This angel candlestick on a marble column base was inspired by 17th-century Italy. Its form and colouring could have been inspired by existing ceramic items. The round face of the angel has ruddy cheeks, while there are brown curls painted on its forehead. Angel candlesticks were always produced in pairs and formed part of serial domestic art in Val Gardena in the 18th and 19th centuries. 

This artistically carved and delicately painted group of sculptures depicting the baptism of Christ in Jordan demonstrates the artistic quality of the baroque workshops. However, the Gröden masters had competition from young, unqualified wood carvers, who would carve during the winter without paying tax. On 1679, the masters made an appeal at Osteria Janesc, which was rejected due to the difficult economic situation of the wood carvers doing the work as a sideline. 

This artistic candle holder in empire style carved from a single piece of wood with criss-crossing garlands and acanthus leaves is painted in vivid yellow, red and green. The base on three legs rises up like a pyramid and lends the candle holder a stable, yet elegant look. Carved frames and partially turned candle holders were an important area of production for the Val Gardena art industry in the 18th and 19th centuries. 

It was customary to put pocket watches, considered valuable objects, on display in living rooms enclosed in ornately carved, partially gilded watch stands. Watch stands were a item commonly produced in Val Gardena from the mid-18th century until the 1870s, often featuring an allegorical depiction of time as an elderly man with a beard and wings. He usually held a sickle or scythe, later also a sand glass. 

This small sculpture with a flat back is an example of the anonymous domestic art popular in the 17th and 18th centuries all over the valley. It shows Adam and Eve under the apple tree. Eva is offering the apple to Adam and neither has yet eaten it. The snake as symbol of temptation is missing. The little sculpture was probably a private devotional work. 

The chair comes from Fischburg castle, with three ornate patterns and rocaille ornaments framing a carved ex-voto adorning the chair back. This shows a man falling, above him a holy figure - probably Mary - and the divine eye. A word is carved next to the scene that could be 'pregato', indicating an ex-voto.

This wooden type of rucksack was laden with carved items to be taken to distributors or annual markets. The shelves on the rear section of the carrier are moveable thanks to straps, while toy horses and goats were placed on the platform at the top for show. Back carriers like this were in use well into the first half of the 19th century.  

The carved, brightly painted, and partially gilded wooden sculpture of Saint Ulrich stood in the old parish church at the cemetery. It is a late work by a sculptor from the Vinazer school and depicts Saint Ulrich, the patron saint, wearing a mitre and bishop's vestments, holding a staff, as well as a fish resting on the Book of Gospels. Ulrich was the Bishop of Augsburg around the year 1000. His veneration was brought to Val Gardena by the medieval lords of the manor. 

The carved, painted, and gilded nativity scene of the Adoration of Jesus by the three kings was displayed during Christmas in St. Jacob's Church. A sculptor from the workshop of Kassian Melchior Vinazer carved it around 1760. In addition to Mary with the Christ child, the scene includes Joseph, Melchior, Caspar, and Balthazar. The representation of Balthazar as African emerged in Bohemia during the late Middle Ages and became popular throughout Europe. 

The wooden sculpture of St. Martin on horseback with beggar comes from the workshop of the sculptor Vinazer around 1750. It depicts the legend of St. Martin coming across a semi-naked, freezing beggar. Having nothing but his weapon and garments upon him, he cuts his officer's cloak in two and offers the beggar one half.