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Complete adze. Fossilised wood. Mid-brown and light brown. Cross-section of blade is rectangular, cross-section of butt is semi-circular. Surface of blade is ground, with some flake scars, surface of butt is ground. Major differentiation between butt and blade, sides reduced forming shoulder. Bevel is continuous with blade, cutting edge is chipped off. Tahakopa written on front.

Complete patu-aruhe (fern root beater). The cross section is lenticular. The blade narrows to the handle. There is no grip at the poll. The tip of the blade is curved and blunt. There are two small holes, one on each side of the blade.

Wooden heru with twenty teeth tied with muka fibre at the head in a diamond-shaped pattern. The two external teeth are larger than the others; one of the teeth has a curved protruding piece at the head (broken on the other side). Wood is polished smooth.

Wooden adze haft. Handle is round in cross section and chisel marks visible on surface, darkened near the grip. Triangular platform at the distal end, with notches and a deep groove at the edge. A mount is lashed with plaited fibre into the hollow groove, projecting beyond the platform. The mount has a deep rectangular groove, open at one end, for inserting an adze. It appears to be made using metal tools.

Complete kahawai lure. Curved wooden shank with notches at head and base for lashings. White iridescent shell inlay, broken near the centre. Muka lashings at head and base. Twisted cord attached at head with a nail sticking out of the cord. Some feathers attached to muka at the base. Curved bone point with internal barb.

Complete kahawai lure. Curved wooden shank with notches at head and base for lashings. White iridescent shell inlay. Muka lashings at head and base. Twisted cord attached at head. Straight iron point with internal barb.

Round wooden kumete. Shallow depth, approximately half of height. Rim and bottom are flattened. Two handles on either side depict human faces in high relief. The exterior is carved in a rauponga whakarere (ridge and triangular notch) pattern.

Complete poutokamanawa (carved building component) made of totara. Realistic (not stylized) male figure, painted red with white on eyes and mouth and black irises and moko. Earlobes have perforations for pendants. Grooved comb protruding from head. Five-fingered hands rest on lower abdomen. Body with clavicles and rib cage suggested but body otherwise plain. No genitals depicted. Sawn off just above the ankles and attached to a black painted base.

Complete mutu (bird snare) made from a single piece of light brown wood. Perch has a human face carved facing the proximal end, with eyebrows, nose, and pointed mouth indicated on head. A square knob projects from the perch and one end curves upward. The handle is slightly curved, with another face carved into the butt. Pieces of bird feather quills are curved through perforations at the butt and on the perch, through the mouths of the figures. Both sets of quills are lashed with muka fibre, and a twisted and knotted cord passes through another perforation at the perch figure's forehead.

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.

Complete pouraka (small fish trap). Trap consists of two wooden hoops with two sticks overlapping above, lashed with muka fibre. A net of woven flax is stretched over the two hoops, with an opening in the centre.

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.

Consists of two figures – perhaps Rangi-nui and Papa-tū-ā-nuku embracing - with a third figure under their legs forming, with other carvings, a lintel over the opening. Along the proper left side are three other faces, each with moko. The faces of all the figures have been left black while the rest of the carving is painted red. The eyes are inlaid with pāua shell. The top and right hand side show evidence of shaping for fitting the pātaka, as well there are holes for lashing on the right hand side. The carving may depict Rangi and Papa and some of their many sons who, until their parents were parted, lived in the darkness between their bodies. Tane personified the sun and was the fertiliser of the land and all its creatures; Tangaroa personified the sea and its inhabitants. These children of Rangi and Papa personified natural phenomena such as the sun, the moon, the sea, and the winds.

Complete comb, manufactured from 19 splinters of wood, including two thinker end pieces. These splinters are connected together by a long length of two-ply fibre that weaves the pieces together. The distal end of the end pieces have knobs that project outwards.

Complete comb, manufactured from 22 slivers of wood, with two being thicker end pieces. These tines are strapped together with thin fibre. The thicker end pieces has matching heads that face outwards at the distal end. Both chins are slightly damaged, with one laterally perforated.