Rare and unique example of popular (naive/folk) religious sculpture from the Cuzco Spanish colonial school. Dating from the first half of the 18th Century, Peru Wood and polychromy. This wooden statue depicts the "Saint Anne Trinity" A common Christian iconographic representation showing Saint Anne (grandmother), the Virgin Mary (mother), and the Christ Child in three generations. The sculpture shows Saint Anne as the largest figure, seated with the Virgin Mary on her lap, who in turn holds the infant Jesus. This arrangement emphasizes the matrilineal descent of Christ and reflects the growing devotion to Saint Anne in late medieval Europe. Each figure wears a crown, signifying their royal and divine status. Exhibiting a charming folk or naive style, characteristic of workshop production around the Cuzco area. The figures have simplified, rounded forms and somewhat disproportionate features, giving them an endearing, accessible quality. This folk aesthetic reflects the work of local craftsmen rather than high-end artistic centers, bringing religious imagery closer to the common people. Folk art of this type played a crucial role in disseminating Christian iconography and devotional practices among the wider population. These more rustic pieces were often created for rural churches, small chapels, or private homes where parishioners could develop a more personal relationship with the holy figures depicted. The naive style, with its lack of strict anatomical accuracy and idealized beauty, paradoxically makes the divine subjects more approachable and relatable to everyday worshippers. The slightly plump faces, large hands, and warm expressions invite a sense of familiarity and comfort. For the faithful, this image provides a tangible focus for prayer and contemplation of the mystery of the Incarnation. It connects the viewer to the earthly family of Christ while emphasizing their heavenly status. The Cusco School was a prominent Roman Catholic indigenous and mestizo art movement based in Cusco, Peru, that reached its peak and creative independence during the 18th century. Condition The wooden sculpture shows signs of age, including some paint loss and minor damage. There is visible dead Xilophages damage, particularly at the base, NOT ACTIVE. The crowns appear to be later additions. Overall the piece remains in fair condition given its age.