Zecchin, the son of a Murano glassmaker, attended the Academy in Venice and later devoted himself, in addition to painting, to applied arts: glass, mosaics, embroidery, tapestries, furniture and ceramics. In 1912 he began his collaboration with Teodoro Wolf Ferrari, an artist trained in the Munich Secession, with whom he exhibited in Munich in 1913 and at the Venice Biennale in 1914 a series of small slabs and murrini vases made by the Barovier Artists (family business of Murano glass masters born in the mid-13th century with the name of Barovier & Toso). This vase can be dated to the same period, decorated with murrine, a technique dating back to Roman times, which involves the preliminary preparation of a glass barrel, composed of concentric layers of various colors, subsequently cut into small segments.

The production of the Giuseppe Mazzotti House, founded in 1903 in Albisola, takes on a futurist orientation thanks to the contribution of Giuseppe's two sons, Torido and Tullio. Not surprisingly, the latter drafted the Futurist Ceramics and Aeroceramics manifesto with Filippo T. Marinetti in 1938. The tea and coffee service, branded M.G.A. with damina on the reverse and signed by the painter "P.G.D." on the teapot and coffee pot, reflects the deco trend of some Mazzotti artifacts presented at the Monza Biennials and the Paris Expo in 1925.

At the exhibition of the Interprovincial Prelictorials in Pisa in 1935, the themes that inspired the sculptors were motherhood and a sports subject. Raffaello Consortini, member of the Fascist University Nucleus (NUF) of Volterra, presented Maternity and Torso of an athlete or Bust of a wrestler. Together with the other Volterra Mino Rosi and Raffaello Michelotti, he was admitted to the Littorals of Culture and Art which were held in Rome, at the building of the Faculty of Letters. Maternity took the second prize. The sculpture is inspired by and gives voice to the rhetoric of the family and of the demographic increase dear to the fascist regime.

The taste for exoticism that arose in the mid-nineteenth century, which presented a fabulous and picturesque image of the East specially built for the Western public, first imposed itself in the figurative arts and then also moved on to the decorative arts: in the last years of the century it spreads , especially among the new rising bourgeoisie, the fashion to offer Moorish-style furnishings in their buildings. Carlo Bugatti, a brilliant and extraordinarily creative artist, developed a new and very personal style, marked by a marked originality. In his furniture the Moorish taste is intertwined with graphic motifs derived from Japonism then in vogue and with reminiscences of past cultures. The cabinet of the Wolfsoniana also testifies to the attention that the artist had for the use of different and often rarely used materials in the furniture (copper, brass, parchment, silk), always worked with an extraordinary technical virtuosity.

The poster was created by Marcello Dudovich, one of the greatest Italian poster designers of the first half of the twentieth century, for the V Loan of war, aimed at supporting the last phase of the First World War and the subsequent post-war reconstruction. The image depicts four soldiers from different nations - an Italian, a French, an English and an American - and positioned to form almost a human pyramid that symbolizes the unity of purpose of the different peoples fighting for the same cause. The four flags of their respective countries also wave in unison, almost merging and forming a single large splash of color.

Belonging to the series "Moments passionels et émotifs d'exasperations", the painting was exhibited in Paris at the Galerie La Boetie in 1925. It expresses the vibrations of the "collective moods" through a systematic spatial organization determined by the vertical course of the layout pictorial. In this way the painting, while retaining evident traces of the legacy of symbolist poetics, communicates a sense of dynamism - note the "wave" movement, fluctuating and rhythmic, which characterizes the crowd in the lower part - which allows you to approach the painter Genoese to the research themes typical of the Futurist movement.

The taste for the exotic, which characterizes this Neo-Egyptian room, is imposed in Italy in the mid-nineteenth century, developing a real genre, of which the two Fabbi brothers, well-known "orientalist" painters, are also exponents. The furniture, commissioned for the Gonzaga palace in Guastalla near Mantua, is inspired by the mythical Egypt of the pharaohs. The imposing bed, whose headboard refers to the idea of a pyramid protected by towers, was originally flanked by two coffers on which the ideal reconstructions of the cities of Nineveh and Thebes were inlaid. The Ninive chest of drawers is also exhibited at the Wolfsoniana.

Example of futurist graphics that are affected by the innovative formal solutions of the Thirties. The dynamic and synthetic approach, the schematization of the human figure and the simplification halfway between the geometric and the abstract are the main features of the advertising graphics of those years.

It is a potiche decorated with a metallic “luster”, a technique used in Italian Renaissance majolica, on an intense blue background with red oriental motifs. An identical specimen was presented at the Universal Exhibition in Paris in 1900 and entered the collections of the Victoria and Albert Museum in London. The vase is marked on the base with the “rooster”, a Florentine manufacturer's trademark, and the number 21. On the Cantagalli sample album, the vase was called “Sicilian Moorish Ruby Reflection Coppo”, n. 146, cost 150/650 Lit., according to a price list printed in Florence in 1911 and 1925.