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Hei tiki, broken at the distal end. Dark and mid green pounamu. Surface is ground smooth. Suspension hole drilled from both sides at the proximal end. Head is tilted to the proper left side with eyebrows, eyes, nose and open mouth indicated. Proper right hand rests on chest and proper left rests on thigh. Each hand has three fingers and a thumb. Arms are curved, creating perforations. Proper right leg curves under torso, creating another perforation. Proper left leg is broken off.

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 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.

Large taha huahua (calabash container) consisting of a gourd inside a woven kete and a wooden frame. Gourd is dark brown/dark orange, with the top cut off to create a wide opening. There are four perforations around the rim of the gourd opening (only one is intact), used for fitting a tuki (wooden mouthpiece). Kete is woven in a under-one, over-one plait, using alternating black and natural unscraped flax. A plaited muka cord is tied around the kete opening, forming a series of loops and lashings around the wooden frame, as well as creating a handle. The wooden frame consists of two hoops around the kete and four legs, which rest diagonally to the calabash.

Complete tewhatewha. The upper edge of the blade is straight but sloping. The lower edge is of the blade is curved, with a small fragment missing. There is a perforation through the lower blade. There is a small carving mid-way down the shaft of concentric diamonds, four on each side. These diamonds are surrounded by a raised dot pattern that curve around the tewhatewha.

Complete wooden kō with carved teka (digging stick with footrest). Very long handle with notched, pointed end. Distal end is rounded with notched side edges. Teka is lashed to kō with harakeke strands. Top of teka is sawn flat, with a slight curve at the distal end. Human figure is carved on the bottom. Eyebrows, nose, and mouth are depicted. Both hands, with three fingers on each, are inside mouth. Legs are depicted at the base.

Complete hoeroa. Rounded at the distal end, with two small ridges protruding on either side edge in the centre of the shaft. The proximal end is finely carved, with two carved holes, and notched at the proximal end edge. There is a small chip broken off top curve on one side. The overall shape of the hoeroa is bowed.

Soul house. Models of houses were placed in tombs for use in the afterlife.

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.

Badarian Pottery from the Badari site is a distinctive black-topped ware made of clay mixed with sand. The outside was coated with a polished layer of haematite. The pots were then placed mouth downward into the embers of the fire resulting in a shiny black surface at the lip.

Centre of large square paving, Ancient Rome

Fragment of ancient Roman mosaic floor, Hippo Regius

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 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.

Unfinished hei tiki. There is a perforation through the proximal end. The edges are curved and shaped, rounded at the proximal end and straight at the distal end. There are two notches, one on either side, both at approximate middle.

Broken patu onewa, complete in two pieces. Surface is ground. There are several chips around the edges of the blade. There is a perforation at the handle - drilled from both sides. The patu onewa has been broken through the handle at the perforation. The other piece features the knob of the handle, with four grooves on either side of the oval knob with a central ridge between.

Broken patu onewa, handle and part of blade present. There is an incomplete perforation at the handle that has been drilled from both sides. The butt of the handle is carved, oval in shape, with three grooves on each side and top ridge at the top. Surface is ground.