The Museum includes collections of different types of porcelain, majolica, and ceramics that belonged to the Italian industrialist Giuseppe Gianetti.

[7] The historical villa preserves its original parquet flooring, marble features, staircases, window fixtures, furnishings, paintings, mirrors, and Murano glass chandeliers.

The Oriental section consists of 33 Chinese and Japanese pieces created by the East India Company specifically for the Western market.

Within this collection, there are also several pieces designed for tea and coffee, along with a dish embellished with Kakiemon decorative elements and European majolica.

The room represents the widespread European fascination with Japanese art and culture called Japonisme in the late 19th century.

This led to an increase in the popularity of Chinese and Japanese ceramics in affluent European homes and gatherings in cities like Milan, Genoa, and Venice.

Gianetti also indulged in acquiring 18th century Oriental porcelain from both China and Japan, although his main interest remained in European ceramics.

Despite the limited quantity, the collection includes a diverse array of works, ranging from Celadon to Blanc de Chine.

[18] Three rooms include collections representing the development and spread of fine majolica production across multiple Italian regions and workshops in the 18th century.

[19] These included Ferniani in Faenza, Clerici in Milan, Rubati in Turin, Finck in Bologna,[20] Casali and Callegari in Pesaro, Roletti in Urbino, Fuina in Castelli, Cialli in Rome, and Barone Malvica's workshop in Palermo.

[25] The bathtub, still featuring its original taps, was installed within a niche under a recessed glass ceiling light embellished with decorations inspired by marine themes.

Salerno-based ceramist and visual designer Gianluca Tesauro contributed brown-decorated ceramics that, when combined, depict imaginative creatures merging donkeys and fish.

Originating in Vietri sul Mare, the exhibition had been showcased in Savona during the Majolica Festival and scheduled to visit Veneto in 2024.

The individuals who contributed to the creation of the artworks include Alex Raso, Alfredo Guarracino Alboy, Daniela Giorgina Scalese, David&Golia, Elisa d'Arienzo, Fabio Taramasco, Francesco Carbone, Gabriele MrCorto Resmini, Gianluca Tesauro and many others.

[29] This group, known as "The Human Trafficking" ("Trafficanti di Uomini" in Italian) in the inventory of the manufacturer, belongs to the plastic production of the finest Swiss porcelain factory led by Adam Spengler from 1763 to 1790.

[30] This sculpture ("Un uomo orientale con alto turbante" in Italian) belongs to a series derived from the set of engravings known as "Recueil Ferriol", depicting Oriental costumes.

This example of trompe-l'œil ceramics ("Contenitore a forma di pernice" in Italian) reflects a successful theme of European manufacturers during the 18th century, used to adorn festive tables and characterized by the use of large cabbages, pumpkins, lemons, artichokes, bunches of asparagus alongside turkeys and hens.

[32] This exhibit ("Portaorologio con veste gialla" in Italian) is representative of the production known as "Chinese Imari", produced in the 18th century by two factories in Milan.

[33] One of the most celebrated figures in the history of European porcelain is Johann Joachim Kändler, the chief modeler of the Meissen manufactory from 1733 to 1775.

It focused exclusively on high-quality ceramics, with the goal of promoting awareness of the significance of this material and showcasing national excellence.