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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.

Incomplete adze. Blade remaining. Trapezoidal with back narrower than front. Surface is ground with bruising and flaking on edges. Butt not present. Bevel is demarcated by curved lines running up from each corner to meet in a horizontal line across blade. Cutting edge is smooth and sharp, with very minor chipping and a very slight curve.

Complete Patu in very good condition, it is slightly discoloured in some parts. The Patu is long and flat. The Hole at the bottom of the butt has been drilled in from both sides.

Mostly complete bone fishhook point, small part of the tip broken off. Three large external notches and one internal notch at the base.

Complete slightly curved bone pendant with a suspension hole at the proximal end.

Complete bone pendant with suspension hole. Each end is curved, meeting in the centre at a carved human face.

Complete grey stone minnow lure shank. Previously broken near the base and glued back together. Knob at the base and perforation at the head. Circular cross-section.

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 korotete (holding basket for live eels), made of woven vines. Two loops at the base and two near the top. Woven vine lid with handle fits on tapered top.

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.

Broken pounamu pendant, broken at the proximal end. Dark green and grey. Surface is ground with some cracks. Distal end is rounded. Proximal end has one broken and one incomplete suspension hole.

Complete kahu huruhuru. There are kiwi feathers in the centre of the kahu huruhuru, with a green feather border; 5cm on the left side and 6cm border on the right side.There is a purple and grey herringbone stitch border at the top edge, and a gold and black twine at the bottom edge. There are two lengths of harakeke twine with loops at the end that are worked along the top edge, approximately 15cm from the right and left sides.

Complete kahu kuri cloak. The kaupapa (body) is woven in close, single pair pukapuka (twining) except for occasional rows of whatuaho rua (double pair twining) which are woven tightly with a small gap used for a guide to sew the dogskin strip. The kurupatu (fringe collar) is made with a dogskin strip. The kahu kuri is covered with small tufts of dog fur, lighter around the sides, darker through the middle. There are areas of the cloak where the fur has thinned, showing the dog skin strips. The edges of the cloak, under the fur, are woven with darker fibres, in an almost chevron pattern. There is a modern support pillow and velcro strip attached to the inside of the cloak.

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.