The artifact is part of the Egyptian section of the archaeological collections of the Calderini Museum. Statuette of exquisite workmanship, it belonged to the grave goods of an individual named Horemheb: the name is shown on the first line of the inscription, and recalls that of the homonymous ruler of the XVIII dynasty. Stylistically attributable to the Saitic period (XXVI dynasty), this ushabty is characterized by a particularly slender and elongated model, clearly visible in the construction of the body, wig, ears and beard. A further feature is the rendering of the back part of the wig which rests on the thin dorsal pillar. Another ushabty of the same character, very similar to that of the Calderinian collection, is located in the Egyptian Museum in Cairo.

A substantial number of wooden artefacts are representative of the nucleus of furnishings belonging to the Egyptian collection of the Calderini Museum, among which a human-headed canopic jar lid can be identified. The lid, made of stuccoed and painted wood, portrays the funerary genius Amset, protector of the liver. The face, with a red complexion, is illuminated by two large eyes painted white, with a black iris and outline. The wig, smooth and enveloping, has residues of blue pigments.

In the collection there is another artifact of this type which shows the likeness of Qebehsenuef, the protective genius of the intestines, represented by the hawk.

On the fragment of cartonnage, probably deriving from a mummy cover, the God Anubis is represented in his animal form: a canid crouched over a shrine, with a red ceremonial ribbon around his neck, his front legs stretched out in front of him and his tail falling straight. The dark color of the mantle is a clear reference to death, but also to the fertility of the land of Egypt, therefore a symbol of rebirth for the deceased. The figure of Anubis was widely reproduced in the funerary field and his cult was widespread throughout the Egyptian territory: god of the necropolis, he was the person in charge of the mummification ritual and was considered one of the most important funerary deities of the Egyptian pantheon.

The artifact is part of a larger nucleus, consisting of sixteen statuettes made of clay and fabric, very homogeneous in size, workmanship and style, and which would seem to represent a group of players and dancers accompanied by torch-bearers and crowbars. The somatic features reproduced, for the most part Dravidian, refer to the southern area of India. This geographical belonging is confirmed by the type of clothing worn. The production of this type of artifact, in vogue in the nineteenth century in the Krishnagar area in West Bengal, was entrusted to communities of potters, and was made both for religious purposes and as toys and household items. In addition to baked clay, Bengal artisans often used jute, metal, wood and palm leaves.

After more than a century from the disappearance of the Canis lupus species from the territories of Valsesia, in December 2017 the remains of a dispersed specimen were found, coming from the herd from the herd recently settled between the Val Sessera and Val Sesia. The taxidermal and osteological preparations were entrusted to the Calderini Museum and therefore became part of the zoological collection in January 2018.

The preparation became part of the zoological collection of the Calderini Museum in 1875, mentioned in the inventories as 'paw of the last bear seen in Valsesia and killed in 1774 in the mountains between Alagna and Riva Valdobbia'. This find, which in its singularity represents a scientific testimony, is the subject of a popular legend that is still remembered today: it seems that the bear's paw, before being donated and exhibited in the rooms of the Museum, was placed in plain sight on the filled with the house of those who provided the capture and the killing. The paw of the Otro bear, attested as the last specimen of the species found in Valsesia, appears to be the oldest taxidermized find in the museum's zoological collection.

In December 1934 the arrival of one of the best known and most appreciated collections of the Calderini Museum, both from an aesthetic point of view and above all from a scientific point of view: the entomological collection of Dr. Roberto Haas, dedicated exclusively to the order of the Beetles and made up of nearly 30,000 specimens, grouped in 150 boxes. There is little information about the author of the collection: Germanic by birth, Dr. Haas, before his transfer to Brazil at the end of the First World War, was a guest in Geneva with a Valsesian friend and left him the aforementioned entomological collection, which it therefore became part of the Calderinian collections when the contacts between the two ceased to exist. The last scientific reorganization of the collection, with cataloging and restatement of the specimens, dates back to the sixties of the twentieth century and was carried out in collaboration with the Civic Museum of Natural History in Milan.

In 2004 the arrival in the museum, by the family, of the entomological collection of moths by Pier Giovanni Caron (1911-1999), born in Vercelli but originally from the city of Gattinara (VC). A lawyer by profession but an entomologist by passion, Caron set up his own collection by collecting, and at other times purchasing, specimens coming for the most part from foreign countries. The collection, already partially exhibited in the 2006 celebratory exhibition, set up on the occasion of the centenary of Don Calderini's death, has been rearranged since 2010, with the consequent quantification of the material it constitutes: 545 specimens organized in 35 boxes.

The botanical section of the Calderini Museum is mostly represented by the collections of the Valsesian botanist Antonio Carestia (1825-1908), one of the greatest scholars of Valsesian flora as well as an internationally recognized botanist. Abbot Carestia delivered part of the herbarium he created in May 1870, continuing in the following years to increase the collection of phanerogams he had set up with further specimens, also adding collections of cryptogams, algae and lichens.

The recent cataloging and digitization of the folders and herbarium sheets that make up the work of the Valsesian abbot, accompanied by a critical review of the specimens, led to a better clarification of the original determinations and a quantification of the museum samples: the herbarium of property of the naturalistic institution is thus composed of 1050 sheets and packages, with 1427 species represented and for a total of 1995 specimens.