Unlike the previous (north-east) wall, the image area has the three borders of coloured rectangles more complete. They include the blue and yellow rectangles but the red ones have not been painted, the space for the colour can be seen. Both the yellow and the 'red' have blue rectangles on either side, with a smaller separating white rectangle.
Above the top border, the kheker frieze is more complete than on the previous wall. However, the khekeru are only drawn in outline and filled with a pale beige, also the horizontal positioning lines can still be seem (see ).
There is quite an amount of natural damage sustained by the wall, mainly affecting the bottom register, however, deliberate damage has occurred at the extreme left of the middle register. The image colours have retained much of their original brightness. The hieroglyphic texts have, however, only been sketched in place and not finished in the wonderful colours like those of the previous wall. Again, despite having only been sketched, several columns or part columns of text have been deliberately destroyed in order to remove the reference to Amun and any associated text.

The wall is divided into three registers, each having is own individual scene, but with an overall theme of the corn harvest. The top two show Djeserkareseneb carrying out his official duties as "Counter (i.e. 'registrar') of the corn of Amun". The bottom one, which is of the actual field work, that of ploughing, sowing, harvesting and threshing, was probably based on the one from the tomb of Nakht, possibly explaining its relegation to the bottom register.

In this scene, Djeserkareseneb performs his official duties. He walks, with four assistants, along the edge of the standing corn. Down the front of his legs he wears white shin pads and on his feet he has flat white sandals, to protect himself against sharp corn stubble (see ). In his left hand he holds a long staff with a hook at the top on to which he could place his thumb, whilst in his right he carries his personal writing equipment.
Two attendants follow behind him, each wearing a kilt of a different design and each having a short cropped hairstyle. These kilts and hairstyles can be seen on the other assistants. The one at the extreme left carries his normal sandals and a box over his shoulder, possibly holding spare writing equipment and documents. The other, who is one of Djeserka's sons, although not named as such, is identified by a short column of roughly written hieroglyphs as "The gooseherd, Neferhebef". This one carries a roll of papyrus and a writing tablet.
Two surveyors, immediately in front of Djeserka, measure the field with a length of rope, in order to estimate the yield.

To the right, a scene appears to be divorced from the measurement of the corn field. It consists of two men, the rightmost, who may possibly be a peasant, is leaning forwards, with his hand to his mouth in a sign of respect (in the position of supplication). The man behind him raises a stick in his right hand. He either leads the suveying team or his action is related to the man in front of him (as explained below). A large area of damage surrounds this pair of men, more now than at the time when the line drawing was created.
It is suggested that this right-hand scene was related to the worship of the tree goddess, with a pile of offerings (now mostly lost) in front of the tree, consisting of white crocks of water and, in a small reed case, other smaller vases as well as goblets. Even though it has been suggested that it is a scene of worship of the goddess of the sycamore, normally her image would appear in the tree and there is none. There is certainly now no hieroglyphic textual proof of this on the wall, permitting a different hypothesis. This is undoubtedly the place where Djeserka, his inspection finished, wrote its reports whilst cooling off.
It is suggested is that the taskmaster, standing behind the peasant with a stick, is about to rebuke him, having been caught drinking water from the provisions placed in the shade of the tree.

This register is sub-divided into two scenes, the one on the right being the longer of the two. Several areas of deliberate damage were again caused by the removal of the name Amun and related text. In addition to this, an image of Amun has also been removed from the far left.

On the left, Djeserkareseneb makes offerings to Amun and Renenutet, the goddess of the harvest. The image of Amun has been completely removed. Part of the text, which originally separated Amun from the pile of offering, could still be identified at the time of discovery: "Amun-Re, of good counsel". The pile of offerings is mainly of meat.
Below the now missing image of Amun is the cobra-form goddess, identified as: "Renenutet, the noble mistress of the double granary" (see ), who is normally shown in this form when she appears in the fields. Her offerings are of corn, cakes, and fruit, though in tomb TT21 (that of User, scribe and steward of king Thutmose I) a peasant brings her a burnt sacrifice. An offering to her is also represented in the scene of winnowing, in the register below. Behind the snake is a stem of papyrus whose umbel is expanded, surrounded with bindweeds. An article exists on the significance of these, .
Djeserka stands in front of the two piles of offerings with a brazier in each hand on top of which is a small bird (see ). The accompanying texts are very faint (probably still to be completed in colour), with the three occurrences of the name of Amun having been hacked out. The text states: "An Offering of all manner of good and pure things [to Amun], in all his shrines, on behalf of the scribe and counter of the corn of [Amun], Djeserka. On the day of the measuring of the flour in the fourth month of the winter season, the twenty-seventh day, in the new-land (of) [Amun] and of 'Her-whose-face-is-directed-to-the-ground (meaning Renenutet) ".

On the right-hand side of the register, a lavish meal is spread before the seated figure of Djeserka. This includes bread, cakes, onions, a wide variety of fruits, and a fish. To see a fish on a pile of offerings is very rare (see ) The columns of text, in front of his head have been lost or destroyed, but they would have included his name and titles. He sits on a stool, beneath a small structure, the front post of which is decorated with lotus blossoms. In his right hand he holds his staff of office and in his left, which rests on his lap, he holds the usual piece of folded cloth. One thing worth noting are the folded contours of his stomach, obviously due to over-indulgence in large feasts such as the one in front of him. Would Djeserka really have had this plumpness from his style of living, as the image seems to suggest by the folds of his stomach? Did the artist either, possibly have more, or did he merely want to represent the abundance of food to which the was an access?

Three men carry the first produce of the harvest and land. The first, whose image is badly damaged, carries a long sheaf of corn as a specimen of the yield of the corn fields, for which Djeserka was responsible as registrar. He also holds, with his left hand, two quails, possibly caught in the corn field; a nice addition to his meal. The man at the middle carries two baskets suspended from a yolk over his left shoulder and another long sheaf of corn over his right. The final man is accompanies by a young goat, partially lost because of the damage to the wall. The man holds a tray in his left hand, on which stands three tall conical loaves of bread, over which drape possibly herbs or just sprays of leaves. From below the tray hangs a basket, the contents of which are now lost. Like the man in front of him, he also holds a sheaf of corn over his right shoulder. Note that in the two latter cases, unlike the one held by the first man, the long sheaf of corn is not only badly drawing (unfinished by the artist) but difficult to see any detail (the one of the middle man even appears to be blue-green). But as they are bringing to Djeserka they fruits of the harvest, it seems reasonable to assume they are not papyrus or lotus stems, so what are they?
Above these three men the text is now difficult to read, especially the right-hand portion (see for what could be seen a century ago). Over the first (on the right) is written "Bringing all manner of good and pure produce by the scribe…". The third column and the next two which begin the text over the second man are lost, either through deliberate of natural damage. The text of this second man ends: "… the field labourers". The man at the rear strictly advises the man in front of him with the words: "Make haste on your two legs, the master is (already) seated".

As can be seen opposite, this bottom register has sustained a great deal of damage, fortunately this did not include the standing image of Djeserka. He stands to the full height of the register, whilst the agricultural activities which he faces are displayed on two sub-registers. As already mentioned, these were probably partially based on the similar scenes in TT52, the tomb of Nakht (see ).

Djeserka is portrayed wearing his usual kilt and semi-transparent overgarment. But, it is worth noting that the staff of office which he holds is very ornate. The top, over which he rests his left hand is very colourful and the base, which rests on the ground, obviously has a metal cover to protect it from wear. Also, for the first time, he appears to adorn a short beard.
In front of him are three columns of text, which have now almost disappeared. Still readable about 100 years ago, but possibly only written in outline, the first two (starting on the left) state: "The unique one of trustworthy counsel, loved by everyone, exact and just of heart, impartial, praised by his master every day, not […], a servant of his master, overseer of the milk-cows (?) […]", this last title seems strange. Very little has remained of the third column, but this would have included his name, which, because of the length available and because it ends with the hieroglyphs , probably contained his full name "Djeserkareseneb" followed by "justified".

The bottom sub-register shows the start of the agricultural season, with the clearing and then ploughing of the land, after the Nile flood has receded.

The process starts on the left-hand side of the bottom register with another image of a tree, like the one seen on the right-hand side of the top register. Again there are food supplies at the base and two baskets hanging in the branches. A man stands in front of the tree holding a basket, possibly having just partaken of some food, but the detail shows seeds falling to the ground in front of him. To the right of the tree and behind the man, the first half of the register (now mostly destroyed) originally showed men using short mattock (an adze shaped tool), so the man before them is probably sowing the ground which they have just cleared of shrubs and loosened the soil. Further behind, a man is cutting a small tree with an axe. Above the men is the representation of a pool of water (best seen in the colour image) as a reminder that the Nile flood has not long receded.

To the right, the scene is that of the actual ploughing using a team of oxen, the heads of which have been lost, along with that of the ploughman. Following the plough is a youth, identified as such by the fact that he is naked. He scatters the seed from a bag into the furrows created by the ox team. His bag is of the same design as that of the man at the other end of the sub-register.

The top sub-register shows the end of the agricultural season, with the harvesting of the crop, the threshing and winnowing of the grain. A major scene from the central area and a section from the scene at the far left are now missing, although these were still visible at the time of the creation of the original line drawings.

As with the bottom sub-register, the scene starts on the left-hand side. Here the crop is being harvested. It should be noted that only the top, the sheaves, the part containing the grain, is cut first, placed into bags, and carried off to be threshed. This would leave the remaining straw to be harvested separately. The section showing the men who cut the sheaves, using sickles, is now missing. To their right, the straw can be seen having been cut to an intermediate height, possibly for easy baling. The process of bundling this is not shown here (nor even in the tomb of Nakht). Among this are two people who can bee seen with baskets, obviously gleaning the fallen corn. The skin colour of the two is different: the one at the top being the normal dark red of a man, whilst that of the lower one is the paler colour of a female. The bagged sheaves are seen further to the right being carried by two men towards the threshing scene.

The actual threshing scene (now missing) does not appear in the tomb of Nakht, but does appear in other tombs. It usually takes place in a flat dry area, usually referred to as the threshing floor, where the bags are emptied to form a thick layer. On this, the four oxen shown here would pull a sledje fitted with blades (not shown here, only the oxen) and travel in a circle under the control of a drover. As the threshing progresses, a raised wall of straw is left on the outside. Most of the grain will be at the bottom due to being heavier than the husks and having separated by the hooves of the oxen, so some of the chaff can be easily removed without losing any of the grain. Note that one of the animals has its head down, probably eating some of straw. The outer straw area would then be removed and the next process would begin.

This is the winnowing, the separation of grain from the chaff. This would have taken place on a day when a light breeze was present, in order for it to blow away the light chaff, letting the grain fall to the ground. Six men, three on either side, toss the mix in the air, whilst another stoops to pick up more of the mixture from the ground, with his two scoops. All the men wear white cloths on their heads to keep out the dust.
Above the scoops of the standing men is an image which also appears in TT52. This is a goblet stand, above which can be seen the presence of a strange object resembling ectoplasm (see ) : it consists of a bundled sheaf of corn held within a crescent moon shape. Davies thought than it represented an inverted goblet, and that the group evoked an offering to the goddess of the harvests, Renenutet, who is seen as a cobra in the register above. According to Moret and Assman, it is necessary to consider this representation as an offering to Osiris. Maybe, but the explanation proposed by Capart seems more probable: "Miss Blackman (note: the sister of the egyptologist) […] had the surprise to discover, suspended in a granary in Illahun, the object which appeared in the tombs of the XVIIIth Dynasty. It is a kind of small doll made from the last collected ears, and which was keep until the following season".
Like the similar scenes in TT52, there are no accompanying texts in either of the two sub-registers.

Again, the images area did have the three borders of coloured rectangles, this time completely coloured. They include the blue, yellow and red rectangles, and again the yellow and the red ones have blue rectangles on either side, each separated by a smaller white one. However, the vertical border next to the entry to the rear chamber was lost even before the line drawing was created.
Above the top border, the kheker frieze is also more complete than on the previous wall, but still unfinished but now without the horizontal positioning lines. The uncompleted kekheru have only their blue colour (see ). If the intention was to colour the khekeru to match those in the tomb of Nakht, then they would have looked like taken from that tomb; note however that in Nakht's tomb that there are green rectangles replacing alternate blue ones in the border.
As can be seen in the photographic images above, virtually nothing now exists of the image area, leaving only the left-hand and top borders, the frieze and a small piece from the bottom register. Other small, less significant fragments do exist, but not much. Fortunately, a line drawing exists, which was made about 100 years ago, showing the scenes, but even at that time a large part of the bottom register was missing. It is on the line drawing that the following description will be based.

The wall is divided into two unequal registers, the top one being slightly taller than the bottom one.

On the right, Djeserka and his wife are seated with their backs to the entry of the rear chamber and facing a large pile of offerings. Although they are drawn as if Wadjrenpet is sitting slightly behind her husband, she would in reality be sitting next to him. From the drawing, it can be seen that Djeserka is holding a lotus blossom to his nose with his right hand, whilst in his left hand he has a folded piece of cloth placed on his lap. Around his neck he wears a simple necklace. His wife, who wears a tight fitting dress, revealing her breast, has her right arm around his back with her hand placed at the top of his right arm, In her left hand she holds a small bunch of lotus blossoms.
The columns of text above them state: "Seated in a booth. To be recreated in his place of justification. Receiving […] provisions being brought […] snw-cake?".

Facing the couple, at the other side of the pile of offerings, are two of his sons and a daughter. They all carry more offerings. Two parts of their identifying texts have been damaged, again by the removal of the name of Amun.
For the first son, it says: "His son, the scribe and overseer of the weavers [of Amun, Nebsen]y. [He] says: [For your ka a bouquet of Amun!] May he praise you and love you. Receive it as an offering for your nose so that it may exhale a breeze to your nose day by day."
The text of the next son has been damaged so as to loose his actual name. It simple states: "His son, the scribe […]."; it could be 'Neferhebef'.
Finally, female figure is: "His daughter, Nebtawi".

In the bottom register, like the one above, Djeserka and his wife are seated in the same direction, only with slightly less room for the original text. This. however, was even missing at the time of the creation of the line drawing. The major differences between to two images of the couple are as follows. Firstly Djeserka wears a broad necklace and his wife has her hand on his shoulder, not the upper part of his arm. It is these differences which make it possible to identify where the still existing piece of the wall was located.

This time there is no pile of offerings in front of them, however, there is a male figure, presumably one of the sons, but no identifying text has survived.

Behind him the register is sub-divided. The upper section having four male figures and the lower one presumably had four females. One small piece of text still existed when the drawing was created, this was in front of the second male figure, having: "His son, […]".
Offerings are being carried by all eight characters.