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.

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.

Theresia Gruber, known as Tresl da Ulëta, bequeathed Museum Gherdëina a collection of terracotta figurines and ceramic works. Daughter of two artists, and an art teacher herself, she dealt with a variety of materials all her life and was a promoter of the Ladin language back in the 1930s. In 1970, when she was 73 years old, she set up a pottery school in Belém in Brazil. 

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.

Flagellation, a crown of thorns, hammer, nails, pliers, lances, vinegar-soaked sponge and ladder, dice and Jesus' garments: nothing connected with Christ's crucifixion was left out of this baroque crucifixion group from Gröden. The reason is simple: the Instruments of the Passion were considered powerful weapons in the fight against evil. The house that this devotional item originates from is not known.

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 propably a private devotional work.

This small arolla pine sculpture of the holy family on their flight to Egypt dates back to the 17th century. It is one of the oldest works in Museum Gherdëina and an early example of wood carving in Gröden. Carved depictions of the nativity story were developed in the Middle Ages, and, as of the 18th century, lots of families in Gröden specialised in carving crib figurines.

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.

The only Lenten cloth in South Tyrol used to cover the altar during Lent. The story of salvation is told in 24 pictures: from Christ's suffering to the Ascension and Whitsun. The spaces are ordered into four rows, the scenes teem with figures. The cloth painted with tempera on primed canvas was in use in St. Jakob's chapel until 1950, painter unknown.

This bed chamber was built onto the now-demolished Bierjun farmhouse in Überwasser in 1456 and only revealed its secret beneath ultraviolet light: drawings in red chalk of scenes ranging from the passion of Christ to the mounting of the bell in Pufels church tower, and a bear hunt. These red chalk drawings are a rare example of religious piety in a private rural context before 1500. One farm owner was provost of St. Leonhard's chapel in Pufels in the 17th century.