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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.

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.

Badarian Pottery from the Badari site is a distinctive black-topped ware made of clay mixed with sand. The outside was coated with a polished layer of haematite. The pots were then placed mouth downward into the embers of the fire resulting in a shiny black surface at the lip.

Centre of large square paving, Ancient Rome

Wooden carved wheku/koruru. Painted dark red and carved with a rauponga (grooves and notches) pattern around the figure's mouth, nostrils, and top of the forehead. Paua shell inlaid into slanted eyes. Distal end comes to a point, indicating a protruding tongue; five teeth depicted. Two perforations at the mouth. Back side has a piece of wood protruding as well as two metal hooks tied with wire for suspension.

Cast of original discovered in 1908 at the palace of Phaistos in Crete. At some point after 2000 BC writing reached Crete. Where it came from (Egypt or Mesopotamia), is not known. The writing on the Phaistos disk consists of hieroglyphs or picture writing, but these are unintelligible. Contemporary with the Phaistos disk is Linear A a script of simple abstract sounds which has also not been decoded. A third writing system, Linear B, has been deciphered and represents an early form of Greek. Approximately 1700 BC

Complete barracouta lure, no lashing remaining. Wooden shank with nail forming the point. Nail is curved and rusted, coming to a sharp point. The shank is complete, with a lashing groove at the head.

The characteristic feature of Gerzean is the thin buff or grey ware decorated with designs in red. Shapes have been strongly influenced by stone vessels of the time. Many of the painted designs are based on the rush coverings in which stone jars were carried and hung. In the later Gerzean period, jars with wavy ledge-handles appear in profusion. There are also round bowls with ship designs, aloes, and all manner of birds, reptiles, and mammals.

Complete pounamu pendant with faded red cloth tied at proximal end. Dark green and black. Chatoyant with high transparency. Octagonal cross section. Tapered at each end. Proximal end is rounded with a suspension hole drilled from each side. Distal end is flattened.

Complete korowai (cloak with twisted tags). The kaupapa (main body) is flax with twisted whenu (strands) tags added across the surface. The side borders are ornamented with paru-dyed flax and edged with feathers. The weft strands of the side borders are alternating blocks of red and green wool, and blocks of natural fibre. The bottom of the side panels have degraded and much of the dyed flax has been lost. The bottom edge of the kaupapa is ornamented by a tasselled woollen edging alternating dark purple, brown, yellow and cream. Woven into the base of the kaupapa are five whenu (strands) of wool, alternating red and dark purple, finishing with a whiri (plait) of red and green woven together. The top edge is ornamented with whenu of both wool and flax and a flax tasselling. At the top corners additional coloured wool tags have been added, along with longer flax tags for securing the garment.

Complete pounamu pendant with a red cord necklace attached. Dark green tangiwai variety, highly translucent. Surface is ground smooth. Straight with rounded edges. Tapering toward the proximal end, which has an off-centre suspension hole. Distal end is curved with a slight bevel-like reduction on one side.

Contemporary carved waharoa (gateway) depicting the three waka Uruao, Araiteuru, and Takitimu. The waharoa consists of a centre panel, two exterior side panels, and two interior side panels. Centre panel and exterior side panels are painted in shades of reds, green, yellow, black, and white. Each exterior side panel has a projection depicting a waka prow with a figure in the centre. Four other ancestral figures are carved down the height of the panels, one on top of the other, with geometric shapes on the centre and sides. The centre panel has three ancestral figures carved one on top of the other, with a projection depicting a waka stern. Two ancestral figures stand on either side of the centre piece, amongst geometric shapes representing waves. Two unpainted interior panels are carved from totara with two ancestral figures each, one on top of the other, stands on either side of the interior frame. The figures have paua shell eyes, projecting tongues, and are holding hoe (waka paddles

Cast of a patu onewa. Painted mid-grey on one side and black on the other. Butt flares out slightly on each side. Shoulders where the butt meets the blade. About mid-way down the blade, one side tapers in to the distal end. The other side of the blade is straight.

Plaster cast of a rounded slate knife or pendant. Cast has been broken in two pieces and glued back together. Perforated in the centre of the proximal end, with a curved koru carving on either side of the perforation.

Kete Muka woven from natural muka (flax fiber). Woven using whatu aho rua (two-pair weft-twining). The kaupapa (body) of this kete is decorated with mawhitiwhiti (woven cross stitch) patterns. Frill work woven edge attached after initial weaving. X2 three ply muka whiri (braids) with tassels have been added to function as handles

Complete patiti with iron axe-head and wooden handle. Surface of the handle is smooth. The butt flares out slightly, with a flattened edge and a straight drilled perforation. Sides of the handle are reduced at the distal end, where the axe-head is attached. Surface of the axe-head is somewhat rusted, with a stamp mark on one side. Blade flares out with a curved, sharp cutting edge.

Fragment of a plaster wall with a stamped decoration.

Complete iron adze or axe head. Cross-section is rectangular. Cutting edge is sharp and curved with a small chip missing from the proper right side corner. The sides reduce from the cutting edge to the poll end. Poll is further reduced on the proper left side edge of the poll.