Nose piece (Bipane). The two shells of a clam are carved into thick crescents, tied together with bast string through a small hole in each piece and glued with beeswax. Both sides of the shells are ivory in colour, with some darker striations on the outside and natural vertical lines on one shell.

Nose piece (Bipane). The two shells of a clam are carved into thick crescents, tied together with plant fibre through a small hole in each piece and glued with beeswax. The horizontal striations on the back are dark brown and light yellow. The underside is ivory in colour. One carved shell is larger than the other. The curving tips sit close together. The beeswax join has speckles of white over it.

Nose piece (Bipane). The two shells of a clam are carved into thick crescents, tied together with bast string and rattan through a small hole in each piece, and glued with beeswax. The shell striations on the back run horizontally through various shades of brown. The underside (front) is mottled in sections but predominantly ivory and light grey in colour. The curving tips are close together.

Nose piece (Bipane). The two shells of a clam are carved into thick crescents, tied together with plant fibre through a small hole in each piece and glued with beeswax. Both sides of the shells are ivory in colour mottled with light browns. The curving tips are close together.

Nose piece (Bipane). Two clam are shells carved into thick crescents, tied together with rattan through a small hole in each piece and glued with beeswax. Marked striations on the back run horizontally on one shell, diagonally on the other. The undersides (front) are different in tone; one light grey with darker spots, the other slightly darker with white spots. The curving tips almost touch.

Clay pot. Vessel has a small, flat, round base, from which the body flares to a bulbous belly and then inclines to a tall, narrower neck with slightly flared rim. Exterior bottom of body is painted dark orange, while above the bowl is a light yellow with fine linear designs in black, representing the Shipibo concept of the interconnectivity of the universe. Occasional shapes in orange appear among the designs. The interior of the bowl is unpainted.

Round clay bowl. Vessel has a small round base, from which the body flares widely toward the midpoint. Bowl inclines from midpoint to mouth. Exterior below midpoint is painted in two shades of orange, glazed. Above, bowl is painted a light yellow with a fine, lightly incised linear design representing the Shipibo concept of the interconnectivity of the universe. Some lines are emphasized with dark brown paint, and occasional orange blocks of colour appear among the designs. The interior of the bowl is raw, painted sparsely in thick white and orange lines similar to those on the exterior.

Large clay pot. Vessel has a small round base, slightly concave, from which the body flares widely to a bulbous belly, then inclining to a tall, sloped neck with slightly flared rim. Bottom of body is unpainted, while midpoint is painted in blocks of light yellow and dark brown. Shoulder and neck hold linear designs in dark brown that represent the Shipibo concept of the interconnectivity of the universe. The rim and interior are painted dark brown.

Large bowl with a bulging body. The wide midpoint recedes toward a narrow mouth at top and small base at bottom. The lower half of the bowl is painted orange and glazed, with no decoration. Around the midpoint is a strip of brown with a light coloured broken zigzag motif. Above this is painted a base colour of light brownish-grey, covered with linear designs in dark brown and orange. The interior is undecorated and unglazed.

Wood and bamboo spear. The long wooden head has four tiers with carved lines encircling the top three at the base. It is inserted into a bamboo shaft, bound with criss-crossing rattan and beeswax. A thin line is scratched around the top of the shaft three times. The bamboo’s nodules have been shaved smooth.