The signature 'Pluma' (Spanish for 'feather') does not correspond to a listed master painter in major Caribbean art databases or institutional auction records. In the mid-to-late 20th century, the vibrant tourist markets of Haiti and the Dominican Republic fueled a massive output of culturally expressive naive art. Local artisans and workshop painters frequently utilized single-name pseudonyms to sign these export-focused canvases, producing art that was accessible to visitors while celebrating local identity. These works drew heavily from the established visual languages of the region—such as the faceless 'Muñecas Limé' of the Dominican Republic or the bustling market and Vodou scenes popularized by Haiti's Centre d'Art in the 1940s. Because the artist remains an anonymous or regional craftsman, the piece is evaluated strictly as a work of decorative regional folk art, a genre celebrated for its rhythmic patterns, vivid color palettes, and lively depiction of daily communal life rather than individual artistic fame.

Direct comparable sales for the specific artist 'Pluma' are absent from major auction databases; therefore, this estimate is market-informed using proxy sales of similarly sized, vibrant Caribbean folk art scenes by unlisted artists. In the Caribbean art market, there is a strict dividing line between documented masters and anonymous tourist-trade canvases. The accepted proxy comps demonstrate a highly consistent clearing rate for these decorative canvases. Works signed with similar unlisted pseudonyms (such as 'Rico' or 'Y. Antoine') recently sold at auction for $45 to $100. While curated retail platforms like Chairish feature asking prices exceeding $250 for framed examples, wholesale auction hammer prices for unsupported original regional canvases rarely surpass the $80 mark without documented gallery provenance.