment. There are no visible maker's marks, sizes, or text on either the plastic or the elastic.

Hand‑made leather belt in mottled brown, with contrasting red leather lining/backing visible at the tongue and underside. A leather‑wrapped (braided/whipstitched edge) rectangular buckle frame with a bent‑wire prong at one end; a leather keeper loop. The strap is decorated with stitched oval medallions accented by small "X" cross‑lacing in pale leather, and runs of contrasting saddle‑stitching along the edges. The tongue end tapers to a point.

Hand‑made handbag with a body of coarse jute burlap (arpillera/yute) and two circular wooden ring handles at the top. The front is decorated with applied navy bias‑tape banding forming a border and a crisscross/star lattice, infilled with strips of printed floral fabric, and accented by several small hand‑tied yarn tassels/tufts in red and cream. Interior lined with a pale plain‑weave cotton (visible at the opening). Rounded, slouchy form.

A small figural brooch in the form of a butterfly with open, outspread wings. The body and wing borders are gold-tone metal with a textured/engraved finish on the body and a polished raised outline framing each wing; the four wings are filled with mottled sky-blue enamel (or enamel-paint) giving a slightly marbled, pearly effect. The reverse shows a horizontal hinged pin (pin-stem) with a rotating C-clasp catch — a standard brooch fastening. The metal is bright with light wear; the enamel is intact.

Pair of women's open-toe, backless high-heeled slide sandals (mule type). Uppers are caramel/tan leather built as a fanned, huarache-style vamp of numerous narrow leather strips banded across the instep and gathered through a knotted central element toward the toe. Footbeds are leather, with a gold-foil maker's logo and size at the heel area. Heels are tall sculpted wooden wedges with a concave instep profile, the upper portion wrapped in matching tan leather over exposed darker wood, set on a leather sole. The signature Candie's "slide" silhouette — a minimal leather strap upper over a wooden high heel.

A retail card of hair grips (bobby pins) in original packaging, shown front and back. The display card is of cream/buff paper stock printed with orange-red bands and a vertical striped panel at the right. The front carries the brand name "Flower Brand" in black script across an orange band, with "BEST QUALITY" and a line of Chinese characters at left, the word "GRIPS" in bold at right, and "MADE IN CHINA" with the Chinese 中国制造 ("Made in China") at lower right. A row of hair grips is mounted across the card, held in place through slits; the grips are flat-sided metal pins with a wave/crimp in one leg, the great majority finished in black with at least one in brown. The reverse (second image) shows the plain card back with the pins' shafts and the slits that retain them, plus traces of red at the right edge. The card is worn, with edge softening, soiling, creasing, and some loss; the grips appear intact. The term "grips" (for what are also called bobby pins or hairgrips/kirby grips) reflects British/Commonwealth-market English usage on an export product.

Molded polychrome ceramic face pendant (earthenware), molded in low relief as a frontal female face. The face is finished in a reddish-brown ground; the figure wears a mustard-yellow headscarf/turban decorated with gold dots, with black hair tufts visible at the brow. Eyes are modeled closed/downcast with black outlines and gold-painted upper lids; the lips are full and painted bright red in a slight smile. The plaque is pierced with two holes at the crown and fitted with small metal wire loops (jump rings) at each cheek; a twisted natural-fiber cord passes through the crown holes and is knotted to a wearable loop. The reverse is unpainted, slightly concave reddish clay, impressed "CUBA."

Small oblong pendant of modeled and fired clay, glazed or slip-finished in a warm ochre/tan tone. The face is a stylized anthropomorphic/mask design with incised and black-painted details: a browband, arched brows, round raised eyes, a triangular nose, a bared-teeth mouth, and symmetrical stepped/scroll motifs flanking a central element on the lower half (suggesting arms, a beard, or feathering). Two suspension holes are pierced through the top for cord. Design draws on Pre-Columbian / Indigenous Andean visual style.

A Mexican copper-nickel 5-peso coin mounted as a pendant. One face bears the right-facing uniformed bust of Vicente Guerrero, with "CINCO PESOS" arced above, the date "1978" to the left, and the Mexico City mintmark "Mo" to the right of the bust. The reverse face bears the national arms of Mexico — an eagle on a prickly-pear cactus with a serpent in its beak — encircled by "ESTADOS UNIDOS MEXICANOS." The coin is captured in a twisted-wire (rope) bezel with a soldered suspension loop at top, converting it to a pendant.

Clear cast-resin ring with a flat, rectangular signet-style face. Inset into the face is the emblem of the 26th of July Movement — a red upper band over a black lower band, with two white numerals "26" set across the color division. The numerals and color blocks are discrete inlaid elements fully encased in transparent resin; their bases are visible protruding on the underside of the face. Plain rounded clear shank. The recesses of the numerals hold brownish grime.

Two matching ornamental hair pins, each an elongated bar/loop of clear cast plastic with an amber-orange ground and gold (and some red) confetti flecks over a metal pin, mounted on a printed backing card now browned with age.

Two matching ornamental hair pins, each a marquise/teardrop loop of clear cast plastic with red ground and white/silver confetti flecks over a metal pin, mounted on a pink printed backing card.

A single hair grip (bobby pin / hairpin) of the slide type, with a slim, slightly tapered bar of dark (near-black) translucent plastic mounted along a sprung metal wire. The plastic bar is embedded with confetti flecks — small chips of silver/metallic, white, red, and gold suspended in the dark resin, in the "confetti lucite" manner. The bar caps the upper leg of a U-shaped sprung metal pin; the plain wire end projects at one side and the looped end at the other. The second image (side/profile view) shows the dark plastic bar seated along the bright metal wire of the grip. Intact and glossy; the metal wire shows some darkening/oxidation.

A matched pair of hair grips (bobby pins / hairpins) of the slide type, each with a slim, slightly curved bar of translucent lilac/lavender plastic mounted along a sprung metal wire. The plastic bars are embedded with confetti flecks — small chips of silver/metallic, white, red, and gold suspended in the lilac resin, in the "confetti lucite" manner. Each bar caps the upper leg of a U-shaped sprung metal pin (the plain wire end projecting at one side), which grips the hair. The second image shows the pair displayed together on a small white tile/card. Both are intact and glossy, the lilac ground reading slightly more pink or more lavender depending on lighting.

A single ornamental black hair pin with a shaped, lozenge-profiled top of clear cast plastic embedded with red and silver metallic confetti flecks, over a thin metal pin; a small metal loop terminates one end.

A hair clip of the sprung bobby-pin/grip type, the front face an elongated, gently undulating (wave-shaped) bar of clear plastic embedded with confetti flecks over a dark ground — small chips of red, white/cream, and gold/metallic suspended in transparent resin in the "confetti lucite" manner, reading dark overall. The decorative bar is mounted on a thin sprung metal pin/wire that grips the hair, its plain end protruding at one side. Intact and glossy.

A hair clip of the sprung bobby-pin/grip type, matching Record 1 in form: an elongated, gently undulating (wave-shaped) bar of clear plastic embedded with multicolored confetti flecks over a pink/translucent ground — chips of gold, red, green, and other colors suspended in transparent resin. The decorative bar is mounted on a thin sprung metal pin/wire that grips the hair, its plain end protruding at one side. Intact and glossy.

Two shorter ornamental hair pins, each a slim bar of clear cast plastic with a green ground and red/gold/silver confetti flecks over a dark metal pin, mounted on a plain white backing card.

Two matching ornamental hair pins, with red ground and confetti flecks over a metal pin.

Pair of women's backless, square-open-toe high-heeled mules (slides) in cream/ivory patent leather with a now heavily crackled (craquelure) surface finish. The instep is crossed by several slim straps, the segments joined and accented by small polished silver-tone metal connectors (tube/oval bars), with squared metal-capped strap ends. Footbeds are leather, soiled with wear. Heels are tall, chunky, slightly flared block heels covered in matching cream leather over a black-edged sole.

Square textile combining a plain woven center panel with a wide hand-crocheted lace border. The center is a fine, loose plain-weave fabric (linen or cotton) in cream/white, hemmed where it joins the lace. Surrounding it is a deep border of openwork crochet lace in ecru thread, worked in a fan/shell-and-mesh pattern with regularly spaced raised floral rosettes (puff/popcorn florets) and finished with a scalloped, looped picot edge at all four sides. Entirely handmade; the lace is symmetrical and densely worked.

A small, elongated, gently arched component in cream/ivory molded plastic, forming the rigid decorative bar of an elastic hair tie. The body is a smooth convex shell, concave/hollow on the underside. Ends carry a short cylindrical knobbed post, the anchor points to which an elastic band attached, drawing the gathered hair against the bar. Per donor information, the piece was used with a plain rubber band as that elastic element. The top surface shows a faint rectangular ghost/residue, suggesting a decorative element or label was once applied and is now lost. No maker's mark or lettering is visible.

A multi-strand bib- / collar-style necklace of white glass beads, constructed from four parallel strands of small round beads connected by perpendicular elongated white "stick" beads to form an open lattice-like collar that fans out into a wider, more densely beaded lower section. Almost certainly Czech / Czechoslovak in origin, given the characteristic glass-bead vocabulary and the family-recorded provenance: It was acquired through the Czechoslovak-Cuban social networks established in part through Leopoldo Arús Caraballo's professional ties. DESCRIPTION: A bold multi-strand bib / collar-style necklace, dramatic in scale and architectural in construction. The body of the necklace consists of three parallel concentric strands of small white round beads (each strand of beads strung continuously), held in formal parallel arrangement by perpendicular elongated white "stick" or "rice-grain" shaped beads that run across all three strands like the rungs of a ladder. This perpendicular-bead-as-spacer construction creates an open lattice / mesh appearance throughout the bib section. The architecture flows in two parts: UPPER (NECK) SECTION: At the top, the three strands converge into two parallel pairs that emerge from twisted-wire / rope-effect metal end-caps, one on each side. Above these end-caps, additional small round white beads continue the strands up to a clasp at the back of the neck. LOWER (BIB) SECTION: Three strands descend toward the front of the necklace, creating a graduated "fan" or "rays" effect that dramatically widens and densifies the lower half of the necklace into a fully-formed bib that would cover the upper chest when worn. All beads are white opaque glass, characteristic of pressed or molded glass beads rather than lampwork. The round beads are uniform in size and shape; the stick beads are uniform.

Small digital wristwatch with a rounded-rectangular chrome-plated case on a stainless-steel link bracelet. The black dial surrounds an LCD window labeled "HOUR / MIN" above and "MONTH / DATE/SEC" below, with "QUARTZ" printed twice (no brand name). Two pushers on the right side set the functions. The LCD currently shows no reading.

Pair of women's open-toe, high-heeled ankle-strap (slingback) sandals in black leather. The vamp is a strappy, semi-caged arrangement of multiple narrow leather straps combined with plaited/braided leather elements crossing the instep and toe. A thin adjustable ankle strap with a small metal buckle secures the heel. Heels are tall, sculpted, curved ("comma"-profile) covered in black leather over a leather sole; the toe is open and tapered. Footbeds are natural tan leather bearing the maker's foil label at the arch. The two shoes match in material, strapwork, heel, and label and form an original pair.

A gold-tone expansion (stretch/expandable) watch bracelet of the linked-block type: rows of small rectangular metal links connected by internal springs so the band stretches to slip over the hand. The top faces are gold-tone with a textured finish (one band has a fine engine-turned/wave texture, the other a squarer basketweave-like texture); the end pieces are gold-tone straight-end connectors for attaching to a watch case. The reverse shows bright steel link undersides stamped repeatedly "STAINLESS STEEL" and, at the end links, "MADE IN CHINA." There are two such bracelets, similar but with slightly different link textures; each is shown front and back.

A gold-tone expansion (stretch/expandable) watch bracelet of the linked-block type: rows of small rectangular metal links connected by internal springs so the band stretches to slip over the hand. The top faces are gold-tone with a textured finish (one band has a fine engine-turned/wave texture, the other a squarer basketweave-like texture); the end pieces are gold-tone straight-end connectors for attaching to a watch case. The reverse shows bright steel link undersides stamped repeatedly "STAINLESS STEEL" and, at the end links, "MADE IN CHINA." There are two such bracelets, similar but with slightly different link textures; each is shown front and back.

A long rectangular lightweight silky scarf in deep red, printed with a large white interlocking-chain/link (or interlocking-ring) motif running along its length. The short ends have a knotted heading and a deep fringe of self-colored threads; the fringe is wavy and tangled with loose threads. This is the odd one out of the three, with a chain/link design rather than a plaid.

A long rectangular lightweight scarf in a silky woven fabric, printed with an abstract plaid/grid pattern of crossing bands in orange, black, brown, and white. The short ends are finished with a knotted heading above a deep twisted/looped fringe of self-colored orange threads.

A long rectangular lightweight silky scarf printed with an abstract plaid/grid of crossing bands in red, maroon/aubergine, coral, and white. The short ends have a knotted heading and a deep fringe of self-colored threads (coral/red). A sewn fabric label survives, detached. Fringe tangled, with some loose threads. This is the red/maroon colorway of the plaid design.

A single-strand necklace of graduated round beads finished to imitate pearls, identified as plastic. The beads increase in size from small at the back of the strand to the largest at the front centre, in the classic graduated-pearl arrangement. They carry a pale cream/ivory pearlescent coating over a plastic core; several beads show wear typical of coated plastic imitation pearls, including surface dulling, a more matte appearance where the lustre has rubbed away, and at least one bead with a visible crack or split in the coating. The beads appear strung on a cord with small spacer knots or beads between them. No metal clasp findings are clearly visible in these views, suggesting the strand may be continuous (a rope/slip-over length) or that the closure is not shown.

A handbag/tote made of fine green plastic cord (synthetic filament) worked into a regular open mesh. The body is a rounded, U-shaped pouch tapering to a rounded base, with denser solid bands worked at the top edge and across the lower body, and a pair of integral strap handles forming a loop at the top. A round plastic-covered disc button at the top-center front serves as the closure. The front is decorated with roughly nine small floral tufts — yellow with pink/mauve centers — pulled through the mesh in three staggered rows. No maker's mark, label, or printed text is present.

A hair barrette with an elongated, symmetrical decorative element carved/molded in a reddish coral-orange material, in a foliate motif of overlapping leaf or wheat-ear forms meeting at a central knotted "bow" and tapering to points at each end. The surface is dressed with scattered gold glitter. A thin metal clip/spring wire is fitted along the back as the fastening. The handmade character is evident in the irregular carving and finishing. Wear includes glitter and surface loss, residue, and handling marks.

A hair barrette (hair clip), shown front and back. The front (first image) is a curved, elongated rectangular cover of dark plastic in mottled brown/burgundy and near-black tones, with a glossy (now worn) surface; the coloration and translucency suggest an imitation of tortoiseshell. The reverse (second image) reveals the fastening: a hinged spring-clip mechanism of metal, riveted to the cover at both ends, of the standard sprung-bar/clasp barrette type that snaps shut to grip the hair. The metal shows significant rust and corrosion, and there are remnants of a lighter coating or paint and what appears to be old adhesive on the underside of the cover. The plastic cover is heavily scuffed and scratched with surface wear and loss of gloss; one end shows pinkish/lighter discoloration. Overall the piece is worn and aged, with the metalwork notably deteriorated.

A rectangular plaid scarf in a small-scale yellow/mustard, green, and white check pattern, with hand-finished knotted fringe at the end(s). Hand-sewn by María A. Arús Caraballo during the 1970s. DESCRIPTION: A rectangular textile scarf. The fabric is a fine-scale yellow/mustard and green plaid (tartan-style) with thin white grid lines forming the lattice between blocks of color. The plaid is woven (not printed) — visible from the way the pattern reads consistently from front to back, with the characteristic over-and-under interlacement of dyed warp and weft threads typical of traditional plaid weaving. The dominant color is a warm mustard yellow, crossed by darker (green) horizontal and vertical bands at regular intervals, with finer white lines making the smallest grid divisions. The overall pattern reads as a "house check" or small-scale tartan. The scarf has a substantial fringed end: a row of dense fringe extending several centimeters from the cut edge of the fabric, formed by deliberately unraveling the weft threads to leave the warp threads hanging free, on both sides.

Woman's pajama/sleep shorts in lightweight puckered (seersucker-type) cotton printed with an allover small-scale floral in pink, orange/gold, and white. High-waisted, full-cut shorts with an elasticized/gathered waistband and a curved, fuller seat; loose legs. Hand/home-sewn construction. The fabric is lightly toned and soft with wear; no maker's label.

A small ring-shaped hair elastic, handmade. A stretchable core — the rubber rim ring cut from a condom (per owner) — is densely covered with rose-pink knitting yarn worked in tight, segmented bumps, giving the loop a beaded, "caterpillar"-like texture.

A drop earring made of animal horn with white-metal findings. From the top: a flat folded metal clip and a metal wrap; then a large marquise-shaped (pointed-oval) horn plaque, caramel-brown with pale lengthwise striations and darker streaks, polished to a sheen; and, suspended from its lower edge by jump rings, three small near-black horn marquise drops. The components are joined by white-metal jump rings.

A necklace built from a chain of elongated marquise/navette horn links — dark brown to near-black, polished, with some natural tonal variation — joined by white-metal jump rings. At the front, a large oval horn plaque (dark gray-brown with lengthwise striations and a beveled edge) hangs as a pendant, connected to the chain by horn navette links on each shoulder. Three small oval horn drops, slightly graduated and varied in tone, hang from the bottom edge of the oval plaque on jump rings. The necklace is a complete unit with an integral pendant.

SUMMARY: Small artisanal brown leather shoulder/cross-body purse with hand-tooled decorative bands, whip-stitched leather-thong edges, fringe ties, and a long thin leather strap; purchased at a Cuban artisan market after 1978. DESCRIPTION: A small, soft rectangular cross-body purse of medium-brown leather. The body is constructed from two front-to-back panels joined at the edges by a continuous whip-stitched leather thong lacing, which forms a decorative dotted/punched border around the entire outline. The front face carries the principal decoration: two horizontal bands of stamped/tooled geometric ornament running across the body, with smaller decorative bands and a small front pocket or applied panel finished with hanging cut-leather fringe ties. A long, thin leather strap is attached at the top corners for cross-body carry; the strap shows curl-set from long use. A few thin leather thong ends hang loose at the bottom corners, an intentional fringe element rather than damage. Surface tone is uneven, with handling patina and slight darkening from use.

A single wristwatch strap of dark navy-blue to black grained leather, photographed front (obverse) and reverse. The obverse presents a uniformly dyed, lightly pebbled leather surface with a stitched seam running the length of each side and a row of buckle-adjustment holes; several holes show enlargement and surrounding abrasion from repeated fastening, and one or two have torn into short slits. A fixed leather keeper (retaining loop) crosses the strap near the midpoint. A white-metal buckle with a pin (prong) is mounted at the upper end. The reverse reveals the natural, undyed tan underside of the leather, edge-stitched throughout, with a leather keeper and the buckle frame visible; the buckle bar carries a faint ridged or textured pattern that is not legibly inscribed. The strap shows substantial wear: surface scuffing, loss of dye exposing paler leather at the edges and folds, stiffening, and soiling consistent with prolonged everyday use.

A wristwatch strap of mid-brown leather, photographed in two views. The leather has a fine grained surface, more pronounced in the second view where the texture reads as a regular linear graining. One end tapers to a rounded tip pierced by a row of adjustment holes; the opposite end carries a gold-coloured (brass) buckle with a pin, and a leather keeper loop is present along the band. The strap is shown partly curled and folded back on itself, indicating a supple but worn material. The surface bears scuffing, scattered dark spots and discolouration, surface cracking and creasing at the fold points, and slight darkening from handling oils. The buckle shows wear to its plating with base metal exposed at the high points.

Small stapled booklet issued by MINCIN for the rationed purchase of industrial products (clothing, footwear, a few appliances, and once-yearly children's toys). Interior pages carry perforated tear-off coupons coded H-11 through H-24 (and a numbered control grid), each marked "SERIE 1989," with a green sun emblem; printed consumer instructions ("AL CONSUMIDOR" / "ADVERTENCIA") and the issuing-ministry address appear on an inside page. Each of the two booklets is sheathed in a protective cover hand-cut from a Cuban tourist postcard, with the holder's name inked on the front. Multiples — two booklets: 1- Rafael García; cover Hotel Habana Riviera card (trilingual; "Cuba alegre como su sol" series); handwritten poem/dedication to "Madre" inside 2- Neida Céspedes; cover red-flowers (cactus-dahlia) card

A long single-strand necklace of round translucent glass beads in a red, white, and colourless palette, shown coiled. Each bead is clear/colourless with internal swirls and patches of red and milky white, formed by setting coloured and opaque glass within a clear matrix, so that the strand reads as a mottled coral-red and clear glass rope. The beads are fairly uniform in size and strung continuously to a substantial length, allowing the necklace to be looped multiple times. The piece has been reassembled (restrung) at some point, and in the process an original brooch or ornamental element that formed part of the necklace was lost; the present strand therefore represents the beads in a modified, incomplete state relative to their original configuration. No clasp or surviving decorative fitting is visible. The glass beads appear sound, with the glassy surface intact.

Long single-strand necklace of oval brown glass beads, interspaced with small gold-tone metallic spacer beads. It is strung as a continuous loop (rope/opera length) with no clasp, so it is worn over the head. Beads glossy and intact; stringing is modern. No maker's mark or country indication present.

Long single-strand necklace of oval-shaped glass beads in translucent grass-green, interspaced with small white glass seed-bead spacers. It is strung as a continuous loop (rope/opera length) with no clasp, so it is worn over the head. Beads glossy and intact; stringing is modern. No maker's mark or country indication present.

Long single-strand necklace of oval-shaped glass beads in a mottled/speckled ("Picasso"-type) glaze in browns, greens, blues, yellows, and reds, without spacers. It is strung as a continuous loop (rope/opera length) with no clasp, so it is worn over the head. Beads glossy and intact; stringing is modern (re-strung). No maker's mark or country indication present.

Hand‑knotted open‑net shopping bag in pale cream/natural cord. Diamond‑mesh body worked in macramé (knotted) technique, drawn up to a single wrapped/rolled loop handle at the top. Stretchy, collapsible carry‑all form — deep when loaded, flat when empty.

A handbag worked in green synthetic/plastic cord as a regular open mesh, with a decorative shell/fan-patterned band across the upper yoke and a plain net body tapering to a rounded base. Two integral strap handles form a shoulder loop. A round cord-covered disc button at the top-center front serves as the closure. On the reverse, a multi-petaled cream/white flower rosette is applied as ornament.

A handbag worked in coral/salmon-red synthetic/plastic cord as a regular open mesh, with a decorative shell/fan-patterned band across the upper yoke and a plain net body tapering to a rounded base. Two integral strap handles form a shoulder loop. A round cord-covered disc button at the top-center front serves as the closure (with a short loop). A yellow multi-petaled flower rosette with a white center is applied to the front.

A hair barrette (hair clip) with a curved, elongated cover finished in orange (enamel or paint over metal), shown front and back. The front (first image) is a smooth, gently arched bar; the reverse (second image) shows the fastening — a bright formed-metal spring-clip bar seated within the orange cover and anchored at both ends, of the standard bend-over sprung-clip type that snaps shut to grip the hair. The orange/pink finish is glossy with some wear; the metal clip shows light tarnish/soiling. The construction is consistent with manufactured (factory-made) production.

A khaki/olive-drab wool militia beret with a leather sweatband, tan lining, and side ventilation eyelets, shown interior-up. Affixed to the body is a small domed gilt (brass) pin badge bearing the MNR insignia (central shield) framed by "BON-156" above and "FUNDADOR" below, attached via a pin-back fitting.

A bold modernist necklace composed of large, flat, polished plates of a dark brown-black material (reading as horn) joined by metal jump rings into a symmetrical bib, suspended from a silver-tone curb chain with two pierced double-ring (spectacle/interlocking-circle) connector links at the shoulders. Each side has a roughly D-shaped or trapezoidal plate linked to a longer curved blade-like plate; the two sides meet at a central long tapering tongue-shaped pendant plate that hangs well below the others, giving a long central drop. The plates are smooth and glossy with natural tonal variation. The metal links and chain are a tarnished silver tone.

Woman's one-piece swimsuit in pale mint/seafoam knit. Wide square neckline, thick straps, princess/panel seaming shaping the torso, and a brief-style lower body; the interior is fitted. The fabric is a matte stretch knit (not shimmery), now faded, discolored, and soiled, with some seam wear and fraying at the leg openings. Brand "Modeta," Made in Czechoslovakia (interior label not clearly legible in these views).

A small hair barrette (hair clip) for a toddler, molded in pale yellow plastic, of openwork design. The decorative front is a fan- or shell-shaped element with radiating ribs framing a pierced, lattice-like center, flanked by scrolled or leaf-like side forms; the whole is mounted on a slender plastic clip bar. Adhesive residue and small translucent/whitish deposits are visible around the central opening and at the back, likely old glue from assembly or repair. The clip is of small scale appropriate to fine toddler hair. The piece shows wear and some manufacturing/assembly irregularity consistent with a handmade or small-scale-made object rather than a factory-finished commercial product.

A child's hair barrette (hair clip) molded in pink plastic, shown front and back. The front (first image) is figural, depicting two small birds facing one another beak-to-beak in a symmetrical, affectionate "lovebirds" pose, their bodies and outspread tails forming the elongated horizontal shape of the clip, with molded detailing for feathers, eyes, and feet. The reverse (second image) shows the functional clip mechanism: a sprung metal clasp arm (here also pink-coated or pink-toned) mounted lengthwise across the back, of the standard spring-bar barrette type that snaps closed to grip the hair. The piece is a single molded plastic body with the metal clip fitted to the back. Wear includes minor surface scuffing and small marks; the clip mechanism appears intact.

A multi-strand necklace combining many fine glass seed-bead strands at the front with a single strand of round wooden beads across the back/nape. The seed-bead strands are predominantly black with scattered colored beads; the strands are gathered at each shoulder into a metal cone end-cap where they meet the wooden-bead section. A white collection/inventory tag is tied at the nape.

A matched pair of hair barrettes molded in clear/colorless plastic in a curved, elongated leaf or feather form, each tapering to a point at one end. Each is decorated with applied or molded relief detail — a small flower with surrounding raised dots/beads, and lengthwise ribbing suggesting leaf veining. The reverse of the lower example shows the fastening: a sprung wire clip (now dark/oxidized, likely rusted) anchored to small molded plastic bosses on the back of the barrette, of the bend-over sprung-clip type. The clear plastic has yellowed/clouded slightly with age and shows surface scuffing and small losses. The handmade character is consistent with the maker attribution.

A costume necklace consisting of a cable-link chain with a spring-ring clasp, supporting a circular openwork pendant. The pendant is gilt base metal worked in a filigree-style manner: a central raised rosette of stylized petals or teardrops surrounded by a lattice/openwork border within a beaded rim. The pendant hangs from a decorative bail. Three drops dangle from the lower edge — two smaller ornamented spherical beads flanking a larger plain spherical bead suspended from a fluted, cone-shaped cap — giving the piece a pendulous, somewhat folk- or revival-style character. The metal throughout has a warm gold tone. The chain shows extensive blue-green corrosion (verdigris) along its length, indicating an oxidizing copper-alloy base metal beneath the gilding; the pendant retains more of its gilt finish. General wear, dulling, and tarnish are consistent with age and use.

Open‑mesh hand‑carried shopping bags in white/pale silver. Square body of industrially produced open diamond‑mesh plastic netting, with a denser solid band along the top edge. Two flat looped handles of pale flexible plastic, threaded through the top band and secured at the front with two small tabs/fasteners. Stretchy, collapsible carry‑all form.

Open‑mesh hand‑carried shopping bag in pale blue. Rectangular body of diamond mesh, folded across the top edge. Two flat looped handles of pale (yellowed) flexible plastic or rubber, attached through the top band and secured with two small whitish tabs/fasteners at the front.

Open‑mesh hand‑carried shopping bag in white/pale silver. Square body of industrially produced open diamond‑mesh plastic netting. Two flat looped handles of pale flexible plastic, threaded through the top band and secured at the front with two small tabs/fasteners. Stretchy, collapsible carry‑all form.

Hand‑knotted open‑net shopping bag worked from multicolored plastic‑insulated wire. Diamond‑mesh body gathered to twin twisted‑wire loop handles. The wire's colored insulation gives a banded, multicolor effect — slate/gray through the upper body, shifting to blue, green, olive, and reddish tones toward the rounded base. Stretchy, collapsible carry‑all form.

Small flat shoulder/tote bag in white PVC (vinyl) sheet. Rectangular body with a reinforced top band pierced by two metal eyelets/grommets, through which pass long doubled handles of red solid PVC cord. A row of cut vertical slits runs across the body just below the top band; small tabs project at each upper side seam. The body now reads as plain white but originally carried a printed design (per cataloger), now lost/worn away.

Pair of handmade drop earrings constructed from bent and twisted metal wire, each with a shepherd's-hook ear wire and a small flat diamond/leaf-shaped element at the top. Below hang multiple short wire stems strung with small red beads.

A pair of women's brown leather dress sandals: peep-toe with a single wide vamp strap, an ankle strap fastened by a small metal buckle, and a curved, set-back high heel. The uppers are smooth tan-brown leather; the sock is leather-lined and bears the cursive maker's stamp "Joya"; the sole is leather. Both shoes are present. Accompanying them is a two-piece buff cardboard shoe box rubber-stamped on the end "CARMELTA" with the codes "614," "22/8," and "260," plus a faint stamp on the lid edge. The brown ("carmelita") color stamp matches the shoes, indicating this is their box.

A pair of women's brown leather dress shoes: open peep-toe with a crossed/overlapped vamp, a slingback heel strap closed by a small metal buckle, and a curved, set-back high heel. The uppers are smooth tan-brown leather; the sock is leather-lined and the sole is leather. The right insole bears an inked "2400," and the sock lining carries the cursive maker's stamp "Joya." Both shoes (left and right) are present. Image 3 shows an associated small folded buff-card packet/sleeve inscribed in pencil "M+9" and a cursive "24"; the "24" corresponds to the shoes' "2400," probably size or price.

SUMMARY: A pair of handmade Cuban household slip-on sandals, each consisting of a hand-cut wooden foot-shaped sole with a single wide black rubber strap (cut from recycled tire inner-tube) tacked across the forefoot. A vernacular Cuban household object, handmade. DESCRIPTION: A pair of left-and-right wooden slip-on sandals. Each sandal consists of a single piece of light-colored hardwood (warm tan/yellowish brown), hand-cut into a flat foot-shaped sole — broader and rounded at the toe, narrowing slightly at the waist, and rounded at the heel. The wood surfaces are smooth, with visible grain, planer marks, and small dark knots; both insoles show light handwritten pencil marks (possibly size). A single wide black rubber strap, roughly 4–5 cm wide, is fixed across the forefoot of each sandal; the rubber appears to be cut from a recycled inner tube (matte black with scuffing, surface scratches, and the slightly irregular thickness characteristic of cut tire rubber rather than manufactured strap). The strap is attached to the wooden sole at each side with tacks. The wood and rubber straps show heavier scuffing and chalky surface aging. The pair is left-and-right matched.