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. 

This cultural asset is part of the tour "The turn-of-the-century economic boom in St. Ulrich: villas and workshops".

Katharina Kasslatter, known as Trina da Gustin, was one of the first students at the specialist school in Selva Gardena, 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 Val Gardena 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 Val Gardena art during the wars, which was mainly thanks to the head of the art school at the time, Guido Balsamo Stella.

This cultural asset is part of the tour "The turn-of-the-century economic boom in Ortisei: villas and workshops".

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 Val Gardena art schools, which started to embrace art nouveau during the 1920s under the management of Guido Balsamo Stella. 

In 1925, both art schools in Val Gardena took part in the International Exhibition in Paris. Albino Pitscheider, a master in carving small works of art and art teacher in Selva Gardena from 1910 to 1924 as well as from 1919 to 1940, was awarded a gold medal along with his colleague Lusi Insam. The octagonal medal shows an allegory of spring on one side, while it has a bouquet of flowers on the other side. 

In 1920, ANRI brought twelve statuettes by Charles Dickens onto the market intended for a new target group and exported to the USA. These three figurines in the Museum Gherdëina collection depict the bootblack Sam Weller and bourgeois Mr Pickwick and Mr Pecksniff. They could be older carved models for serial production. 

This jointed horse with rider was made from stained nut wood by Josef Insam's company at Neuhaus in Santa Cristina and was put together using 104 individual pieces. Jointed, turned figurines (for academic purposes or puppets) were produced to a height of 201 cm. Their ball-and-socket joints allowed numerous body positions and they were intended for painters and sculptors, schools and academies.

These pecking hens show that artisan production goes to make up a lot of the value and appeal of wooden toys. When large factories started to manufacture toys cheaply, prices for hand-made toys wooden toys decreased, and Val Gardena producers struggled financially. This is another reason why, after 1870, production gradually turned to wood carving and sacred items coinciding with the foundation of the art school. 

Pinocchio and Fortunello demonstrate how political change, the vicissitudes of the market, as well as fashion and technology, taste and educational methods have influenced the development of wooden toys in Val Gardena. Vinzenz Senoner's (Vastlè, Selva Gardena) SEVI company managed to keep pace with the societal changes of the 20th century and adapt to new markets with a supply of high-quality products.

Mobile fish, red elephants, ducks to tow: designers from Italy and German were always developing new motifs commissioned by SEVI. New technology allowed the expansion of the product range and materials, too. This is how SEVI had the whole children's toy area covered. Yet the products still kept their originality and had artistic impact.