The archive is personal, but the way I describe an object should still be consistent, checkable and clear about uncertainty.
01
What enters the collection
I begin with use. An object needs a clear purpose, good proportions and construction that can still be understood. Rarity can be interesting, but it is not enough on its own.
I am especially drawn to things that reward repeated handling: a movement made for service, a camera control that falls naturally beneath a finger, a nib that improves a page or a bicycle whose decisions become apparent on the road.
02
Originality and repair
Original surfaces and components matter because they carry evidence. They are not treated as sacred when safety or reliable use requires intervention. Replacement crystals, straps, cables, seals, tyres and service parts are recorded rather than disguised.
A careful repair stabilises function and preserves as much information as possible. Cosmetic work is approached cautiously, particularly when it would remove wear that explains how an object was used.
03
Facts, attribution and uncertainty
Maker, model, date, materials, dimensions and provenance are recorded where they can be supported. Serial references, catalogues and specialist literature are used when available.
When the history is incomplete, I say so. “Unknown” is more useful than a confident story without evidence. Corrections are welcomed and incorporated when their sources can be checked.
04
Images and editorial reconstructions
Collection photographs aim to show condition and construction clearly. Colour, scale and visible wear should not be manipulated to imply a better object than the one described.
On the rare occasion that an editorial reconstruction is used to explain a mechanism or missing view, it is labelled explicitly and is never presented as documentary evidence of the specific object.