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Part of a Paraerae sandal woven from harakeke (flax). Two whenu (strands) are overlaid for reinforcement using the takitahi (over one, under one method), the strands used and method are similar to fragment 'F'.

Part of a Paraerae sandal woven from harakeke (flax). Two whenu (strands) are overlaid for reinforcement and woven using a takirua (over two, under two) pattern. This fragment uses smaller whenu (strands) and has a different method of tapiki (finish) to the other fragments and is likely to be from a different paraerae.

Part of a Paraerae sandal woven from harakeke (flax). Two whenu (strands) are overlaid for reinforcement and woven using the takitahi (over one, under one method). This piece shows a tapiki (finish) along the heel end with a trimmed harakeke cushioning element adhered with a looping technique, however due to the width and thickness of the whenu (strands) used in the weaving, it is unlikely to have originally been a part of the other fragments.

Remains of a three ply whiri (braid) of harakeke, its purpose is unknown.

Possibly the toe end of a sandal woven from harakeke (flax). Two whenu (strands) are overlaid for reinforcement using the takitahi (over one, under one method), the strands used and method are similar to fragment 'B'.

Kete containing five kahawai lures. Kete is in the style of an envelope with a V-shaped fold-over flap. Made of unscraped flax in a pattern created by changing direction of basic over two, under two plait. Made as a tube, cast off along upper edge, opening and flap, by folding over and through other strands. Final bringing together of sides along base. Twisted muka cord attached to corners and at centre of flap. All five kahawai lures: Curved wooden shank with shell inlay. Curved bone point with internal barb attached with muka at the base and with a cord at the head. B and F have some organic material, possibly part of a feather quill also lashed at the base. C, D, and E have metal wire lashed at the base in addition to the muka lashings.

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.

Waka huia without a lid. Made from kapuka wood; dark brown in colour. Rectangular in shape and in cross section; slightly rounded on the bottom. Simple grooved knobs on each end, one of which has a perforation for a suspension cord. Exterior is carved in a rauru (double spiral) pattern, with three on the bottom and four on each side. Interior is smooth and undecorated.

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 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.

Set of fire oven stones.

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.

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 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 wooden hoe (paddle). Double-sided human or bird carving at the proximal end, with four perforations. The proximal edge has been burnt on one side. A double-sided human face is carved where the handle meets the blade, with spiral and pākati (dog-tooth) patterns throughout. Blade is an elongated oval, tapering to a point at the distal end, with two perforations. The distal edge has been flattened, with chisel marks evident on the side edges.

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.

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 wooden lid, possibly for a tuki (calabash mouthpiece). Dark brown in colour. Circular with a raised circular base for fitting. Base is undecorated, but has chisel marks evident. Exterior is carved with a rauponga (groove and triangular notch) pattern. Raised human figure project off the centre as the handle. Figure has a protruding tongue and three-fingered hands rest on abdomen. Feet come together and rest on a human head below.

Necklace of ovoid iron beads

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.