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 Gröden in the 18th and 19th centuries.

Carefully made games with marbles from Val di Fassa also belonged to the items exported from Gröden. The game 'Kakelorum' worked like roulette, with the marble being thrown into the turban or crown of the figurine hollowed out like a helter-skelter. The marble then rolls down the spiral to land in the numbered dents in the plate at its base.

Jester puppets in the form of people or animals were first produced in Oberammergau and also pop up in the Gröden range of the 19th century. Traditional jesters on sticks (in Ladin Cramaic) were manufactured until the First World War, and in modern form even until 1925. Bear jesters from Gröden were especially popular.

Only a small selection of Gröden wooden toys were painted, and most of them were left unvarnished, known as 'white goods'. The simple mechanisms that the figures could be moved with made them fascinating objects. The body of the bucket carrier sways back and forth, while the scissors sharpener moves his feet to the turning of the wheels. Drumming monkeys, pecking hens, rocking horses, leaping clowns and lots more items were made.

Jointed dolls were the main item made by Gröden toy carvers from the 1840s until the First World War. The dolls were available in all sizes and the whole family was involved in their manufacture: arms, legs, face and body were produced separately, put together with wooden pegs or ball joints and the face was painted on. These jointed dolls were mainly sold in France and England.

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 Wirtshaus zu Janesc, which was rejected due to the difficult economic situation of the wood carvers doing the work as a sideline.

This work depicting the nativity story in bas-relief, painted and framed in wood, was created in the art school at St. Ulrich. The work is from 1960 under the guidance of teachers Luis Piazza and Mili Schmalzl. One of the students working on it was Martin Gurschler, who went on to have a career as an artist.

Katharina Kasslatter, known as Trina da Gustin, was one of the first  students at the specialist school in Wolkenstein, opened in 1908. This small sculpture out of Swiss pine depicts her sitting on her work stool wearing her traditional costume. Kasslatter started learning wood carving from her mother when she was eight years old. She signed her works in order to set herself apart from anonymous domestic producers.

Students and teachers of both art schools in Gröden made a panelled room for the 1925 International Exhibition in Paris that was awarded the Grand Prix and three other medals for its sculptural features. The panelling is an example of the stylistic renewal going on in Gröden art during the wars, which was mainly thanks to the head of the art school at the time, Guido Balsamo Stella.

This carved, unvarnished sculpture shows Diana, the Roman goddess of hunting, with her right arm around a deer and a bouquet of flowers in her left arm. There is a bow and arrow in front of her. This small figurine is an expression of the stylistic renewal going on in the two Gröden art schools, which started to embrace art nouveau during the 1920s under the management of Guido Balsamo Stella.