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Complete model of a round house. Thatching is tied to support sticks with a moxture of threads. Support structure is a miture of two types of sticks. Proper left side of the house has an entryway. The front of the model has no thatching to allow veiwing of the inside of the house. Two notes accompany the model. One is an information display note reading "Model of a round house. Such as was used in recent years on the Mutton Bird Islands, and in Pre-European Otago. The thatch was not cut regularly as is done in the model. Made & Pres. by J. Lee". The other note is handwritten and reads "Model. Round Hut. Pre European. Made & Pres J Lee".

Complete model of a torch. Totara bark is bound together by raupo. Flax is loosely woven and tied to the exterior. The torch tapers to a point at the base, with the raupo visible at the top.

Complete waka huia. Square in cross-section. Decorated on lid in carved groove and dot motif worked in three sections into complex patterns. The carving patterns differ on both long sides. The base has the groove and dot pattern in swirling pattern that forms two highly stylised faces with (not original) inlay paua shell eyes. The handles are elongated laterally and decorated with an abstract pattern. They are perforated vertically for suspension cord. On one end of the lid there is a centred, wide and flat tongue that has a matching slot. There is a small chip in the corner on this end of the lid. On the other end of the lid, the tongue is off-centre and narrower, with a matching slot. Modern fibre through handle perforations for suspension.

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 matarau (eel spear). Wooden handle worked to a sharp point at one end. Six other prongs lashed to the point of the handle with vines and muka fibre.

Wooden kumete. Surface is rough with cracks throughout. Elongated oval in shape. Base is flat and squared both internally and externally. Sides are straight and slant outward internally at each end. One end has a broken knobbed projection for handle. Rim is flattened at each end, but broken and cracked on the sides.

Complete pōhā used for preserving tītī, consisting of a kelp bag inside of a flax kete with a bark liner. Kete is made in an under-one, over-one pattern, and plaited around the top edge. Long strips of bark, probably totara, cover the kelp bag, and are lashed together with strips of flax, and tied together tightly at the top.

Complete wooden patu aruhe (beater for preparing fern root). Spatula shaped head with convex bruised face. Distal end rounds to gently tapering neck which runs evenly to end of handle. A natural elongated knot sits in middle of handle which is rounded at proximal end. End of head eroded and with splitting.

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.

Piece of worked wood, use unknown. Rod-shaped and slightly wider at one end. Broken at each end; some splintered pieces have been glued back on. Surface is worked smooth.

Complete kahawai hook. Wooden shank with two knobs at head and large knob at base. White iridescent shell. Curved bone point with internal barb. European-style twisted cord and lashings.

Complete wahaika rakau. It has a circular perforation just below the head. There is whakairo on the head in the shape of a head with shell inlays for the eyes. There is also whakairo in circular shapes on the back and front of the body, which a human form on one side, also with shell inlays for the eyes. It is in good condition, there is minor chipping of the tip of the hook.

Complete kotiate made of wood. Geometric carvings and two perforations on blade. Face carving on butt of handle with a perforation at base of head.

Complete taiaha. Dark brown wood with highly polished surface. One end has a large head and tongue carving with a rauru (spiral) pattern on the tongue. Lips, nose, slanted eyes and brow ridge depicted. At the other end, blade flattens and flares out, with a lenticular cross-section.

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.

Wooden walking stick, worked smooth but undecorated. Circular in section, tapering slightly from thickest section (midpoint) to each end, both of which are flat.

Complete tewhatewha. The lower edge of the blade is curved. The top edge straight with a slight slope. There is a hole in lower edge of blade, for decoration to be suspended. There is a carving mid-way down the tewhatewha of a stylised head.

Complete tewhatewha. Dark brown wood worked smooth. Cross section is oval. Both sides of the blade are carved with a spiral with dog-tooth notches, koru, and grooves. Staff handle is undecorated. Curved blade projects off one side; sawn flat at the top.

Complete pouwhenua. Dark brown wood with a smooth, polished surface. Tapering to a dull point at the proximal end. About one-third of the way from the proximal end is a spiral and diamond-like carving on both sides. Blade flares out, with a ridge running lengthwise and a triangular distal edge. Cross section of the blade is a flattened diamond.

Complete tokotoko. Mid-brown wood. Carved with two full-length figures and rauponga (ridge and notch) pattern in a variety of directions and styles. Paua shell inlay in eyes and as features of rauponga pattern (three missing). Top figure has a realistic face, with a full moko, holding a patu in one hand. Lower figure has a more stylized, traditional face with slanted eyes and wide mouth. Handle and distal end are uncarved.