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Single Poi Kanga (corn husk poi). Corn husk has been wrapped longitudinally from the internal base of the cob around spherical ball or stuffing and secured with muka (flax fibre) cord. Evidence of burn marks to the outside leaves. Muka cord formed via miro (rolling) inserted into top of poi terminating in a knot. Early and modern weavers frequently experimented with corn husk in weaving due to its easy availability, ease of preparation and its ability to mimic or replicate natural native materials.

Complete korotete (holding basket for live eels), made of woven vines. Two loops at the base and two near the top. Woven vine lid with handle fits on tapered top.

Complete poutokamanawa (carved building component) made of totara. Realistic (not stylized) male figure, painted red with white on eyes and mouth and black irises and moko. Earlobes have perforations for pendants. Grooved comb protruding from head. Five-fingered hands rest on lower abdomen. Body with clavicles and rib cage suggested but body otherwise plain. No genitals depicted. Sawn off just above the ankles and attached to a black painted base.

Complete mutu (bird snare) made from a single piece of light brown wood. Perch has a human face carved facing the proximal end, with eyebrows, nose, and pointed mouth indicated on head. A square knob projects from the perch and one end curves upward. The handle is slightly curved, with another face carved into the butt. Pieces of bird feather quills are curved through perforations at the butt and on the perch, through the mouths of the figures. Both sets of quills are lashed with muka fibre, and a twisted and knotted cord passes through another perforation at the perch figure's forehead.

Complete kahu huruhuru. There are kiwi feathers in the centre of the kahu huruhuru, with a green feather border; 5cm on the left side and 6cm border on the right side.There is a purple and grey herringbone stitch border at the top edge, and a gold and black twine at the bottom edge. There are two lengths of harakeke twine with loops at the end that are worked along the top edge, approximately 15cm from the right and left sides.

Complete kahu kuri cloak. The kaupapa (body) is woven in close, single pair pukapuka (twining) except for occasional rows of whatuaho rua (double pair twining) which are woven tightly with a small gap used for a guide to sew the dogskin strip. The kurupatu (fringe collar) is made with a dogskin strip. The kahu kuri is covered with small tufts of dog fur, lighter around the sides, darker through the middle. There are areas of the cloak where the fur has thinned, showing the dog skin strips. The edges of the cloak, under the fur, are woven with darker fibres, in an almost chevron pattern. There is a modern support pillow and velcro strip attached to the inside of the cloak.

Unfinished paepaeroa cloak, in process of manufacture. The paepaeroa cloak is supported on two weaving sticks (turuturu). The starting decorative (taniko) border forms a side of the cloak (kahu) when worn. The body of the cloak (kaupapa) is twined row by row from left to right, and red wool is worked in to form a decorative finish for the neck edge on the right of the cloak. The warp (whenu) for the lower taniko border is attached at this stage and lies ready at the left to be worked when the rest of the garment is complete. The cloak is then turned back 90 degrees and the taniko border worked. The taniko on this paepaeroa cloak is 5cm wide, using dyed black wool, with a triangle pattern worked in white and red wool. The weaving sticks taper slightly at the bottom, and reduced at the top with knob to secure the paepaeroa to. Between the two weaving sticks the paepaeroa is secured to a metal rod.

Complete pouraka (small fish trap). Trap consists of two wooden hoops with two sticks overlapping above, lashed with muka fibre. A net of woven flax is stretched over the two hoops, with an opening in the centre.

Wooden carved wheku/koruru. Painted dark red and black. Carved with a rauponga (grooves and notches) and spiral pattern around the figure's mouth, tongue, nostrils, and top of the forehead. Paua shell inlaid into slanted eyes, held in place by metal pieces. Two perforations at the mouth on either side of protruding tongue. Back side has a piece of curved wood with a perforation for suspension.

complete, everything in place, no Tau. This Patu is in very good condition. On one side it is cracked along the blade, it has a small hole along that crack near the bottom. The crack has been fixed with adhesive. At the butt of the patu there are markings, Reke, that surround the hole for the tau.

Two complete pounamu pendants, tied together with red cloth. One pendant is dark green, with a ground surface. Oval shape with a lenticular cross section. Indentation on one side edge of the distal end. Suspension hole at the proximal end, but difficult to determine more about it due to cloth. Other pendant is dark green, with a ground surface and a rectangular shape and cross section. Tapered to the proximal end, which has a suspension hole. Distal end is chipped on one side. Cloth is dark red with some light brown on edges. Frayed and tied in several knots.

Consists of two figures – perhaps Rangi-nui and Papa-tū-ā-nuku embracing - with a third figure under their legs forming, with other carvings, a lintel over the opening. Along the proper left side are three other faces, each with moko. The faces of all the figures have been left black while the rest of the carving is painted red. The eyes are inlaid with pāua shell. The top and right hand side show evidence of shaping for fitting the pātaka, as well there are holes for lashing on the right hand side. The carving may depict Rangi and Papa and some of their many sons who, until their parents were parted, lived in the darkness between their bodies. Tane personified the sun and was the fertiliser of the land and all its creatures; Tangaroa personified the sea and its inhabitants. These children of Rangi and Papa personified natural phenomena such as the sun, the moon, the sea, and the winds.

Complete pake (rain cape) made of flax and tussock. Thick plaited muka fibre at the top edge, with smaller plaited ties attached. Top third is bordered with a shorter layer of fibre. Bottom edge is uneven.

Complete comb, manufactured from 19 splinters of wood, including two thinker end pieces. These splinters are connected together by a long length of two-ply fibre that weaves the pieces together. The distal end of the end pieces have knobs that project outwards.

Complete comb, manufactured from 22 slivers of wood, with two being thicker end pieces. These tines are strapped together with thin fibre. The thicker end pieces has matching heads that face outwards at the distal end. Both chins are slightly damaged, with one laterally perforated.

Large taha huahua (calabash container) consisting of a gourd inside a woven kete and a wooden frame. Gourd is dark brown/dark orange, with the top cut off to create a wide opening. There are four perforations around the rim of the gourd opening (only one is intact), used for fitting a tuki (wooden mouthpiece). Kete is woven in a under-one, over-one plait, using alternating black and natural unscraped flax. A plaited muka cord is tied around the kete opening, forming a series of loops and lashings around the wooden frame, as well as creating a handle. The wooden frame consists of two hoops around the kete and four legs, which rest diagonally to the calabash.

Complete mutu kaka (bird snare). Dark brown wood. Surface is smooth with chisel marks visible; no decorative carving. Handle is straight with an oblique edge and a notch at the butt. Perch is straight and tapered to a dull point at each end with a square-shaped perforation at the shorter end, where the handle meets the perch. Two grooves on one side of the perch.

Complete tuki (mouthpiece for a calabash), previously broken in four pieces and glued back together. Light brown and dark brown wood. Circular, slightly flared at the top rim. Interior surface is smooth. Exterior surface is carved with rauponga (ridges and triangular notches) pattern. Six small perforations at the top rim and ten perforations at the base. Base has a ridge on the rim for fitting onto gourd.

Complete tatā (canoe bailer). Mid brown wood. Surface is smooth but cracked, with four repairs with wire on the scoop and a large chip missing from the centre of the pouring edge. Handle is curved and projects over the scoop with a manaia on the butt. A piece apparently connected the head of the manaia to the bailer floor, but has been sawn away. Proximal end is carved with two manaia, bodies carved in a rauponga (ridge and notch) pattern. The rim above the manaia is carved with a rauponga on one side and a koru on the other side.

Complete tatā (canoe bailer). Made from dark brown rimu using steel tools. Curved handle projects over the scoop, with a manaia head carved at the butt. Below the handle, at the back of the scoop, is another carving and two perforations. Two pieces of loose wood on the carving have been re-attached in the past with heavy furniture nails. Scoop has a slight ridge on the interior, creating a straight-sided pouring edge