ABSTRACT
This chapter describes the decision-making processes used by the Musee Schlumpf in the 1960s and then by the “Musee de France”. It aims to compare the usual practices of a collector with those of a cultural institution. The “restoration” work done on the objects between 1965 and 1976 was oriented toward a static presentation to the public. The bodywork was routinely removed so that at least the chassis frame could be painted. The work of the Schlumpf brothers is based on originality of materials combined with documentation that ensures the car’s traceability. The majority of collectors and museum curators in France agree on preserving the integrity and ability to function of our historic vehicles, and the ability to drive them, even on public roads, without restrictions. The documentation and description are accompanied by a full chronicle of the object, as much for itself as for its place in technical, cultural, and social history.
