Small clay pot with a flared neck and wide shoulder which tapers in to a raised circular foot. Incised designs around the neck of repeating dots, and on sides - a column of repeating turned v's bordered with three solid lines and one dashed line on either side. This is repeated three times, with incised information between each design - 'Papua New Guinea', 'Bilbil Village', and 'Madang Province'.

Red clay pot with burn marks throughout. Pot has a flared neck and wide, steep shoulder, that tapers to a rounded base with three stout legs. Pot has two beak-spouts on either side of circular opening; spouts and neck have ridged sides. Dots and lines border bottom edges of openings; dots done in relief, lines are incised. Edge of shoulder is decorated with two rows of imprinted dots. Columns of chevrons are incised on main body of pot, and on shoulder; columns point towards one another. The place made information isincised into side of pot: 'Papua New Guinea', 'Bilbil Village', and 'Madang Province'.

Small lidded pot with burnished finish. Pot (part a) has a wide mouth, and sloped and rounded shoulder that narrows to a small flat base. Artist signature, date made, and title incised on base. Large circular lid (part b) is decorated across exterior surface with formline motifs, done in relief. Centre of design consists of a face with wide eyes, straight brows, large nose, and an open mouth with the tongue sticking out; markings on forehead and cheeks. Face is surrounded by a wide band, with protruding split U-shapes that extend to edge of lid. Lid has a long lip that curves downward; flange closer to centre of interior. Exterior surfaces of pot and lid range in colour from off-white to black; speckling throughout. Interiors are smooth and somewhat rough in texture; coloured light grey.

Off-white clay bowl with black painted design across interior. Central design is of large figure with very long phallus, being held up by three smaller figures. Large figure has their long hands held upright, with the palms up. They have spiked hair, small bun on the back of their head, diagonal line across cheek, and are wearing a checked collar. The smaller figures have braided(?) hair and protruding phalluses. Interior edge of bowl trimmed with five linear bands; outer bands are thicker than inner. Patterns stamped and done in relief across exterior sides of bowl. From top to bottom: swirls with human and animal motifs throughout, raised line, repeating words "OUR HISTORY", inverted stepped triangles, abstract diamonds inside ovals, alternating feathers and groupings of vertical lines, potted flowers, abstract linear motifs, and circles. Artist inscription, done in black, on base: artist mark. Judy Chartrand. Ancient Mimbres. circa: 1100 AD. "WAKUSOYO". Tewa language.

Small ceramic wine jug (part a) with a handle on one side, and a stopper-style lid (part b). Jug has a circular opening with edges that curl inward slightly; spout with similarly curled edges protrudes from front of opening. Opening extends into a long slanted shoulder and a round body; body tapers slightly to circular base. Handle has an irregular rectangle-shape; top exterior corner has a sharp point. Glaze of jug is dark brown with large sections of dark blue; glaze lightens to green-grey around the opening and along exterior of handle. Lid has a small knob that tapers sharply to the circular lid; stopper is cylindrical and flares at the base. Knob is dark blue and rest of lid is dark brown; bottom edge of stopper is unglazed. Engraved into base: "Vernon B.C."

Circular, round-bottomed cooking pot made of off-white clay. Pot has large opening with a slightly flared lip. Body is wide at the shoulder, coming to a sharp ridge. Large semi-circular outlines extend from ridge, towards opening; done with orange-red pigment. Lip also coloured orange-red. Rest of pot is undecorated. Base and sides have burn marks.

Circular, round-bottomed cooking pot made of grey clay. Pot has a large opening with a slightly flared lip. Body is wide at the shoulder, coming to a sharp ridge. Large, solid semi-circles extend from ridge, towards opening; done with red-orange pigment. Edge of lip also coloured red-orange. Rest of pot is undecorated. Base and interior have burn marks.

Large pear-shaped polychrome pottery owl. Wide-eyed upright bird with matte white slip and painted feathers. There are protruding vertical wings with painted feathers on each front, and an arch of tail feathers at the back. There is a small 1 cm hole at the back. The owl has large raised circular orange eyes with large black pupils encircled by small black dots. The owl has two pointed orange ears on top of the head that extend down into a small hooked beak with two small painted nostrils. 'ACOMA, N.M.' and 'P1581' on base. Unsigned.

Large pear-shaped polychrome pottery owl. Wide-eyed upright bird with glossy off-white slip and painted feathers. The owl has large inset circular orange eyes encircled with lash-like lines. There are two small painted nostrils instead of a beak. Two small, rounded ears on top of the head that are orange on the front, and black on the back. There is a small 1 cm hole in the base. 'ACOMA, N.M.' and '4' on base. Unsigned.

Turtle shell and basketry face mask. The dark red clay(?) face is built on the rounded outside of a turtle shell and surrounded by a thick basketry edge with a woven loop at the top for hanging. The mask has short, curly, dark brown hair attached along the top of the forehead. The face is painted with a black pigment with horizontal stripes and rows of triangles. The narrow pointed nose, mouth, and ears are prominently built-out with clay, and detailed. The mouth is painted black with a red slit down the centre of the bottom lip. The ears are pierced with a hole at the top, outer, and bottom edges. The eyes are inlaid cowrie shells with built out eye sockets and horizontal black stripes underneath. The edge of the face is outlined with face down cowrie shells. The forehead has another row of smaller shells inside the cowrie shells. A trio of the same small shells is inlaid into each cheek in a triangle shape. The back of the mask is the inside of the bare turtle shell, stained black with holes along the edge where the basketry is attached.