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Complete matarau (eel spear). Wooden handle worked to a sharp point at both ends. Six other prongs lashed to one end of the handle with two metal braces and muka fibre.

Complete cast of patu paraoa. There is a perforation through the handle, and curved grooves at the butt end.

Complete cord drill made of wood with lashings of string and muka cord and a chalcedony drill point. Drill consists of a central spindle, a circular whirl, and four centre supports. The surfaces have been worked smooth. Perforated near the proximal end of the spindle. Distal end is notched on one side, and the chalcedony drill point is lashed to it with string.

Fengcai with flower design. Reign marks naming the dynasty and the Emperor were first applied to Chinese ceramics during the Ming dynasty (1368-1644). In later centuries, however, the reproduction of earlier reign marks - in recognition of the excellence of a type of ceramic in that period - also occurred. This mark refers to the period of the Qing dynasty (1874-1909).

Complete taiaha. Human face carved on both sides of the proximal end. Rauru (spiral and notch) pattern carved on protruding tongue. Distal edge of the tongue tapers to a point; sides are flattened. Paua shell inlay is intact in three of four eyes. Cloth padding wrapped around the shaft below the carved faces; narrow strip of black cloth patterned with yellow dots and a larger piece of undecorated brown cloth. Cloth and remnants of bird quills are lashed on using plaited muka fibre. Tufts of white dog hair attached to plaited muka at the base of the shaft. Blade is undecorated and worked smooth, tapering to a slight point at the distal edge.

Pendant, manufactured from broken rim of a china pottery. There is a perforation at the proper right corner of the proximal end. There is a floral blue and white pattern.

Complete unfinished rusty iron adze. Quadrangular cross-section. The surface is flaked. There is no distinction between the butt and the blade. The poll curves towards one side. It is unclear which side the bevel is on as both sides taper towards the cutting edge. The cutting edge is chipped.

Complete waka huia made of totara. Dark brown and dark red in colour. Lenticular shape. On each end of the box, there are female figures with their bodies in high relief on box and heads forming suspension knobs. Faces have red wax eyes. The exterior sides of both the lid and the box are carved with a rauponga (ridge and triangular notch) and rauru (double spiral) pattern. There is a rauru in the centre of the lid and two rauru on the bottom of the box. The lid is flat on the bottom and rounded on the top and fits into box with a tongue and groove at each end.

Cast of a soapstone bowl. Interior of the basin is smooth. Exterior has to facial carvings on each end, depicting eyes, nose and upper lips.

Complete barracouta fishing rod with attached lure. Rod is slightly curved wood. Carved with a diamond pattern midway down the rod, cross-section is round on the lower half below the carving and slightly flattened at the distal end. Distal end has a groove where the lure is attached with a line made from twisted muka fibre. Lure is wooden with a knob at the head. Point is a curved metal nail in the base. Several other smaller nails through the base for support.

C and D: Set of two poi made of ribbonwood, undecorated with natural fibre colours. Twisted cord attached to each.

Whalebone kotiate/club. Fairly short handle and kotiate has good balance. Proximal end of handle has manaia head design turned sideways. Red sealing wax - eyes are a browny/orange colour. Just below the eye is a fairly straight drilled hole with white string tied through it. One small rounded hole on each side of lobe which are not cut out.

Persian mirror case and stand made of iron, with decoration in silver and gold.

Complete composite fishhook consisting of two curved pieces of paua shell lashed together with muka. Additional muka lashings at the head, attached to a twisted muka cord. Modern metal nail through lashings at base.

Cast of a waka huia. Two large pieces have broken off either end of the lid, one is missing. Painted dark brown. Rectangular box with double-sided manaia or human figures at each end. The exterior sides of the box are carved with rauru (double spirals). The exterior side of the bottom of the box has a set of four human figures carved down spine, with rauru along either side. Interior of box is undecorated and shallow. The exterior side of the lid has a high relief carving of four figures down the centre line as a handle. The pointed legs of the two end figures double as lid fittings cut into base.

Cast of a waka huia. Painted mid brown. Rectangular in cross section. Lid is flat, with a curved interlocking crescent pattern carved on the exterior surface. Two manaia figures dominate the bottom of the box, sitting parallel from centre with head at end of bottom. Both ends consist of a koruru style head with protruding tongues. Central figure delineates between two manaia figures running from centre of sides to ends. The interior surface of both the box and the lid are uncarved.

Cast of a waka huia. Painted dark brown. Cross section is rectangular. The exterior sides of the box and lid have human and manaia figures and geometric patterns carved throughout. Eyes and other circular grooves are filled with thick silver paint. The box has a three-dimensional figure at each end, with perforations between the limbs. Lid is flat with three curved projections at each end (some of which have broken off) which dovetail into top of base. Inside of base and lid uncarved.

Cast of a nguru. Painted dark brown with silver paint representing paua shell inlay throughout. Two holes on the top side near the proximal end and one at the distal end. Three carved figures on surface; at the neck of the centre figure is an angled perforation for suspension. Eye and geometric carvings around the perimeter of the proximal end.

Cast of double-barrelled pūtōrino. Painted dark brown. Proximal end has a facial carving with protruding tongue. Two holes in centre top of each barrel form the mouths of two opposite-facing carvings. Tapering toward the distal end, with another face carving. Figures have gold paint around their eyes. Six groups of fibre bindings are represented by dark yellow paint.