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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.

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.

Large complete adze. Greenish grey stone. Trapezoidal cross-section with the back narrower than the front. The surface is ground on the blade with bruising and flaking on the back. The butt is bruised and the poll is flaked. There is major differentiation between the blade and the butt. The sides and front of the blade are reduced and there are distinct shoulders. The butt is bruised. The bevel is a very gentle slope and is continuous with the blade. The cutting edge is asymmetrical, sharp and has some small chips.

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.

Adze, with large curved bevelled edge. Poll end almost circular in cross section; blade triangular in cross section. Light blue/green/grey in colour. Small bevel, not sharp. Blade polished; handle is not. Non-smooth surface down one side of blade.

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.

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.

Reconstructed silcrete core made of six pieces. Each piece has a historic number on in. Starting from the proper right, the largest flake in numbered 53H. Attached to the proper left of 53H is A85R and 85R. Attached the to the proper left of these are A48V and 69D, finishing on the proper left with A27X. There is weathering on reconnected surfaces and discolouration where pieces had previously been exposed.

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

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. The cross section is asymmetrical. The surface is flaked, bruised and ground. There is a prominent vertical sawing mark through the middle on both the front and the back. There is also a sawing mark on the proper right side. The butt is not present. The bevel is rough and demarcated by a ridge. The cutting edge is blunt and uneven.

Complete iron adze or axe head. Cross-section is rectangular. Cutting edge is sharp and curved. The sides reduce from the cutting edge to the poll end.

Complete tuki (mouthpiece for a calabash), previously broken in four pieces and glued back together. Light brown and dark brown wood. Circular, slightly flared at the top rim. Interior surface is smooth. Exterior surface is carved with rauponga (ridges and triangular notches) pattern. Six small perforations at the top rim and ten perforations at the base. Base has a ridge on the rim for fitting onto gourd.

Broken pounamu adze, blade remaining. Dark green in colour. Surface is ground and bruised. Cutting edge is sharp and straight, with a chip missing from the proper right side. Bevel is demarcated by a line.

Complete adze Cross-section is semi-circular, front flattened. Surface is ground Undifferentiated between butt and blade Bevel demarcated by a line

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.

Large wooden kumete. Surface is rough, with adze marks visible. One end shallow with a pouring spout on the edge. Other end is deeper with a slightly squared-off edge and a deep crack. One side of the base is broken with a large hole.

Broken wooden puppet figure with movable arms, left ear, and base not present. Surface is polished smooth except for face, which has a complete incised moko. Large cylindrical head with ears and deeply grooved eyes. Top knot or comb represented by a squared-off projection coming from the top of the head. Square perforations at shoulders where movable arms would have been attached. Four circular perforations on the back side, one of which has a small metal piece sticking out of it. Knees are sawn flat at the front. Broken at the feet, with grooves and remnants of carved toes remaining.