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Three gods in one. The figure represents three gods in one: Ptah - the creator of the world; Socharis (or Seker) - the god of death or the under world; Osiris (or Asar) - the god through whom all people obtained life in the underworld. This wooden figure was originally gilded. The stand was hollowed out to contain a prayer written on a piece of papyrus. In a hole on the figure was placed a small portion of the deceased's body. So long as this body portion remained intact the body lying in the tomb would be assured of everlasting life. The figure was placed in the tomb with the coffin.

Piece of worked wood, use unknown. Semi circular wooden article. Curved and crescent-shaped, similar to a barrel stave, with a rectangular cross-section. Rounded at each end with straight side edges. Surface is relatively smooth. Dark brown, almost black in colour, and possibly charred or painted with a varnish or other material.

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.

Complete kahawai lure. Curved paua shell shank with serrations along edges. Muka lashings and twisted cord at head and base. Straight bone point with internal barb and external notch. Point and lashings at base appear to be burnt.

Complete kahawai lure. Curved wooden shank with notches at head and base. Muka lashings across notches and cord at head. Paua shell inlay. Bone point is complete and straight with internal barb. Orange and yellow feathers attached by lashings at the base.

A: Complete barracouta lure. Straight wooden shank with a dessicated surface. On one end, there are two grooves on one side and one on the edge for lashing. Bone point inserted at the other end in a perforation. Point is slightly curved with a serrated external edge. B: Complete barracouta lure. Straight wooden shank with a smoothly worked surface, some cut marks and dessication evident. At one end, there is a groove on each side and one on the edge for lashing. Bone point inserted at the other end in a perforation. Point is slightly curved with a serrated external edge.

Complete whakawae. Features two human figures, one standing on top of the other. The top figure is larger, with paua shell inlay eyes and his tongue sticking out. His hands rest on his stomach. The lower figure has a horizontal head featuring paua shell inlay eyes. Parts of his body have been rubbed smooth from touching. His right leg has been previously broken off, and there is a visible repair with glue and nails.

Complete Whakawae. Features two human figures, one standing on top of the other. Both figures feature paua shell inlay eyes with tongues sticking out, and both hands resting on their stomachs. The lower figure's body has been rubbed smooth from touching.

Complete tatā (waka bailer) made of dark brown rimu. Surface is smooth with chisel marks evident. The curved handle protrudes over the scoop, with a facial carving on the butt consisting of spirals and notches and two perforations. A stump on the interior of the scoop below the handle indicates that there had once been a support bar projecting from the underside of the handle which has since been sawn off. There is another carving at the base of the handle and at the back of the scoop with koru, spiral, and notch patterns. The interior and exterior of the scoop are undecorated.

Complete epa. Rectangular shaped piece that has been sawn off at top and at bottom. This epa shows the upper half of a frontal human figure - the head disproportionately large, with paua shell inlay eyes. The head is carved using a rauponga pattern, while the body is carved using a different style where featuring notches (ngau pae). Right arm is lowered at shoulder but bends up at elbow so that three fingered hand rests on pectoral area beneath a small raised spiral. Left arm is lowered and bent at elbow so that three fingered hand rests across stomach This piece is cut short at the top of the hips.

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.

Complete wooden adze haft. Large crack on handle. Knob at the butt of the handle. Platform for attachment of adze previously had raised sides, now broken off and flat.

Complete wahaika rakau. It has a circular perforation that has been drilled and has a string tau. The head has carvings in the shape of a head with shell inlays for the eyes on both sides. It also has carvings on one side of the handle with shell inlays. Carvings run across the top of the butt until an overlapping notch on the other side. Both sets of carvings have chipped out gaps. It is well polished.

Rourou (food bowl). Woven with ten whenu (strands) of harakeke (flax) from the centre outwards in a takitahi pattern. Completed by trimming left over whenu on the interior with outer whenu tucked back into the weave of the bowl. Tied with a small piece of harakeke to secure. Four whenu are woven into a round four ply whiri (plait) used to make a handle. Rourou were frequently constructed as single or limited use items as they were quick and easy to weave.

Paraerae (sandal) woven from harakeke (flax). Two whenu (strands) are overplayed for reinforcement and woven using the takirua (over two, under two) pattern. Braided tapiki (finish) along the heel ends with long harakeke (50mm) added as a cushioning element adhered via looping and threading through wefts. Three ply whiri (braid) woven with muka (flax fiber) is threaded in six loops around the outside of the sandal and a muka cord formed using the miro (rolled) is tied to the side of the sandal.

Complete wooden patu (club). The head has a hole drilled through it, with a split originating from the hole. The handle is formed by a reduction of the head, with minor demarcation for a grip at the end of the handle. There is no ornamentation.

A wooden tube, described as a mouthpiece for blowing up kelp poha. Made of light brown rimu or patete. Both ends cut flush. Surface is smooth and undecorated.

Wooden tiwha (plug) for repairing holes in pōhā (kelp bags). Square shape with a rectangular cross-section. Surface is worked smooth and flat. Grooved around the perimeter.

Wooden tiwha (plug) for repairing holes in pōhā (kelp bags). Oval shape with a rectangular cross-section. Surface is worked smooth and flat. Grooved around the perimeter.

Wooden tiwha (plug) for repairing holes in pōhā (kelp bags). Square shape with rounded corners and a square cross-section. Surface is worked smooth and flat. Grooved around the perimeter.