With its tunnel shape, it is of modest dimensions, measuring about 8.30m. in length by 3.80m. in width and 3.50m. in height at its middle.

On the east section, Paheri is represented clothed in a loincloth sitting high on the hips, and with a transparent tunic. In his right hand, a piece of material (of which the significance still is not well understood) and in his left hand a staff of office. To his right, the damaged hieroglyphic column damaged completes the image for leaving the tomb, by proclaiming : " to go out on the land to see the disk […] ".
One can suppose that on the other part of the wall was a symmetrical representation of Paheri.
At the level of the lintel one finds an interesting representation of a boat for which it is difficult to imagine the significance, could be an evocation of the ritual pilgrimage to Abydos (see ).

The wall is divided into three large section. The first of these, which occupies nearly half of the group, represents Paheri in his functions of scribe and nomarch. The second shows the activities of Paheri in his private domain, and the last is occupied by scenes of a funerary character.
The various scenes represented here present a major interest, because they cover the agricultural activities of the country all year round, as noticed very well by Mrs. Desroches-Noblecourt. So the cyclic life of the country is mentioned on these walls and the participle of the hope of eternity for Paheri: integrated into these representations, Paheri will also participate for eternity in the eternally renewed life of Egypt.

The agricultural scenes of seed time and harvests occupy three registers, flanked by a large standing representation of Paheri (see ).

This representation is very different from the one of the entry wall. Here, the noble doesn't have his beautiful presence anymore: of a wig of office, of a short beard of a noble. Yet he holds in his hands his attributes of power: the stick in the left hand and the sekhem-scepter of power in the other.
The unusual treatment of the head probably results from the sculptor's mistake, who dug too deeply. It was subsequently impossible to recover from this mistake in spite of the application of a filler, which didn't resist time. There remains the fragments of a duplicate face of which none of the sculpturing persists in a satisfactory state.
The inscription which accompanies this representation makes reference to the flowing of the seasons : " see the shemu (summer) season, the peret (winter) season and all the works of the fields by the prince of Nekheb, the prince of Anyt (the one who) acts while inspecting the lands of the south, the scribe of the grain, Paheri, justified ".
Accompanying Paheri in his tours of inspection, three assistants carrying bags, napkins and a stool.

Before him (3rd register down) one finds a chariot harnessed to two horses and of which the reins and a whip are held one-handed by a groom, whilst in the other he holds the master's bow (see ). By his attitude and his speech, he tries to calm the ardours of the animals : " Remain calm, don't be disobedient, excellent horse, beloved of his master, with whom the prince can rely on no matter what ".
The horse is an animal lately introduced into Egypt at the beginning of the New Kingdom. The Egyptian craftsmen never really knew how best to represent it, as with here, where the animals are very stiff.

In majesty, the figure of Paheri faces the three registers, summarising the works of the fields during the three seasons of the Egyptian year. Thus is evoked the succession of months and years and thus the eternity to which he aspires.

This is the winter-spring season. It is the moment to turn over the land which has been softened previously by the rise in the water level of the Nile which has now abated (see and ). With the plough, drawn by oxen or men, or with the hoe, the land is worked, while other men sow the grain. These different methods of turning over the land probably correspond to different types of seedlings

The dialogues between the peasants describe to us an idyllic situation : " It is a beautiful day, it is cool ! Make haste, driver, drive the oxen, the Lord is there who watches us ". Another tells its friend : " Hasten with the work, that we might finish quickly ! " To which his friend answers : " I am going to do more work than that which the master expects of me ! "

To the extremity of this register one finds a representation of the standing master (see ), a stick of office in one hand, and the sekhem-scepter in the other, supervising the good execution of the tasks and who proceeds toward the craft in the course of loading at the edge of the river. With the passage, he exhorts the peasants : " Hasten, farmers ! the fields of grain are divided (?). The flood was very large ! "
To which the young peasants, who pull the yoke of the plough, reply to him : "They say: we do (so), watch us ! […] ", and the old peasant at the rear gives them the retort : " Doubly excellent are your words, son ! The year is good ! […] " (see )

Men and women pull the stems, gather them into containers, which will then be carried to be finally combed in order to de-husk them.
The old man who executes this last task challenges the young person who brings him a container of linen : " If you bring me 11009 of them, I am the man who will comb them all ! " To which the other retorts to him : " Get on with it, don't chatter, species of an old boaster of a peasant !"

One is great, with bearded ears, the other small with ears with no beards. The reapers are at work. They hold the ear stems with the left hand, and cut them, very high, with a small curved sickle, of which the blade of wood is encrusted with stone cutting teeth. One of the reapers holds his sickle under the arm while he drinks from a jar of water.
The reapers proclaim : " It is a beautiful day to be out in the field, the gentle wind of the North has arrived, the sky conforms to our wishes […] ". Behind the reapers, a woman and a child stoop double to glean the ears. Another standing woman follows them with two baskets.
On the right, under a light construction which serves as a canopy, the jars of water and beer are either raised on pedestals of wood or resting on the ground. Some are removed and are fanned to be cooled, by using the porosity of the clay of the container (see ).

This also reads from left to right (see ).
Under the foreman's orders, which tell them " Hurry yourselves, redouble your steps ! Water is coming and will reach your baskets ! ", the carriers of baskets full of ears hurry towards the threshing area, passing two of their friends on the way there, the empty basket is returned to the field. The image of the foreman is now almost totally destroyed (see ). The structure in rush plaited of the basket, can be easily seen. They proclaim : "The sun is hot " but " that it will provide fish in payment for the wheat ". In fact, the rise in the water level of the Nile, which takes place in summer, will not only bring the fertile alluvium soil but also a great variety of fish.

On the threshing area, five non muzzled oxen tread the ears (see ). The heap is circular, higher at the periphery than at the centre. The drover addresses them : " Thresh, as if for youself, thresh (= trample) for yourself, Oh oxen ! Straw is for (you) to eat and wheat for your masters. Do not let your hearts calm themselves ! "
Then comes the moment of winnowing (see ). To avoid the dust, the peasants wear a piece of material on the head (= the klaft). The winnowing is done by throwing to wind the mixture of grain and chaff. Some helpers collect the grain on the ground and bring it to the area of storage where it is recorded by scribes. The one who resides over the job is "the scribe of the grain, Djehuty-Nefer". Finally, the grain is put in bags and is carried to the silo for storage (see ). This is represented as an enclosed space containing four silos as well as a sycamore.

This fourth register appropriate to the grain is located below the first three. Here can be seen the bags to be loaded on to one of the moored boats, shown in a typical Egyptian abridgment, it is also raising the anchor (see and ) to go northbound, since its mast is folded back, either towards another provincial storage place, or maybe towards the capital, Memphis. (Note: the two boats below are not related to these two, and are discussed later, in the section "3) The receipt of gold".
The text proclaims : "Loading the boats with wheat and barley […] the granaries are full and overflow, the barges are heavily laden and some grain escapes. But the master urges us to continue. See, our hearts are bronzed ! ". On the right and above, Paheri supervises the embarking of the boats at the same time as all the agricultural work.
In all of these agricultural scenes, it is a matter of course to represent the abundance of the production under the informed direction the prince; at the same time, this magically retranscribed abundance, will follow Paheri into the beyond.

On the lower part of the wall, on the left, a scene with a smaller sized Paheri watches, seated on a chair, writing (see ). Paheri is helped in its task by " His brother, whom he loves, the excellent scribe, perfect with language, Paheri, justified. "
Before him are his scribe's instruments, a roll of papyrus and a small jug of water, represented above the casket which contains them, according to Egyptian conventions.
The text is written in large hieroglyphs : " Counting the whole livestock by the prince of Anyt, the chief of the stewards of the fields of the south, he who has the confidence of his Master […] ".
The animals are represented on four registers, brought by their respective keepers: oxen, cows and calves on the two upper registers; donkeys, goats and pigs to the other two registers. Notice this representation of the pigs, rare in Egyptian tombs. Two salient scenes represent fertility and the renewal of life.
The donkeys are driven by a donkey-drover carrying in one hand a whip and in the other, resting on his shoulder, a stick with a shackle. Some oxen are represented lying on the ground, shackled, waiting to be marked by the instrument which a man holds in the fire.
A man on the ground to be receiving a beating, punishment for not having executed his work correctly.

Some gold mines existed in the desert to the East, and metal had to reach the Nile close to El Kab, therefore under the jurisdiction of Paheri.
The scene is located next to the one of the loading of grain into the boat. The leaders of the miners bring the gold, which they have extracted, for weighing. It is presents here in the form of rings (at the top) or in bags (below) which are weighed against weights in the shape of oxen. A knelt man supervises the indicator of the balance.
The text is very mutilated : " Receiving the gold from the leaders of the miners… receiving what has been ordered… by prince Paheri, whose is attentive without tiring, who does not fail in that which is entrusted to him ".
His brother Paheri also helps him here with the recording of weights.
A new scene of beating is represented, one of the intervening parties, probably having not delivered the expected quantities.

To right of these scenes, the functional vessel of Paheri is represented twice, proceding up and down the Nile.
The mast of the right-hand boat is folded (see ) and is shown moving to left being carried by the northbound current. The ship on the left has its sail expanded, indicating that it travels southwards (see ). In this boat the pilot holds his depth probe, whilst one of the sailors, leaning overboard, draws water. This scene had already been raised in the "Description of Egypt" (see ). Note should be made of the presence of the chariot of Paheri on the roof of the cabin abord both boats.

These two activities are represented in the extension of the boats, therefore on two registers.
Fishing is done with a net (see ) the caught fish being then brought to an old man who guts them. They are then put to dry (see ). Two men prepare or repair a net one using a needle, the other twists a kind of spindle on his thigh.
Hunting for wild birds in the marshes, where they are abundant, is done here using nets (see ). On the order of an old man whose torso appears out of the undergrowth of papyrus, the nine hunters fold back down net. Some fowl manage to escape of the net. The thus captured birds are plucked, gutted, then stored in earthenware jars (see ).
A crane is brought toward Paheri, who supervises these activities, pressed on to a stick, with this text : " See the capture with nets of the wild birds and fish, having the happy face (seeing) all the works executed on the banks, by the nomarch Paheri " (see ).

This scene surmounts the scene of Paheri and his wife under a canopy, located in the middle of the wall (see opposite the photo kindly sent by Patrick Kersalé, 2022).
The scene completes and finalises the summing up of the agricultural activities of the nomarch.

The grape (see ) is brought to the press, where it is trodden by men who hold on to a rope, hanging from a bar. Wine is then put into jars (see ).
Besides its agricultural character, this scene also possesses a religious connotation. In fact, the grapevine and the grape are associated with the god Osiris and the inundation. The blood of the murdered god had in fact been put in relation with the first waters of the inundation, because this is also red, because of the ferric alluvia which they transport coming from the Atbara (in Sudan).

This scene occupies the middle part of this area of the wall.

So, Paheri and his wife Henut-er-neheh, who closely embrace, are represented in pseudo perspective, seated under a light canopy (see ). The nomarch holds in his hands the two instruments of his power: the staff and the sekhem-scepter. Henut-er-neheh holds in her hand an open lotus flower, symbol of rebirth.
It represents a scene of presentation, rather similar to a presentation of tribute to the king, which shows Paheri, to whom six, arranged on two registers, bring all sorts of food and drinks.
This is done in the presence of the parents of Henut-er-neheh : her father, her mother, and her son " the officer of his Majesty, Teti " (see ). Two women placed in front of them get them ointments and what could be cones of ointment to place on the head. One among them, Khnemet, is " musician of Nekhbet ". Behind these three main characters, eight other sons and daughters are represented. They are now almost obliterated.

This scene of the upper register shows Paheri represented in a large size, seated on a cuboid seat, placed on a platform and holding on his knees the small prince, whom he affectionately surrounds with his arms. The latter is naked, wearing the lock of childhood on the side of his head.
The text proclaims : " Rejoice the heart with all things, making a happy day, receiving the gifts, adoring Nekhebkau, by the guardian of the son of king Uadjmes, Paheri, justified ". Before this representation, a scene currently almost obliterated, showed the adults and children bringing some offerings. Some among them were children of Paheri. The text above is only partially legible, proclaiming : " bringing some offerings by his children and grandchildren, adoringly… ".
The inscription of the lower register, where one sees a man and two women carrying materials and vases, makes allusion to the provision of New Year's Day goods.