The Guedar Family Collection

Rendered on a ground of fine gold leaf, this profile portrait is characteristic of Palacios's mature work, in which he combined natural pigments and mixed materials with metal leaf to build a weathered, luminous surface. The blue ribbon and the loosely brushed passages of green and ochre are typical of the introspective female figures that recur throughout his later career.

Horses were a recurring subject for Palacios throughout his career, rendered here in a loose, painterly mixed-media technique on paper. The red bridle and patterned saddle cloth stand out against a near-black ground, a device Palacios used often to bring a single motif into sharp relief.

One of a small number of large-scale metal horse sculptures Palacios produced in the 2000s, built up from welded and riveted sheet metal over an iron, bronze and pewter armature and finished with pigment and varnish. The decorated saddle cloth, picked out in red and pale blue, evokes the ornamented war horses referenced in the title. This is the first work in the Sobre el Caballo de Gengis Khan series, and appears on the cover of Alirio Palacios's book Caballos. Esculturas y grandes papeles 2003–2006. The sculpture comes on a wooden support.

A characteristic bronze by the Dutch-Venezuelan sculptor Cornelis Zitman, showing his rounded, monumental treatment of the female figure, seated here on a simple ladder-back chair with her arms crossed. Zitman cast his sculptures in small editions; this is number 4 of 8.

A standing female nude in the simplified, rounded style for which Francisco Narváez is best known, cast in bronze with a dark green patina, one arm raised to gather her hair. This is a posthumous cast made by the Fundación Francisco Narváez. The edition comprises eight numbered casts and four artist's proofs (pruebas de autor); this is the first of the four proofs, inscribed on the base as P/A 1/4.

A still life of fruit, vegetables and a watchful cat set against a flat, dark ground, in the precisely rendered, quietly surreal manner Dávila turned to later in his career, after his earlier reputation as a painter of urban and social subjects.

An abstracted composition of interlocking white figures outlined in black, with small passages of orange, blue and yellow, in the pictorial language Oswaldo Vigas developed by combining pre-Columbian and African imagery with European modernism.

A diamond-format composition built from nested squares in red, brown and yellow that appear to advance and recede as the eye moves across them, typical of the optical and geometric abstraction for which Víctor Valera is known.

A tall composition of staggered vertical bands in shades of green, blue and yellow, in the rhythmic, hard-edge geometric idiom Valera developed over several decades of work.

A large, symmetrical composition of tapering striped forms in orange, blue, grey and green, arranged in mirrored pairs that suggest stylised figures, characteristic of Valera's later, more complex geometric compositions.

A figure seen from behind, a length of cloth draped over her head and shoulder, set against a field of golden ochre, in the timeless, softly rendered manner typical of Carmelo Niño's figurative paintings.

A symmetrical geometric composition centred on a narrow column of yellow verticals, flanked by bands of purple, blue, maroon and green triangles. The reverse is inscribed by the artist with the title, year and dimensions, and numbered "#20", consistent with Valera's practice of numbering his canvases.