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Complete hoe (paddle). The shaft has a circular grip. The throat has an ornamental split of the shaft connecting the shaft to blade. The tip of the blade has a knob at the point.

Kete woven from undyed harakeke (flax). This kete has been woven initially as a flat piece in a takirua (over two, under two) pattern, with the base being woven together after the initial weaving. The kete was then inverted to hide the base join internally. It has been finished with a tapiki (finish) where the whenu have been folded internally before being trimmed. X2 four ply round whiri (braids) have been introduced to act as handles.

Piece of twisted muka cord

Set of fire oven stones.

Complete mōkihi (raft) made of reeds and other plant material, bundled together and tied with unscraped flax. Pieces of twisted flax and other fibre attached in the centre and at one end. Lenticular shape. Interior is very shallow, with a deeper portion cut at each end.

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.

Long shaft of light coloured wood. Circular in cross section with many knots. The sides of the proximal end are squared. Distal end split into quarters, with wooden wedges pushed between. There is a length of twine wrapped around the distal end.

Small teka (footrest) from a kō (digging stick). Mid-brown wood. Surface is smooth, with chisel marks visible. One side is sawn flat and there is a perforation in the centre for lashing to the kō. The step platform is slightly curved upward and has decorative notches on the two side edges.

Complete tatā (canoe bailer). Elongated and narrow, made from mid brown rimu with a dark red stain. Handle formed in two curved pieces, joining together at a face carving on the butt. Proximal end of the scoop has a pakura design around the exterior surface of the rim. Horizontal grooves on the exterior bottom of the proximal end of the scoop. The interior surface and distal end of the exterior surface of the scoop are smooth and undecorated. The interior of the scoop has a ridge at about the midpoint, tapering to the pouring lip.

Complete taiaha. Dark brown wood with surface worked smooth. One end has a large head and tongue carving, with a simplistic spiral pattern on the tongue. Blade flattens and flares out, with a lenticular cross-section. Some chips and notches on blade, possibly usewear?

Tokwampini was the messenger in Pukumani mythology. He became a jabiru (native crane) but tokwampini is a common Tiwi name for birds., Patrick Freddy Puruntatameri is a Tiwi artist, born on Melville Island, north of Darwin. He is a printmaker and master carver, known to begin work on his ironwood sculptures with a chainsaw, before finishing them with hand tools and painted details., He said, “My father taught me everything about carving, how to use carving tools, what wood to use and what colours. He was the late great Murrunungumirri (Paddy Freddy)”

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

Complete teka (footrest) for a kō (digging stick). Single piece of mid brown wood, with step and base at a 90-degree angle from each other. Step is sawn flat at the top end and base tapers to the bottom end, with a chip missing from the edge. Base has a projection with a perforation for lashing. Surface is smooth with chisel marks evident.

Kete Whiri, a basket woven from an internal base whiri (braid). Woven with natural and dyed brown harakeke (flax) in takitahi pattern (over one, under one) with a flat bottom adaptation. Finished with an external whiri (braid) around the brim before whenu (strands) are trimmed. X2 three ply whiri (braids) have been threaded into the weaving to act as handles.

Sample of muka (flax fiber) cloth. Decorated with mawhitiwhiti (woven cross stitch pattern work), decorative 3 looped whenu cast on, and a decorative border frill finish. Woven using whatu aho rua (two-pair weft-twining).

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

Single poha (kelp bag) made of rimurapa (bull kelp). A piece of wire remains at the top possibly used as a tie. Made from a species of yellow bull kelp harvested from the southern oceans in the warmer months. They were cut vertically and a hand was used to part the honeycomb partitions within the kelp to make the interior. The bag was then inflated and tied to dry/cure. Poha were frequently used by southern Maori to store and preserve salted titi (mutton bird) and other food sources.

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.

Wooden flute; koauau. A longer example unusual in having seven holes on top side. A further flat knotch section has been removed on underside opposite forth hole. Both ends cut flush. Diagonal surface cut just below sixth hole.

Broken wooden bowl with flat base, possibly of kowhai wood. Oval in shape. At the more narrow end of the bowl there is a small 1cm long projection at the edge of the lip. Below this projection there is a large fragment missing from this end. On the opposite end of the bowl (the wider end) there is a small 1cm long projection from other end about 1cm below the upper edge. The sides on the outside are almost perpendicular, particularly at widest end and on one side. The inside slopes to a flat base. There is a large fragment missing from the bottom of the bowl. There are visible repairs where previously broken.