B LOOMSBURY AUCTIONS LONDON FROM THE EARTH TO THE MOON: VINTAGE NASA PHOTOGRAPHS OF THE FIRST VOYAGES BEYOND OUR HOME PLANET Part of The Stanley Gibbons Group plc Thursday 26th February 2015
BLOOMSBURYAUCTIONS
LONDON
FROM THE EARTH TO THE MOON: VINTAGE NASA PHOTOGRAPHS
OF THE FIRST VOYAGES BEYOND OUR HOME PLANET
Part of The Stanley Gibbons Group plc
Thursday 26th February 2015
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Illustrations – Front cover: lot 25 | Back cover: lot 353
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Sale No. 36162
Thursday 26th February 2015, 10.30am and 2.00pm
FROM THE EARTH TO THE MOON: VINTAGE NASA PHOTOGRAPHS OF THE FIRST VOYAGES BEYOND OUR HOME PLANET
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LONDON
www.bloomsburyauctions.com tel. +44 (0) 20 7495 94942
“As I reached for my Hasselblad, suddenly
the Earth popped up over the horizon. I
could not have staged it any better, but the
alignment was not of my doing. But at any
rate, as I clicked away, I realized that for
the first time, in one frame, appeared three
billion earthlings, two explorers, and one
moon. The photographer, of course, was
discreetly out of view.”
Michael Collins, Apollo 11
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“Since the dawn of history man had been chained to this planet. No matter what the species of
Homo sapiens would accomplish, it seemed to be preordained to share the ultimate fate of its
earthly abode, extinction. With the flight of Apollo 11 the fateful chain was broken. For man now
showed that he could land on other heavenly bodies and that he could live and work there.”
Wernher von Braun in Moon, Man’s Greatest Adventure, 1970
THE FIRST VOYAGES BEYOND OUR HOME PLANET
Bloomsbury Auctions’ third sale of Space Photography borrows its title from Jules Verne’s prophetic novel of
1865. What Verne was unable to predict was the pioneering work in rocketry of three men who were to turn
science fiction into science fact; in Russia, Konstantin Tsiolkovsky (1857-1935), in the United States, Robert
Goddard (1882-1945) and in Germany and the United States, Wernher von Braun (1912-1977).
From the Earth to the Moon provides a pictorial record of the epoch-making decades when men and their
machines first escaped Earth’s gravity and ventured to another world. This major private collection of over 650 lots
is comprehensive in its coverage of the space programme, from the early days of Mercury, through the technical
advances of Gemini and Lunar Orbiter, to the triumphs of Apollo.
The sale features both iconic images from the golden age of space exploration and a large number of rare
photographs which were virtually unpublished at the time, including one legendary rarity, the only clear
photograph of Neil Armstrong on the Moon.
After each mission NASA released only a small proportion of the astronauts’ photographs to the public and news
media. The remainder were accessible only to accredited researchers in the archives of the Manned Spacecraft
Center, Houston, from where most of this exceptional collection is sourced.
An outstanding strength of the collection is the unusually large number of oversize photographs specially
produced by NASA for presentation.
These are complemented by an archive of extremely rare Hasselblad panoramic mosaics of the Moon, taken by
the Apollo astronauts both in lunar orbit and on the lunar surface, over 60 in all. Pieced together from individual
Hasselblad frames for use by scientists, they provide a spectacular boots-on-the-ground view of the lunar
landscape. These panoramas were not easy to produce since the astronauts’ movements on the lunar surface
were encumbered by spacesuits and they were unable to align the cameras with a view-finder. Because they
were wearing helmets, the cameras were mounted on the chests of the spacesuits. Without the benefit of a
view-finder, crews were trained how to point, shoot, turn slightly, point and shoot again until a panorama of
overlapping photographs was generated. We know of no such collection ever having been offered at auction
Finally, this year sees the 50th anniversary of the first EVAs (Extra Vehicular Activities) by Alexei Leonov and Edward
White in 1965 and the sale includes Ed White’s personal collection of photographs covering his Gemini 4 spacewalk.
All photographs are vintage, ie printed shortly after they were taken. Where noted on the verso, the NASA
centre which issued the photograph has been identi�ed. These include Manned Spacecraft Center (MSC),
Houston, Kennedy Space Center (KSC), Florida, Goddard Space Flight Center, Maryland, NASA Headquarters
(HQ), Washington, DC, Jet Propulsion Laboratory, Pasadena (JPL). Unless otherwise stated, all photographs
are glossy prints on paper 20.3 x 25.4cm (8 x 10in). NASA reference numbers within square brackets do not
appear on the prints and are provided for reference. Larger images can be viewed on our website. References
are listed at the end of the catalogue. Condition reports are available on request.
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 94944
1 Louis Weintraub, US Army “Rocket Men: Wernher von Braun, inventor of the V-2 rocket, Herbert Axter, scientist at Peenemunde, and Walter Dornberger, commandant of Peenemunde experimental Station, surrender to the US Army at the end of WWII”, May 1945Vintage gelatin silver print, borderless, 15.2 x 23.5cm, “Pictorial Press London”
caption on verso.
Louis Weintraub was a Signal Corps combat photographer and served
throughout the European campaign during WWII. Von Braun and several
of his key co-workers were recruited as part of Operation Paperclip and
captured V-2 rockets were shipped to the United States. Firing from the
Army’s Proving Ground at White Sands, New Mexico, began in the summer
of 1946 and marked the start of the American space programme.
£200 - £300
1
2 Clyde HollidayThe �rst photograph from space, 24 October 1946
Vintage gelatin silver print, 16 x 20.2cm, Johns Hopkins University Applied
Physics Laboratory (APL) stamp and caption for press release dated 20
November 1946 stuck on verso, together with three other vintage gelatin
silver prints, each ca.16 x 20.2cm, showing the Earth from 30, 45 and 60
miles up respectively, each with APL stamp on verso. (4)
“The horizon as photographed at an altitude of 65 miles. At this point the
camera was theoretically 720 miles from the horizon and the picture shows
40,000 square miles of space”, 24 October 1946 (APL caption)
Before 1946, the highest pictures ever taken of the Earth’s surface were
from the Explorer II balloon which had ascended 13.7 miles in 1935. The
official boundary of space is the Karman line which lies at an altitude of 62.5
miles (100 km). This historic photograph was taken by a 35-mm camera
developped by Clyde Holliday of the APL and fitted on the 13th V-2 missile
launched from the White Sands Missile Range.
This is “how our Earth would look to visitors from another planet coming in
on a spaceship” wrote Clyde Holliday in National Geographic in 1950.
£800 - £1,000
In memory of Edward White (1930-1967), �rst American to walk in space on 3 June 1965;
and Neil Armstrong (1930-2012), �rst man to walk on the Moon on 20 July 1969
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The lots are in chronological order from 1945 to 1972, except for the large-format photographs (lots 288 to 357)
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3 Clyde HollidayThe �rst photograph of the curvature of the Earth, July 1948
Vintage gelatin silver print, 19.2 x 24.7cm, US Navy caption printed in purple
on verso. On 26 July 1948, Clyde Holliday of the Johns Hopkins University
Applied Physics Laboratory (APL) assembled over 200 photographs taken
by an automatic camera on a V-2 some sixty miles up. A separate set of
photographs was taken from a Navy Aerobee rocket seventy miles up just
over an hour later. After three months’ work of matching and stitching,
the two dramatic panoramas on the image were released on 19 October.
“Columbus was right!”, was the popular newspaper headline and the more
obviously panoramic picture was accepted as “man’s first view of
the curvature of the Earth”.
See “Earthrise”, pp59-61, illus.11
£300 - £500
4 The largest area of Earth hitherto photographed at one time, from Nebraska to the Paci�c, October 1954Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in)
This composite photograph is made up of 310 prints of 16-mm motion
picture film exposed about 100 miles above the Earth. The camera was in a
rocket fired from White Sands in October 1954. The area shows about one
and a quarter million square miles of the Earth.
£300 - £500
5
Sputnik, the world’s �rst arti�cial satellite, announces the Soviet-US space race, October 1957
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), caption in Russian on verso.
£200 - £300
6
The launch of Explorer 1, America’s �rst arti�cial satellite, 31 January 1958
Vintage chromogenic print on Ansco paper, 20.3 x 25.4cm (8 x 10in), “Ansco
safety film” stamp in margin, together with two vintage gelatin silver prints,
20.3 x 25.4cm (8 x 10in), NASA HQ captions on verso, showing a model of
the rocket and the rocket on the launch pad (3)
“There is beauty in space, and it is orderly. Everything in space obeys the
laws of physics. If you know these laws, and obey them, space will treat you
kindly.” Wernher von Braun, quoted in Time Magazine, 17 February 1958
£200 - £300
5
3
4
6
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 94946
7 Wernher von Braun’s science team celebrates the success of Explorer1 and the discovery of the Van Allen Radiation Belt, February 1958A group of one vintage gelatin silver print, 18.2 x 24cm, “Bild” press
caption and stamp on verso, and four vintage gelatin silver prints,
borderless, each ca.12 x 14cm mounted on three separate sheets (5)
£200 - £300
8 US Army Early �ight tests of missiles: Launch sequence of a Minuteman Missile in 1962 and THOR missiles on the pad at sunset and during night launch at Cape Canaveral in March 1959, 1959-1962A group of two vintage chromogenic prints on Ansco paper, each 20.3 x 25.4cm
(8 x 10in),“Ansco safety film” stamp in margins, US Air Force captions on verso,
and a vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark and US Air Force caption on verso (3)
£200 - £300
9 Tiros 1 transmits the �rst TV pictures from Space, May 1960
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on
verso. Tiros 1 was the first weather satellite; the pictures it transmitted
changed our understanding of the Earth and its resources.
£200 - £300
10 Bill Taub The original Mercury Seven astronauts, 1959 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on
verso, numbered NASA B-59-43 in black in top margin.
As NASA’s first senior photographer, Bill Taub covered every major event
from the beginning of the Mercury project through to the end of Apollo.
Standing, left to right, are Alan Shepard, Walter Schirra and John Glenn;
sitting, left to right, are Virgil Grissom, Scott Carpenter, Donald Slayton and
Gordon Cooper.
£200 - £300
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11 Portraits of Alan Shepard in his Mercury spacesuit and aboard Freedom 7 during America’s �rst human space�ight, Mercury-Redstone 3, 5 May 1961One vintage chromogenic print on fibre-based Kodak paper,
20.3 x 25.4cm (8 x 10in), NASA MSC caption and “A Kodak Paper” watermark
on verso, numbered NASA S-63-2078 in blue in top margin, and one vintage
gelatin silver print, 10.2 x 13cm, image 9 x 11.8cm, on Kodak velox paper (2)
The rare view of the first American in space in the Freedom 7 capsule
is a still frame taken by a motion picture camera during the 15-minute
suborbital flight which reached an altitude of 101.2 nautical miles (187.5
kilometres).
£300 - £500
12 The Earth from space photographed by automatic cameras during the unmanned �ights of Mercury-Redstone 2 and Mercury-Atlas 4, 1961-1962Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), Patrick Air Force Base stamp and “EKC” watermark on
verso, [NASA negative numbers MR-2-13009-093 and MR-2-13009-104] and
one vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-63-17331 in black in top margin (3)
Mercury-Redstone 2 (MR-2) carried Ham the chimpanzee on a suborbital
flight while Mercury-Atlas 4 was the first successful unmanned orbital flight
of the Mercury programme.
£300 - £500
13 Bill Taub John Glenn climbs into the Friendship 7 capsule, 23 January 1962 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA caption on verso,
numbered 62-MA6-50
£200 - £300
14 John Glenn inside the Friendship 7 capsule, Mercury Atlas 6, 20 February 1962Vintage gelatin silver print, 18.3 x 24cm, NASA caption and number
62-MA6-169 on verso
The first American in Earth orbit photographed by an automatic camera as
he travelled, weightless, at 17,500mph.
£200 - £300
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15 John Glenn The �rst photograph from space taken by man, Mercury-Atlas 6, 20 February 1962 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), Patrick Air Force Base stamp and “EKC” watermark on verso,
[NASA negative number MA-6-40452-016]
The suborbital missions of Shepard and Grissom prepared the way for
the first orbital flight. Glenn became the first American to circle the Earth
making three orbits in his Friendship 7 Mercury spacecraft and the first man
in history to carry a still camera into space. On his three-orbit flight Glenn
shot two rolls of film capturing sunsets, sunrises and aerial views.
£400 - £600
16 President John F. Kennedy and Vice President Lyndon B. Johnson visit Dr. Wernher von Braun at Marshall Space Flight Center and decide to go to the Moon, 11 September 1962Vintage chromogenic print on fibre-based Kodak paper, borderless, 19 x
24cm, “A Kodak Paper” watermark on verso
The day after his visit to Von Braun, President Kennedy delivered the
celebrated speech describing his goals for the nation’s space effort at Rice
University in Houston, Texas
£200 - £300
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Gordon Cooper Earth from space, Mercury 9, May 1963 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-63-6431
in black in top margin
Cooper’s film was the first by an astronaut to be analysed and described
frame by frame by NASA, in effect launching the agency’s photographic
technology department. “I can recall that [NASA] memo saying that: “If an
astronaut desires, he may carry a camera.” That’s the importance they put on
the pictures from space”. Cooper
£300 - £500
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16
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Views of Earth and Space from the unmanned Gemini 2 spacecraft during re-entry into the atmosphere and presentation of the Gemini spacecraft, February 1965, Vintage chromogenic print on fibre-based Kodak paper, larger format,
28 x 22cm, image 26.8x 20.8cm, McDonnell stamp and “A Kodak Paper”
watermark on verso and two vintage chromogenic prints on fibre-based
Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso,
numbered NASA S-65-13163, S-65-13165 in blue and red in top margin (3)
The spacecraft’s orbital manoeuvring rockets allowed it to be truly “flown” in
orbit, a capability that was vital to completing their missions. Gus Grissom
worked so closely with contractor McDonnell Aircraft in designing and
building Gemini that the other astronauts called it the “Gusmobile
£500 - £800
19 Portrait of the �rst two-man crew of the programme, and
Command pilot Virgil Grissom inside the spacecraft prior to launch, Gemini 3, March 1965One vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-64-19431
in black in top margin, and one vintage gelatin silver print, 20.3 x 25.4cm (8
x 10in), NASA caption on verso, numbered 65-H-445 (2)
Grissom is seen through the window of the open hatch of the Gemini
spacecraft. The vehicle lifted off from Pad 19 on March 23, 1965 and
successfully completed three orbits. Grissom died in the Apollo 1 fire two
years later.
£400 - £600
20 The Earth illuminated by the Sun during the �rst orbit, Gemini 3, March 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-65-18737 in
black in top margin
“There is a clarity, a brilliance to space that simply doesn’t exist on Earth”.
Grissom
£200 - £300
21 Sunset from Space, Gemini 3, March 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-65-18752 in
black in top margin
£200 - £300
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James McDivittEd White in the pilot’s seat of the capsule, the �rst in-�ight portrait of an astronaut, Gemini 4, June 1965Vintage chromogenic print, 18.5 x 24.2cm, on fibre-based Kodak paper,
“A Kodak Paper” watermark on verso, numbered S65-30549 in red in top
margin, NASA caption on verso
£400 - £600
23 First US Spacewalk - Ed White �oats away from the spacecraft, Gemini 4, 3 June 1965
Vintage chromogenic print flush-mounted to original card, 27.6 x 35.5cm,
image 18 x 24cm, [NASA negative number S-65-29766]
Provenance: The personal collection of Ed White, Heritage Auctions, Sale 6082, lot 40031
Three months after the spacewalk of cosmonaut Alexei Leonov, Ed White
became the first American to perform an EVA (Extravehicular Activity).
During the third orbit of Earth he opened the hatch of the capsule, pushed
himself out and floated in space 135 miles above Earth for 20 minutes. This
view was captured by the 16-mm camera that White had mounted outside
the spacecraft just before his EVA.
£800 - £1,200
24 James McDivitt First US Spacewalk - Ed White’s EVA (Extra Vehicular Activity), Gemini 4, 3 June 1965
Vintage chromogenic print flush-mounted to original card,
27.6 x 35.5cm, image 18 x 24cm, [NASA negative number S-65-30428]
Provenance:
The personal collection of Ed White, Heritage Auctions,
Sale 6082, lot 40031.
Within days of splashdown, McDivitt’s pictures appeared in newspapers
and magazines around the world, marking a turning point in the role
photography played in the space programme and in the popular
conception of manned space exploration. “I wasn’t the only one who felt
the power of those images from space. Countless people saw them and
understood their basic message: this was the edge of human experience.”
Andrew Chaikin
£800 - £1,200
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25 James McDivitt First US Spacewalk - Ed White’s EVA over New Mexico, Gemini 4, 3 June 1965 Vintage chromogenic print flush-mounted to original card, 20 x 25.5cm,
image 18 x 15.3cm, [NASA negative number S-65-30433A]
Provenance:
The personal collection of Ed White, Heritage Auctions, Sale 6082, lot 40031.
Captivated by the experience of his spacewalk, Ed White resisted repeated
calls from Houston to get back to the craft:
£800 - £1,200
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Ed White’s personal photograph album of the Gemini 4 mission, June 1965
Thirty vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on versos, most of them
with NASA captions and identification numbers, with the original cloth
binder, the spine labeled Gemini IV Color in White’s hand, the photographs
removed from open sleeves and preserved in conservation sleeves
An outstanding collection documenting the Gemini 4 mission and the first
spacewalk by an American. It comprises 8 photographs of Ed White’s EVA
(Extra Vehicular Activity) taken by McDivitt from the spacecraft, the first
view of a spacecraft in space taken by Ed White during the EVA, 2 training
scenes, 7 of the astronauts’ launch preparations, 2 of the launch, recovery
of McDivitt by helicopter, 1 orbital sunrise and 8 views of the Earth from
orbit, 3 of these with locations overprinted and one with a marginal note in
White’s hand.
Provenance: Heritage Auctions, sale 6082, lot 40031
£8,000 - £10,000
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27 Launch from Pad19 at Cape Kennedy, Gemini 5, 21 August 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-65-46437 in red in top margin
On Gemini 5, flight duration was longer and astronauts Gordon Cooper and
Charles Conrad circled the world 120 times in 190 hours and 55 minutes,
returning with dramatic colour photographs of the surface of the Earth.
£200 - £300
28 Paci�c Ocean from Space, Gemini 5, August 1965
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
S-65-45548, S-65-45549, S-65-45770 in red in top margin (3)
A tropical storm over Ponape Island, Bikini Atoll in the Marshall Islands
and Typhoon Lucy over Japan. The two astronauts made photographs of
prominent features for research use in geology, geophysics, geography
and oceanography, providing inspiration for the growing environmental
movement.
£300 - £500
29 Gulf of California from Space, Gemini 5, August 1965
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
S-65-45703, S-65-45747 in red in top margin (2)
Viewing the Earth from orbit, some astronauts reported a new awareness of
the fragility of the planet and its atmosphere.
£200 - £300
30 Gordon Cooper China from Space, the Kashmir frontier and Szechwan Province, Gemini 5, August 1965
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
S-65-45713, S-65-45648 in red in top margin (2)
The first illustrated in the View from Space p.29, Moon p.111
£200 - £300
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Charles Conrad China, the Yangtze River from Space, August 1965 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-65-45768 in
red in top margin
“We got some pretty good shots of the Yangtze River dumping tons of
mud in the Pacific Ocean. That was back in the days when people didn’t
realize the extent of what happened to silt when it came down those rivers”.
Charles Conrad
Illustrated: The View from Space p.29
£200 - £300
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35 Gemini 7 spacecraft manoeuvres over the Earth, Gemini 6, December 1965
Three vintage chromogenic print on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, two numbered
G-66-4794 and G-66-4797 in black in margin (NASA Goddard), the other
with NASA MSC caption and numbered NASA S-65-63188 in red in top
margin (3)
“There seems to be a lot of traffic up here,” Schirra radioed to Mission Control.
“Call a policeman,” Borman replied.
The second illustrated in The View from Space p.50, the third illustrated in
Exploring Space p.164
£500 - £700
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Thomas Sta�ord First rendezvous in space, at 17,000 mph, Gemini 6, December 1965
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
S-65-63163, S-65-63169, S-65-63194 in red in top margin, two with NASA
MSC captions on verso (3)
The Gemini 6 crew of Walter Schirra and Thomas Stafford made rendezvous
with the orbiting Gemini 7 less than six hours after launch and flew to
within inches of the spacecraft housing Jim Lovell and Frank Borman.
The second illustrated in Moon p.114 and Exploring Space p.165, the third
illustrated in The View from Space p.51; Space p.66; Moon p.114
£500 - £700
32 Florida and Cape Kennedy seen during di�erent orbits, Gemini 5, August 1965
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), numbered NASA S-65-45746, S-65-45783, S65-45599 in
red in upper left margin (3)
Cape Canaveral, known from 1963 to 1973 as Cape Kennedy, was the
setting for all NASA manned flights and many of the unmanned scientific
space exploration missions.
£300 - £500
33 Gordon Cooper In-�ight portrait of astronaut Charles Conrad, Gemini 5, 21 August 1965 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-65-45683 in red in upper left margin
“I don’t remember that Pete took any of me, but I remember taking several
of him. You had to get the light just right, streaming through the window.
We didn’t talk about it, but I guess I was kind of keen, hoping for picture
potential.” Gordon Cooper
Illustrated: The View from Space, p.29
£400 - £600
34 Astronaut Walter Schirra during countdown, Gemini 6, December 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-65-59958 in blue in top margin
£200 - £300
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Thomas Sta�ordGemini 7 orbits the Earth, Gemini 6, December 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-65-63221 in red in top margin
The orbital rendezvous was a difficult and exacting process but essential to
allow the Apollo programme to make it to the Moon and back. Gemini VI
and VII were manoeuvred, as Schirra put it, “window to window and nose to
nose”, close enough to wave to each other through the portholes and read
Schirra’s “Beat Army” sign meant in jest for Borman, the sole West Point man
among the three Navy pilots of the two spacecraft.
Illustrated: The View from Space, p.51; Spacecam p.67; Moon p.115
£400 - £600
38 Re�ections of the Sun over Gemini 7’s gold-sprayed thermal cloth, Gemini 6, December 1965
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso; one numbered
G-66-4787 in black in margin (NASA Goddard), one with McDonnell stamp
on verso [NASA negative number S-65-63129] (2)
£400 - £600
39 Gemini 7 �oating in space during station keeping manoeuvre, Gemini 6, December 1965
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, one with NASA KSC
caption, the other with NASA HQ caption, [NASA negative numbers S-65-
63205, S-65-63182] (2)
“The sight was utterly fantastic to fly in close formation as we have done
for many years in fighter aircraft, but at 17,000 miles an hour. The photo
illustrates that man can control a space vehicle with preciseness in close
vicinity to another space vehicle”. T. Stafford
£400 - £600
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Astronauts Frank Borman and James Lovell during countdown, Gemini 7, December 1965
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermarks on
verso, numbered NASA S-66-61755, S-66-61756 in blue in top margin (2)
£200 - £300
41 Gemini 6 spacecraft seen against the blackness of the sky, Gemini 7, December 1965
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-65-63894 in red in top margin
£300 - £500
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42 James Lovell Sunset over the Andes, Gemini 7, December 1965 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso
“There is some absolutely magnificent photography by the Gemini 7 team,
guys who had to endure 14 days in a machine where their heads wouldn’t
ever be more than a foot or so apart.” Richard Underwood, the astronauts’
photographic instructor.
Illustrated: The View from Space p.55, Full Moon p.124, Spacecam p.166
£400 - £600
43 James Lovell Full Moon rising over the Earth, Gemini 7, December 1965 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-65-63873 in
red in top margin
“Once the Apollo program was under way, it dawned on me that soon
somebody was going to be taking a picture of the Earth from the Moon, so
I took this picture of the Moon. When we got there on Apollo 8, we took the
Earthrise photograph; they were like before-and-after pictures.” J. Lovell
£300 - £500
44 Haïti and the Bahamas in the Caribbean seen from Space, Gemini 7, December 1965
Two vintage chromogenic prints on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA S-65-
63925, S-65-63825 in red in top margin, S-65-63925 with NASA MSC caption
on verso (2)
“Probably the prettiest things to photograph are the small islands, atolls.
There are some beautiful ones in the Caribbean.” M.Collins, Gemini 10
£200 - £300
45 Artist’s concept of the rendezvous and recovery of the “twin” spacecraft Gemini 6 and Gemini 7, December 1965Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
S-66-65948, S-65-59952 in red and in blue in top margin, S-65-59952 with
NASA MSC caption on verso (2)
£200 - £300
46 Portraits of astronauts Neil Armstrong and David Scott, the crew of Gemini 8, March 1966
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermarks on
verso, numbered NASA S-65-58499, S-66-24353 in red in top margin (2)
Gemini 8 was the first mission for both astronauts; they were later to land on
the Moon with Apollo 11 and Apollo 15.
£200 - £300
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47 Lifto�, Gemini 8, March 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-34098 in red in top margin
£200 - £300
48 David Scott The Agena Target Docking Vehicle (ATDA) over the Earth, the �rst unmanned satellite photographed from Space just before docking, Gemini 8, March 1966Vintage chromogenic print on fibre-based Kodak paper, larger format, 20.5
x 28cm (image 19.2 x 24cm), “A Kodak Paper” watermark on verso, [NASA
negative number S-66-25780]
£400 - £600
49 Rendezvous with the Agena Target Docking Vehicle, Gemini 8, March 1966
Two vintage chromogenic prints on fibre-based Kodak paper, larger formats,
22 x 28cm and 20.5 x 28cm, images 20.5 x 26.2cm and 19.2 x 24cm, “A Kodak
Paper” watermarks on verso, one with McDonnell stamp on verso, [NASA
negative numbers S-66-25781, S-66-25786] (2)
£400 - £600
50 David Scott First docking of two spacecraft, Gemini 8, March 1966 Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, one with NASA
MSC caption on verso and numbered S-66-25778 in red in top margin, one
with McDonnell stamp on verso, [NASA negative numbers S-66-25778, S-66-
25781, S-66-25786] (3)
“Flight, we are docked! Yes, it’s really a smoothie,” Scott radioed to the
ground prematurely, just before the mission suffered the first critical in-
space system failure of a U.S. spacecraft which threatened the lives of the
astronauts and required immediate undocking and abort of the mission.
The crew was returned to Earth safely.
£400 - £600
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51
Astronaut Eugene Cernan, Gemini 9, April 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-29559 in red in top margin
Cernan, prime crew pilot, sits in the Gemini boilerplate training capsule.
£200 - £300
52
The horizon of the Earth, Arabian Sea Coast, Gemini 9, June 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, [NASA negative number
S-66-38141]
“When you were photographing inside the Gemini spacecraft you had to
wiggle down and photograph through a very small window. It was like
looking through a tunnel.” E. Cernan
£200 - £300
53 Rendezvous with the ATDA in Earth orbit, Gemini 9, June 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.4 x 22cm (image
18.5 x 21cm), “A Kodak Paper” watermark on verso, numbered NASA S-66-
37922 in red in top margin
The Augmented Target Docking Adapter (ATDA) as seen from the Gemini
9 spacecraft during one of their three rendezvous in space. The ATDA and
Gemini 9 spacecraft are 66.5 ft. apart.
£300 - £500
54 The “Angry Alligator” over the Earth, Gemini 9, June 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, NASA MSC caption
numbered S-66-37972 on a separate sheet
£400 - £600
55 The “Angry Alligator”, Gemini 9, June 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, NASA MSC caption numbered
S-66-37966 on a separate sheet
Failure of the docking adapter protective cover to fully separate prevented
the docking of the two spacecraft but the mission continued. “Every time we
activated that docking target - the collar that we were to dock with - it would
relieve tension on that band and the jaws would open and close.” E. Cernan
Illustrated: Exploring Space with a Camera p.173, Moon p.125
£400 - £600
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56 Thomas Sta�ord EVA by Eugene Cernan, Gemini 9, June 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-38515 in red in top margin
Cernan performed a two-hour spacewalk during which he planned to
demonstrate free flight using a self-contained rocket pack, the Astronaut
Maneuvering Unit, but was unable to accomplish this due to stress, fatigue
and overheating. Stafford said in a 2001 interview that there was a real
concern that Cernan would not be able to get back into the capsule. As it
would not have been acceptable for Stafford to cut Cernan loose in orbit, he
stated that the plan was to make re-entry with the astronaut still attached
by his umbilical, an action which would inevitably have resulted in the
deaths of both men.
£500 - £700
57
Time-exposure of Gemini 10 launch, July 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-66-42762
in red in top margin
A time-exposure creates the illusion of multiple rocker arms. Onboard
were astronauts John Young and Michael Collins, command pilot and pilot,
respectively.
£200 - £300
58 Michael Collins The Agena illuminated by sunrise, Gemini 10, July 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-46122 in red in top margin
In the harsh glare of a space sunrise over the South Atlantic, Gemini 10
prepares to dock with Agena about 100 feet away. “It’s a very transient,
rapidly changing world out there, and you can’t wait for the Sun to get
in the right position.” M. Collins. The photograph was on the cover of Life
Magazine “Highest photos of Earth taken by man” in August 1966
£400 - £600
59 Michael Collins Rendezvous with the Agena, Gemini 10, July 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-46123 in red in top margin
£300 - £500
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Michael Collins Gemini 10 spacecraft docked with the Agena, July 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-46137 in red in top margin
After docking with the Agena target vehicle, Young and Collins boosted the
combined vehicles into an orbit with an apogee of 413 nautical miles to set
a new altitude record for manned spaceflight. They also managed to meet
with the dormant, drifting Agena from the aborted Gemini 8 flight, thus
executing the programme’s first double rendezvous.
£300 - £500
61 China and Taiwan photographed from Space, Gemini 10, July 1966
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, NASA MSC captions
numbered NASA S-66-45960, S-66-45868 (2)
After rendezvous with the Gemini 8 Agena, Collins walked through space
to the vehicle at the end of a 15.24 metre tether, the first person to meet
another spacecraft in orbit. Few photographs were taken during this stage
of the mission since Collins lost his camera, another first.
£200 - £300
62
Lifto�, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-53900 in red in top margin
£200 - £300
63 “Rodeo” EVA by Richard Gordon, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54455 in red in top margin
“This photograph shows me astride the nose of the Gemini spacecraft
during the umbilical EVA of Gemini 11. This pose inspired Pete Conrad to
respond with the words, “Ride ‘em, cowboy!” R. Gordon. Recorded by an
onboard movie camera, Gordon struggled through a difficult spacewalk,
suffering exhaustion while fixing a tether from the craft to the attached
Agena Rocket.
Illustrated: Space p.70, Exploring Space p.182
£300 - £500
64 EVA by Richard Gordon, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54454 in red in top margin
Richard Gordon, pilot for the Gemini 11 space flight, returns to the hatch of
the spacecraft in this view recorded by the onboard movie camera.
£300 - £500
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65 Richard Gordon EVA photograph, Gemini 11 spacecraft docked with the Agena Target Vehicle, September 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54555 in red in top margin
Gordon successfully completed a second, less tiring, EVA (Extra Vehicular
Activity) standing up with his head and shoulders out of the hatch to
photograph the spaceship, and the Earth, clouds and stars.
£200 - £300
66 Richard GordonThe illuminated Earth at a record-high altitude of 850 miles, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54706 in red in top margin
Once docked with the Agena vehicle, the astronauts used its propulsion
system to increase the apogee of their orbit to 850 miles (1,370 km), the
highest Earth orbit ever reached by a manned spacecraft.
£300 - £500
67 Richard GordonThe Earth’s limb at sunset, Gemini 11, September 1966 Vintage
chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA S-66-54714 in red in top margin
Illustrated: The View from Space p.79
£400 - £600
68
Richard GordonThe spectacular curvature of the Earth over the Indian Ocean, Gemini 11, September 1966
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, one numbered NASA
S-66-54714 in red in top margin, two with NASA MSC captions on verso (3)
“I was very lucky with my Gemini flight. I was at the right place at the right
time to get a lot of startling photographs.” Richard Gordon
£400 - £600
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69 Richard GordonIndia and Sri Lanka, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54677 in red in top margin
“The photographs I remember best from Gemini 11 were those taken
during the high-altitude portion of the flight, especially that very famous
one of the subcontinent of India in its entirety.” R. Gordon
Illustrated: Moon p.136
£300 - £500
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Richard GordonThe Arabian Peninsula from Space, Gemini 11, September 1966
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark and NASA MSC captions
numbered S-66-54893, S-66-54536, S-66-54669 on verso, two numbered
NASA S-66-54893, S-66-54669 in red in top margin (3)
The Near East, the Gulf of Aden and the Persian Gulf. The majority of the
camerawork fell to Gordon after a badly smudged window restricted
command pilot Pete Conrad’s view.
£400 - £600
71
Richard GordonAgena tethered to the spacecraft, black sky background, Gemini 11, September 1966
Four vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in) with McDonnell stamp and “A Kodak Paper” watermark
on verso, [NASA negative numbers S-66-54577, S-66-54829, S-66-54804,
S-66-54802] (4)
“[Gemini] XI did it great. They even had a tether line hooked up to the
Agena and were going round and round like this [gestures]. Unbelievable
series of photographs.” Richard Underwood
£400 - £600
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Agena tethered to the spacecraft, California in the background, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-54810 in red in top margin
Illustrated: The View from Space p.79, Cortright p.182; Newhall p.130
£300 - £500
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76 Rendezvous with the Agena over the Earth, Gemini 12, November 1966
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), one with NASA MSC caption and “A Kodak Paper”
watermark on verso, numbered NASA S-66-63396 in red in top margin;
the other with “A Kodak Paper” watermark on verso, [NASA negative
number S-66-62755] (2)
The American flag is clearly visible on the Agena Docking Target Vehicle.
£400 - £600
77 Partial solar eclipse from space, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-63414 in red in top margin
£200 - £300
73 Re�ections of the Sun over the detached Agena Target Docking Vehicle, Gemini 11, September 1966
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermarks on
verso, numbered NASA S-66-54579, S-66-54830 in red in top margin (2)
£300 - £500
74 The detached Agena orbiting the Earth, Gemini 11, September 1966
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), one with NASA MSC caption and “A Kodak Paper”
watermark on verso, numbered NASA S-66-54585 in red in top margin;
the other with McDonnell stamp and “A Kodak Paper” watermark on verso,
[NASA negative number S-66-54586] (2)
£300 - £500
75 Pete ConradUnidenti�ed Flying Object, Gemini 11, September 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso
“It was a very definitive vehicle, not an artifact of any kind. It was a machine
that was built by some humans somewhere in time, and we couldn’t figure
it out. We had no idea what it was or anything”. Richard Underwood. The
UFO was in fact a Russian Proton capsule.
£200 - £300
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78 Buzz Aldrin’s Standup EVA, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S6663537 in red in top margin
“One thing I know about Buzz, he’s one of these guys that’s a lot smarter
than most of us. He had a nickname, Dr. Rendezvous.” Alan Bean
£300 - £500
79 Buzz AldrinEVA photograph: Agena seen through the open hatch of the spacecraft, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-62880 in red in top margin
£300 - £500
80 Buzz AldrinFirst selfportrait in space, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-62926 in red in top margin
Illustrated: Space p.71, Cortright p.184
£600 - £800
80
78
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81
EVA by Buzz Aldrin, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-66-63536 in
red in top margin
“The whole purpose of Aldrin’s EVA was to see how well you can work in
space. You can operate very nicely out there if you know what you’re doing
and just slow down. You have to let zero gravity work for you, not against
you.” J. Lovell.
£400 - £600
82 James LovellEVA by Buzz Aldrin, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, [NASA negative number
S-66-62763]
£400 - £600
83 James LovellEVA by Buzz Aldrin, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-66-62782 in
red in top margin
Illustrated: Cortright p.183, The View from Space, p.59
£500 - £750
83
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84 EVA by Buzz Aldrin, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-62938 in red in top margin
£300 - £500
85 The Agena Target Vehicle tethered to Gemini 12 above the Gulf of California, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-66-63519 in
red in top margin
£300 - £500
86 Egypt and Sinai¨ from Space, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-63533 in red in top margin
£200 - £300
87 The horizon of the Earth from the orbiting spacecraft, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-63017 in red in top margin
£200 - £300
84 85
86
87
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88
Earth’s limb at sunset, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-62966 in red in top margin
£400 - £600
89
James LovellBuzz Aldrin in the spacecraft, Gemini 12, November 1966
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-66-63539 in red in top margin
£400 - £600
90 The �nal photograph transmitted before impact on the Moon, Ranger 7, July 1964
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA JPL caption on verso
Ranger 7 was the first space probe to send close-up pictures of the Moon
until three seconds before it impacted on the lunar surface. Astronomers
were delighted at the clarity of the images which confirmed that there were
lunar areas topographically suitable for manned landing sites.
£300 - £500
91
First landing in the Sea of Tranquillity, Ranger 8, February 1965
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on verso
In February 1965, the Ranger 8 spacecraft was deliberately crashed into the
Sea of Tranquillity after successfully transmitting close-range photographs
of the Moon in the final 23 minutes of its mission.
£200 - £300
92 The �oor of Alphonsus Crater seen from 4.5 miles up 3 seconds before impact, Ranger 9, March 1965
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on verso
Craters down to 40 feet in size can be clearly seen. Its images provided
strong confirmation of the crater-on-crater, gently rolling contours of the
lunar surface.
£200 - £30088
89
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93 The �rst photograph of Mars, Mariner 4, July 1965
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA Goddard caption
on verso
The first view of another planet from above the Earth’s atmosphere. “The
historic value of this photo is clear. Its scientific value lies primarily in its
indication of clouds and its demonstration of the importance and feasibility
of imagery as a scientific tool for planetary exploration.” Dan Schneiderman,
Mariner 1967 Project Manager
Illustrated: Cortright p.130, Space p.62
£300 - £500
94 Ten of the twenty-two photographs of Mars taken by the space probe, Mariner 4, July 1965 Ten vintage gelatin silver prints, each 20.3 x
25.4cm (8 x 10in), NASA HQ captions on verso (10)
Pictures were transmitted from 167 million miles, a distance which took the
spacecraft over seven months to reach at the speed of 7 miles per second.
Illustrated: Cortright p.132, Space p.63
£300 - £500
95 The �rst view of the Earth from the Moon, Frame 101, High Resolution, Lunar Orbiter I, 23 August 1966Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA LRC caption on
verso, numbered NASA L-66-7825 in black in top margin
Captioned by NASA as “The world’s first view of the earth taken by a
spacecraft from the vicinity of the moon” this photograph was presented
with Earth on the left of the Moon since the North Pole was at the top, but
the world’s media instinctively rotated the image to show Earth above. It is
a sight that has only ever been seen by the later Apollo astronauts as they
came around the far side of the Moon and faced the Earth
Illustrated: Cortright pp84-85, Space pp72-73, Newhall pp118-119,
Spacecam p.16, Moon p.128
£800 - £1,200
95
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96 The �rst view of the Earth from the Moon, frame 101, Medium Resolution, Lunar Orbiter I, 23 August 1966Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA LRC caption on
verso, numbered NASA L-66-7861 in black in top margin
The Lunar Orbiters had an ingenious imaging system which consisted of
a dual-lens camera, a film processing unit, a readout scanner, and a film
handling apparatus. The film was processed, scanned, and the images
transmitted back to Earth. This medium resolution of Lunar Orbiter frame
101 shows the Earth hanging in space over the barren farside of the Moon
centred on the dark Crater Tsiolkovsky.
Illustrated: Moon p.130
£500 - £750
97 The second “Earth Moon” view, frame 117, Medium Resolution, Lunar Orbiter I, 25 August 1966
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA LRC caption on
verso, numbered NASA L-66-7849 in black in top margin
£500 - £750
98 The �rst black and white photograph of almost the entire disc of the Earth, ATS I, 9 December 1966
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on verso
The first Applications Technology Satellite (ATS-I) was launched in 1966 with
a revolutionary camera on board, the “spin-scan cloud camera” invented by
Dr Verner Suomi and Professor Robert Parent of the University of Wisconsin.
Designed to take high resolution weather photographs through a spinning
geostationary satellite orbiting as fast as the Earth was spinning and
therefore apparently stationary, it revealed the Earth waxing and waning.
£300 - £500
99
The phases of the Earth during an entire day, ATS I, 11 December 1966
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA Goddard caption
on verso
ATS transmitted the first detailed whole Earth photographs and relayed
from 23,000 miles images at various hours showing the “phases of the Earth”.
£200 - £300
96 97
98
99
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100
The �rst view of Planet Earth with its Moon satellite, ATS I, 22 December 1966
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA Goddard caption
on verso
£300 - £500
101 The Earth, ATS II, May 1967
Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA
Goddard ATS stamps on verso (3)
£300 - £500
102 The �rst colour image of the Earth from outer space, Dodge Satellite, US Air Force / Johns Hopkins University, August 1967 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), Johns Hopkins University stamp and “A Kodak Paper” watermark on
verso, short tear in the upper right margin not affecting the image
This rare image was taken from 18,000 miles with a black and white TV
camera which took three photographs with red, green and blue filters to
create the colour image. The small disc in front of the picture is a colour
match card.
£400 - £600
103
The �rst high quality colour photograph of the whole planet Earth, ATS III, 18 November 1967
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), NASA Goddard ATS stamp and “A Kodak Paper” watermark on verso
“Once a photograph of the Earth, taken from outside, is available - once the
sheer isolation of the Earth becomes known - a new idea as powerful as
any in history will be let loose.” Astronomer Sir Fred Hoyle, speaking in 1948.
The entire disc of the Earth, photographed by the revolutionary Multicolor
Spin-Scan Cloudcover Camera. Even at this relatively short distance in time,
it is difficult to imagine the impact it had on the public who responded
with real emotion to this first image of their planet in its true colours. Edgar
Cortright selected this photograph as the frontispiece for “Exploring Space
with a Camera” published the following year.
£750 - £1,000
100
102
103
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104
Full Earth, ATS 3, 21 January 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
NASA Goddard ATS stamp and “A Kodak Paper” watermark on verso
The satellite 22,300 miles above the Earth at 95° W longitude photographed
storms both north and south of the equator. “The color camera worked well,”
Joseph R Burke, Applications Technology Satellite Program Manager, reported,
“although it had been turned off for about a month to let unexpected gas
accumulation leak out. The ground equipment still was being tuned to give a
better color balance. Both coasts of both North and South America are visible,
and you can glimpse the Great Lakes through the clouds over Canada.” Cortright
£400 - £600
105 Copernicus Crater and its mountainous landscape, Lunar Orbiter II, November 1966
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on verso
The remarkable clarity is attributable to the absence of atmosphere. ”On
first seeing this oblique view of the crater Copernicus I was awed by the
sudden realization that this prominent lunar feature I have often viewed
by telescope is a landscape of real mountains and valleys, obviously
fashioned by tremendous forces of nature. It is no wonder that some writers
immediately classified it as the “Picture of the Year”.” Oran W Nicks, NASA
Office of Space Science and Applications
Illustrated: Cortright p.89, Moon pp134-135
£300 - £500
106 Views of the Moon: the lunar farside and Hortensius Crater, Lunar Orbiters 2, 3 and 4, November 1966Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ
captions on verso (3)
£300 - £500
107 Mosaic of the lunar surface and the Moon’s horizon seen from the �rst American Moon lander, Surveyor I, June 1966Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), one with
NASA JPL caption on verso, the other with caption below the image (2)
£200 - £300
108 Self-portraits of the lander on the lunar surface, Surveyor 3, April 1967
Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), two with
NASA HQ captions on verso, one with caption below the image (3)
£200 - £300
104 105
108 (1 of 3)
107 (1 of 2)
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109 First images of Earth from the surface of the Moon, eclipsing the Sun and in Crescent, Surveyor 3, April 1967Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ
captions on verso (2)
£200 - £300
110 The lunar surface seen by the landers, Surveyors 5, 6 and 7, September 1967 - January 1968
Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), one with
NASA HQ caption on verso, others with captions below the image (3)
£200 - £300
111 Mars encounter, Mariner 6 and 7, July 1969
Eleven vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), ten with
NASA HQ captions on verso, one with NASA MSC caption (11)
Mariner 6 and Mariner 7 completed the first dual mission to Mars in 1969.
These photographs, ten from Mariner 6 and three from Mariner 7, were
taken from distances between 1,000,000 km away to the closest approach
at 3,700 km.
£200 - £300
112 Mars seen by the �rst unmanned spacecraft to orbit a planet, Mariner 9, August 1969 - June 1972
Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ
captions on verso (2)
The findings from the successful Mariner 9 mission underpinned the later
Viking programme and the enormous Martian Valles Marineris canyon
system is named after Mariner 9 in honour of its achievements.
£200 - £300
113 Early space satellites Explorer, Sert and Alouette, 1961-64
Six vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in),
NASA HQ captions on verso (6)
£200 - £300
109
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112
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114 Scientists examining Earth satellites, 1965-1968
Seven vintage chromogenic prints on fibre-based Kodak Paper, each 20.3 x
25.4cm (8 x 10in) with “A Kodak Paper” watermark on verso (7)
Views of scientists examining ATS geostationnary satellites before their
launch to space.
£200 - £300
115 View of the giant Saturn V rocket on the pad at dawn with the Moon in background, Apollo 4, 9 November 1967Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-67-50531 in red in top margin
Apollo 4 was the first test flight of Wernher von Braun’s colossal three-stage
Saturn V rocket destined for the Moon. “It will free man from the remaining
chains, the chains of gravity which still tie him to this planet.” Wernher von
Braun, of the Saturn V rocket.
£200 - £300
116 The �rst Saturn V rocket rises from Pad 39A at Kennedy Space Center, Apollo 4, 9 November 1967
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-67-50533 in red in top margin
Even three miles away the blast blew in the window of CBS television’s
mobile studio, subjecting the broadcaster Walter Cronkite and his
technicians to a sound roar of 120 decibels. “Go, baby, go” Wernher von
Braun was heard to shout.
£200 - £300
117 The Earth appears through the window of the unmanned spacecraft, Apollo 4, 9 November 1967
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered MSC (Manned Spacecraft Center) AS4-1-200 in red in top margin
The photographic mission of Apollo 4 was the acquisition and return of
the highest altitude, colour imagery ever made of the Earth. Located in the
capsule of the unmanned spacecraft, an automatic 70mm Maurer camera
took this beautiful view of the Earth from a distance of about 9,000 miles.
Illustrated: Exploring Space, p.198
£400 - £600
114
115 116
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118
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118 First colour photograph of the Crescent Earth, Apollo 4, 9 November 1967
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered MSC AS4-1-410 in red
in top margin
The photograph was made when the Saturn V third stage was orbiting the
Earth at an altitude of 9,745 nautical miles. “Beautiful though they were,
Apollo 4’s pictures didn’t make much impact in the press. Today, though,
Apollo 4’s ghostly image of the Earth’s globe, pale and breathing, like a child
in the womb awaiting its first human witness, has a peculiar fascination”.
Earthrise, pp86-87
Illustrated: Exploring Space, p.199
£400 - £600
119 The Earth’s horizon, Apollo 6, April 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered MSC AS6-2-821
in red in top margin
Earth’s fragile atmosphere captured by a 70mm automatic camera in the
unmanned capsule. The previous pictures were taken with the camera
facing away from Earth and show only the dark void of space
£200 - £300
120 Orbital panorama of the Earth in the Sun glint above the Atlantic Ocean, Apollo 6, April 1968
Mosaic of nine vintage chromogenic prints on fibre-based Kodak paper, 24 x
124cm, image 21 x 119cm, each with the “A Kodak Paper” watermark on verso,
numbered between MSC AS6-2-894 and AS6-2-905 in red in top margin.
The photographic mission of Apollo 6 was to photograph a whole orbit
of the Earth in a vertical sequence, which would begin at the end of the
first orbit near New Orleans and terminate at the end of the second orbit
over Baja California. The photographs were taken every 9 seconds, giving
sufficient overlap between frames. This panoramic view was taken 115 miles
above the Atlantic Ocean before the spacecraft orbited over Africa.
£2,000 - £3,000
121
Portrait of the crew, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-68-33744
in red in top margin
From left to right, Donn Eisele, Walter Schirra and Walter Cunningham.
£200 - £300
119
121
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122 Walter Cunningham Saturn Rocket third stage, separation and transposition manoeuvres in Space, Apollo 7, October 1968 Two vintage chromogenic prints on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-3-1522,
AS7-4-1569 in red in top margin
£400 - £600
123 Walter Cunningham Saturn Rocket third stage, rendezvous over the Earth, Apollo 7, October 1968 Two vintage chromogenic prints on fibre-based Kodak Paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS7-3-1541, AS7-3-1535 in red in top margin
The round, white disc inside the open panels of the Saturn IVB is a simulated
docking target.
£400 - £600
124 The window of the Command Module cabin, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-3-1557 in
red in top margin
“On Apollo 7, we had more film, and more time to kill. So we started
studying the spacecraft contents, where before we had been fascinated by
the view outside.” W. Schirra
£300 - £500
125 Walter Cunningham On-board portrait of astronaut Walter Schirra, Apollo 7, October 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS7-4-1582 in red in top margin, three filling holes in top
margin, one just outside image
Walter Schirra was one of the original Mercury Seven astronauts and flew on
Mercury 8, Gemini 6 and Apollo 7.
“To me, it’s one of the great photos taken in space. I thought it was the best
study of the stress and strain on a human being. It has natural lighting and
unique shadows. You see the last day of the last hurrah of an aging pioneer.”
R. Underwood
Illustrated: The View from Space p. 91, Full Moon plate 17
£300 - £500
122 (1 of 2)
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125
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126Walter Schirra On-board portrait of astronaut Walter Cunningham, Apollo 7, October 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS7-4-1586 in red in top margin
A 70 mm Hasselblad camera film just above Cunningham’s right hand is
floating in the weightless environment of the spacecraft. “That picture
seemed to catch all the hard work and tiredness, the real effort, not simply
the glamour of spaceflight.” W. Cunningham
Illustrated: Space, p.78
£300 - £500
127
On-board portrait of Donn Eisele, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS7-4-1600 in red in top margin
£300 - £500
128 The highest mountains of the Earth (Mt Everest) photographed from Space, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-7-1748 in
red in top margin
The world’s dozen peaks which reach a height greater than five miles above
sea level are seen in this photograph from an altitude of 130 nautical miles.
The 29,028 ft. high Mount Everest is at lower centre.
£200 - £300
129 Cumulus clouds over the Gulf of Mexico, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-7-1825 in
red in top margin
£200 - £300
126 127
128
129
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130 Walter Cunningham Hurricane Gladys over the Gulf of Mexico, Apollo 7, October 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-7-1877 in
red in top margin
Illustrated: The View from Space p.90, Full Moon p.16, Newhall p.133
£200 - £300
131
The Earth’s horizon seen from the cockpit, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-8-1885 in
red in top margin
“It’s very difficult to photograph from space. You have only 45 minutes
of daylight, and the first and last portions are not all that useful for color
matching. So you’re waiting there for the middle of a 45-minute period with
one of the windows pointed close to the vertical instead of being pointed
out into space.” W. Cunningham
£200 - £300
132 Walter Cunningham Florida Peninsula looking East, Apollo 7, October 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-8-1933 in
red in top margin
“Everything came together on day nine, and we found ourselves looking at
the Florida Peninsula, which had been our home for much of the preceding
three years. Grabbing the Hasselblad camera, I perpetrated a photographic
no-no, taking this picture looking into the sun”. W. Cunningham
Illustrated: The View from Space p.85, Full Moon, plate 8
£400 - £600
133 California from an altitude of 125 miles, Apollo 7, October 1968
Two vintage chromogenic prints on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-11-
2019 and AS7-11-2022 in red in top margin
£200 - £300
134 Kennedy Space Center in the clouds, seen from space, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS7-11-2038 in
red in top margin
£200 - £300
130 131 134
132
133
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135 First TV transmission from Space, Apollo 7, October 1968
Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ
captions on verso, numbered 68-H-949, 68-H-958 and 68-H-980
The first live television broadcast from an American crewed spacecraft.
There were seven telecasts which lasted only a few minutes each, but gave
millions on Earth their first view of living in space.
£300 - £500
136 Mission Control, Apollo 7, October 1968
Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS7-11-2038 in red in top margin
£200 - £300
137 Portrait of the crew, Apollo 8, November 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-68-50265 in red in top margin
Left to right are astronauts James Lovell, command module pilot, William
Anders, lunar module pilot and Frank Borman, commander.
£200 - £300
138 Portraits of the �rst lunar voyagers, Apollo 8, November 1968
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on verso,
numbered NASA S-68-50265, S-68-52930, S-68-53221 in red in top margin
The astronauts were photographed during water survival training.
£300 - £500
139 Artist’s concept views anticipating di�erent phases of the �rst mission to the Moon, Apollo 8, December 1968Five vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on
verso, numbered NASA S-68-51034, S-68-51306, S-68-51305, S-68-51303,
S-68-51302 in red in top margin (5)
£300 - £500
135 (1 of 3)
137
139 (3 of 5)
136
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LONDON
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140 Lunar training, Apollo 8, 1968
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on verso,
numbered NASA S-68-29204, S-67-50592, S-68-53185 in red in top margin (3)
Frank Borman trains in the Apollo mission simulator, James Lovell gets ready
for centrifuge training and William Anders tests his spacesuit.
£300 - £500
141 Space food, Apollo 8, December 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-69-50516 in red in top margin
On Christmas Day the crew feasted on ready-to-eat turkey, gravy and
cranberry sauce. “They surprised us with Christmas dinner. And I really got
irritated when they put the goddam brandy in there. You know they had
two little bottles, and I wouldn’t let anybody drink that.”
£300 - £500
142 Lifto� training in the mission simulator, Apollo 8, November 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-68-50268 in red in top margin
£200 - £300
143 Lifto� to the Moon, Apollo 8, December 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-68-56050 in red in top margin
£200 - £300
144 William Anders The Earth seen from high-altitude orbit, south-eastern United States and the Caribbean Sea, Apollo 8, December 1968Vintage chromogenic print on fibre-based Kodak paper,20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS8-14-2581 in
red in top margin
One of the last views taken from the Apollo 8 spacecraft before it left Earth
orbit for the first time in history. “We changed our plans on Apollo 8. They
changed the mission from an Earth orbital type to a flight to the Moon. And
it was a bold move. It had some risky aspects to it. But it was a time when
we made bold moves.” J. Lovell
Illustrated: The View from Space, p.93
£300 - £500
140 (1 of 3)
141
143
144
142
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145 William Anders Saturn rocket third stage separation, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS8-14-2583 in
red in top margin
After orbiting the Earth twice, Apollo 8 fired the Saturn V third stage and
broke free of Earth’s gravitational pull.
£300 - £500
146
William Anders The Earth photographed from beyond Earth orbit, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS8-16-2588 in
red in top margin
“The Earth is now passing through my window. It’s about as big as the end
of my thumb. Waters are all sort of a royal blue. Clouds of course are bright
white.” J. Lovell, Apollo 8 air-to-ground transmission
Illustrated: The View from Space p.94, Newhall p.123
£300 - £500
147 William Anders First photograph of the planet Earth taken by an astronaut, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS8-16-2593]
William Anders and his crewmates James Lovell and Frank Borman became
the first humans to see the Earth as a planet. “To see the earth as it truly
is, small and blue and beautiful in that eternal silence where it floats, is
to see ourselves as riders on the earth together, brothers on that bright
loveliness in the eternal cold-brothers who know now they are truly
brothers.” Archibald McLeish, The New York Times, December 25, 1968. The
photograph was on the cover of Life Magazine, January 10, 1969.
Illustrated: Space p.81
£600 - £800
145
146
147
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148 William Anders Planet Earth seen during translunar coast, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS8-16-2596]
“As I looked out there I could not figure out which way was up. Anyway,
who’s to say which way is up in space?” W. Anders
“The view of the Earth from the Moon fascinated me, a small disk, 240,000 miles
away. It was hard to think that that little thing held so many problems, so many
frustrations. Raging nationalistic interests, famines, wars, pestilence don’t show
from that distance.” Frank Borman, Apollo 8, Life magazine, 17 January 1969
£400 - £600
149 William Anders Planet Earth seen from a point near the Moon, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak Paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS8-16-2606]
“The vast loneliness up here at the moon is awe-inspiring, and it makes you
realize what you have back there on earth. The earth from here is a grand
oasis in the big vastness of space.” Jim Lovell, live Apollo 8 telecast from
lunar orbit
£400 - £600
150 Receding Earth seen from the lunar sphere of gravitation, Apollo 8, December 1968
Set of four vintage chromogenic prints on fibre-based Kodak paper, each
ca.20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, two of them
numbered in red in top margin [NASA negative numbers AS8-15-2554, AS8-
15-2562, AS8-16-2608, AS8-16-2622] (4)
Now entering the gravitational sphere of influence of another celestial body
for the first time in human history, the astronauts used a 250 mm telephoto
lens to photograph the Earth getting smaller and smaller. “You can see the
whole Earth at about ten thousand miles. And you start taking pictures. You
take one at ten, and one at fifteen, and one at twenty, etc, etc. And of course,
they’re all the same; it’s just that the Earth takes less of the field of view of
the camera as you get further away. But you don’t think that. You think, Oh,
I wanna take another picture now. I wanna take another picture now. It’s
spectacular. Oh, it’s spectacular” David Scott in Voices from the Moon.
£800 - £1,200
148 149
150
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151William Anders Crater Langrenus �rst seen by human eyes, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS8-16-2615 in red in top margin
Langrenus is “quite a huge crater; it’s got a central cone to it. The walls of
the crater are terraced, about six or seven terraces on the way down.” J.
Lovell, Apollo 8 air-to-ground transmission.
£300 - £500
152 William Anders Crater Goclenius �rst seen by human eyes, Apollo 8, December 1968 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on
verso, [NASA negative number AS8-13-2225]
“The color of the Moon looks like a very whitish gray, like dirty beach sand
with lots of footprints on it. All you need is black and white film.” W. Anders,
Apollo 8 air-to-ground transmission
Illustrated: The View from Space, p.99
£300 - £500
153 William Anders Mountains on the lunar farside �rst seen by human eyes, Apollo 8, December 1968 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption
numbered AS8-12-2244 on verso
“The back side is more mountainous than the front side, someone said it
was like papier-mâché. Well, right, it’s all shades of grey. There is no color.”
James Lovell
£300 - £500
154 James Lovell Keyhole-shaped crater on the lunar farside �rst seen by human eyes, Apollo 8, December 1968 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered NASA AS8-12-2052 in black in top margin.
“No matter how closely you looked, it was crater upon crater. You get the
monocular out, and you’d see just even more craters. So you just imagined
they were right down to microscopic little craters. What you had down
there was a big heap of crater upon crater.” W. Anders
Illustrated: Space p.82, The View from Space, p.57
£300 - £500
151 152
153 154
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155 William Anders First Earthrise seen by human eyes, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS8-14-2383 in red in top margin
The celebrated view of planet Earth appearing over the bleached lunar
horizon. “There was nothing in the plan for an Earthrise photo. Indeed, we
didn’t even see an actual Earthrise until, on our third orbit, we changed the
spacecraft’s orientation to heads up and looking forward. As we came round
the back side of the moon, where I had been taking pictures of craters near
our orbital track, I looked up and saw the startlingly beautiful sight of our
home planet “rising” up above the stark and battered lunar horizon. It was
the only color against the deep blackness of space. In short, it was beautiful,
and clearly delicate”. W. Anders
Illustrated: The View from Space, p.98, Space p.83, Newhall pp136-137,
£1,000 - £1,500
156 William Anders Second colour photograph of the �rst Earthrise seen by human eyes, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS8-14-2384]
Anders took three photographs of the first Earthrise witnessed by human
eyes. The first, being black and white, did not achieve iconic status. Two
colour photographs were taken within the next minute or so; the first of
these was to be selected by picture editors around the world. All three
astronauts photographed the scene. “There is still some debate as to which
of us took the very first shot, but, regardless of who was first, the happy
combination of a long lens, color film, my varying f-stops as I shot, and a
much cleaner window on my side of the spacecraft, all resulted in one of
the pictures from my camera’s magazine being selected by NASA as what
has since become the iconic “Earthrise””. W. Anders
£600 - £800
155
156
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157 The Sea of Tranquillity �rst seen by human eyes, Apollo 8, December 1968
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA HQ caption on
verso, [NASA negative number AS8-13-2344]
“My own impression is that it’s a vast, lonely, forbidding type existence - a
great expanse of nothing, that looks rather like clouds and clouds of pumice
stone - and it certainly would not appear to be a very inviting place to live
or work.” Frank Borman, live Apollo 8 telecast from lunar orbit.
£300 - £500
158 Frank Borman Earthrise sequence, Apollo 8, December 1968 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermarks on
verso, numbered NASA AS8-14-2389, AS8-14-2392 in red in top margin (2)
“Even out at the Moon, the deep blue of the Earth is the only color you can
see in the Universe.” Frank Borman
£800 - £1,200
159 The lunar farside horizon �rst seen by human eyes, Apollo 8, December 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS8-14-2453 in red in top margin
“In this photograph, the Apollo 8 astronauts looked down on rugged terrain
never seen by man. This scene is typical of lunar farside terrain illuminated
by a sun that is nearly directly overhead.” NASA caption
Illustrated: Moon p.159
£300 - £500
160 The farside of the Moon through the window of the spacecraft heading back to Earth, Apollo 8, December 1968Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered NASA AS8-12-2187 in black in top margin
£300 - £500
161 Lunar landscape near the Crater Giordano Bruno �rst seen by human eyes, Apollo 8, December 1968
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in),
NASA HQ caption on verso, [NASA negative number AS8-12-2209]
Giordano Bruno is located on the farside of the Moon, just beyond the
northeastern limb
£300 - £500
157 159 160
158
161
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 949446
162 Receding Moon appearing in the Command Module’s window, Apollo 8, December 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS8-14-2473 in
red in top margin
£300 - £500
163 William Anders Near Full Moon, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, larger format, 28 x
22cm, image 26.5 x 20.5cm, McDonnell Douglas stamp and “A Kodak Paper”
watermark on verso, [NASA negative number AS8-14-2485]
“We flew to the moon as path-finders for future Apollo missions. The first
view of the moon was mesmerizing, as we were aware that no other
humans had seen the far side of the moon directly”. F. Borman
£300 - £500
164 William Anders The eastern hemisphere of the Moon �rst seen by human eyes, Apollo 8, December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS8-14-2506 in red in top margin.
This frame is centred near Mare Smythii and lunar farside features occupy
most of the right half of the picture.
Illustrated: The View from Space p.96, Moon p.155
£400 - £600
165 View of the Command Module re-entering the Earth’s atmosphere, Apollo 8, December 1968
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-69-15592 in red in top margin
The photograph was taken by an airborne camera mounted on a US Air Force
aircraft 40,000 feet up. “The thing I remember about entry is being inside the
flame, and wondering if it was going to scorch my back. I must say, I kept feeling
I was getting hotter back there, but it really wasn’t.” W. Anders
£200 - £300
162 163
165164
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166 David Scott Russell Schweickart photographs outside the LM during an EVA, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-19-2983 in
red in top margin
The Earth is reflected in Schweickart’s visor. David Scott took the
photograph from the hatchway of the Command Module “Gumdrop” during
his standup EVA.
£400 - £600
168Russell Schweickart David Scott stands in the open hatch of the CSM, standup EVA, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS9-20-3064 in red in top margin
“I took this shot of Dave Scott taking a picture of me at the beginning of
my EVA on Apollo 9. It captures just a bit of the fantastic beauty of the Earth
juxtaposed against the infinite black of space. In the foreground is that
amazing combination of human and machine that is enabling us to emerge
into the universe out of the womb of Earth”. R. Schweickart
Illustrated: Space p.84, Spacecam p.40, Great Images in NASA (online), Moon
p.160-161
£600 - £800
167 David Scott Russell Schweickart’s EVA, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak
paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, [NASA negative number
AS9-19-2985]
While David Scott was photographing him during
his standup EVA, Schweickart made his own
spacewalk to test the new spacesuit and backpack
designed for moonwalking astronauts.
£400 - £600
166 167
168
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169 Russell Schweickart David Scott looks at the Earth, standup EVA, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS9-20-3065]
Taken by Schweickart during his spacewalk while the CSM and LM were docked.
Illustrated: Moon plate 9
£600 - £800
170 James McDivitt Russell Schweickart’s EVA, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-20-3094 in
red in top margin
Taken by James McDivitt from inside the LM. “Now you’re out there and
there are no limits, there are no boundaries. You’re really out there, going
17,000 miles an hour, ripping through space, a vacuum. And there’s not a
sound.” R. Schweickart
£400 - £600
171 Onboard TV view of astronauts Russell Schweickart and James McDivitt inside the LM, Apollo 9, March 1969Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA JPL caption on verso
£200 - £300
172 David Scott The LM “Spider” in lunar landing con�guration, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS9-21-3199 in red in top margin
The Lunar Module “Spider” is flying upside down in relation to the earth
below. The landing gear has been deployed.
£400 - £600
169
170 171 172
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173 The Command and Service Module “Gumdrop” seen from the Lunar Module “Spider”, Apollo 9, March 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-24-3634 in
red in top margin
The CSM and the LM were tested in Earth orbit conditions before going to
the Moon on later missions.
£400 - £600
174 The CSM “Gumdrop” over the Earth, Apollo 9, March 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS9-24-3656 in red in top margin
£400 - £600
175 Thunderstorm over South America, Apollo 9, March 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-22-3374 in
red in top margin
The cloud shield spreads over 60 miles of Amazonian tropical jungle.
Illustrated: This Island Earth, p.16, Moon p.168
£200 - £300
176 The Earth’s horizon over West Africa, Apollo 9, March 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-22-3411 in
red in top margin
£200 - £300
177
Russell Schweickart Onboard portrait of astronaut James McDivitt, Apollo 9, March 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-22-3423 in
red in top margin
£400 - £600
173
174
175
176
177
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178 The terminator, the boundary between day and night on Earth, Apollo 9, March 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS9-20-3151 in
red in top margin
The spacecraft was orbiting over southwest Africa. “As you pass from sunlight
into darkness and back again every hour and a half, you become startlingly
aware how artificial are thousands of boundaries we’ve created to separate
and define. And for the first time in your life you feel in your gut the precious
unity of the Earth and all the living things it supports.” Russell Schweickart
£200 - £300
179 Scienti�c photography, infrared photographs over the Gulf of California, Apollo 9, March 1969
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS9-26A-3781, AS9-26A-3798A in red in top margin, the second with NASA
MSC caption on verso (2)
One of the experiments conducted by the astronauts during their ten-day
flight was an extensive photographic survey of Earth resources. The pictures
provided a wealth of information about plant reflectance and vegetation
patterns, land use and the photography of coastal waters.
Illustrated: Moon pp162-163 (the first), Moon pp168-169 (the second)
£200 - £300
180 Fish-eye view of the launch, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA KSC caption and “A Kodak Paper” watermark on verso
The 363-foot-high Saturn V vehicle lifts off with astronauts Thomas Stafford,
John Young and Eugene Cernan at the start of their lunar orbit mission.
Illustrated: Moon p.170
£200 - £300
181 Lifto�, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA S-69-34490 in red in
top margin
The purpose of the fourth manned Apollo mission was to be a dress
rehearsal for Apollo 11, testing all of the procedures and components of a
Moon landing without actually landing on the Moon itself.
£200 - £300
182 Beyond Planet Earth, Apollo 10, May 1969
Three vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), NASA MSC captions and“A Kodak Paper” watermarks on verso,
numbered NASA AS10-34-5010, AS10-34-5012, AS10-34-5013 in red in top
margin (3)
“How did it feel for that guy to be there, to take the picture? That’s another
thing. The pictures alone don’t do the whole job, they don’t properly record
the emotional or the spiritual part of the history that took place, but they
sure do carry their share of the load.” Eugene Cernan
£800 - £1,200
181
178
179
180
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183 Planet Earth, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS10-34-5014
in red in top margin
“It’s the best picture ever made of the North American continent because of
the trajectory, the time of year and the weather.” Tom Stafford
Illustrated: The View from Space, p.53, Moon p.171
£600 - £800
184 The Earth, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS10-34-5043 in red in top margin
The Apollo 10 crew holds the distinction of being the humans who have
travelled to the farthest point, some 408,950 kilometres, from Earth.
£400 - £600
182
183
184
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185 Eugene Cernan The CSM “Charlie Brown”, the �rst spacecraft photographed over another world, Apollo 10, May 1969 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS10-27-3873 in red in
top margin
The reflective nature of the outer layer of the Command Module can be
seen in this view from the LM with the sun directly above. The lunar surface
is reflected as light tones and the dark portion mirrors the blackness of
outer space.
Illustrated: The View from Space, p.63, Full Moon, p.106, Moon p.177
£400 - £600
186 The CSM “Charlie Brown”, the �rst spacecraft photographed in lunar orbit, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS10-27-3880
in red in top margin
Illlustrated: Space p.86
£400 - £600
187
The CSM “Charlie Brown” in lunar orbit while the LM “Snoopy” approaches the Moon, Apollo 10, May 1969Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4168, AS10-29-4171, AS10-29-4166 in black in top margin (3)
£400 - £600
188 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscapes seen from the spacecraft’s window from Crater 303 to Craters 301 and 297, Apollo 10, May 1969Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4175, AS10-29-4176, AS10-29-4177, AS10-29-4180, AS10-29-
4181 in black in top margin (5)
The primary mission of the crew was to fly the LM within fifty thousand
feet of the Moon’s surface in order to inspect landing site 2 on the Sea of
Tranquillity, tentatively selected as the landing spot for Apollo 11.
£400 - £600
185 186
187 (1 of 3) 188 (2 of 5)
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189 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscapes seen from the spacecraft’s window, Craters 216 and 211, Apollo 10, May 1969Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4198, AS10-29-4209 in black in top margin (2)
£300 - £500
190 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscapes seen from the spacecraft’s window from crater 199 to craters 269 and 189, Apollo 10, May 1969Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4224, AS10-29-4225, AS10-29-4226, AS10-29-4227, AS10-29-
4228 in black in top margin (5)
£400 - £600
191 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscapes seen from the spacecraft’s window, highlands between the Sea of Fertility and the Sea of Tranquillity, Apollo 10, May 1969Fifteen vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4250 to AS10-29-4274 in black in top margin (15)
The crew sent back descriptions of a surface they found to be “pretty
smooth, like wet clay.”
£600 - £800
192 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscapes seen from the spacecraft’s window, Crater Censorinus in the Sea of Tranquillity, Apollo 10, May 1969Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-29-4289, AS10-29-4290 in black in top margin (2)
£300 - £500
193 The Lunar Module’s approach to the possible Apollo 11 landing site, orbital landscape seen from the spacecraft’s window, Crater Maskelyne beyond the thrusters, Apollo 10, May 1969Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS10-
29-4296 in black in top margin
£200 - £300
189 (1 of 2)
191 (2 of 15)
192 (1 of 2)
193
190 (2 of 5)
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194 Lunar landscapes in the Sea of Tranquillity during the closest approach to the Apollo 11 landing site, Apollo 10, May 1969Nine vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
between NASA AS10-29-4308 and AS10-29-4323 in black in top margin (9)
The LM came to within 15.6 km of the lunar surface. This rehearsal, which
was planned to follow the schedule for the Apollo 11 as closely as possible,
actually took more than six and a half hours from the beginning of the
descent until both spacecraft had docked for the second time for crew
transfer back to the CSM.
£600 - £800
195 Earthrise seen from the LM, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption “A Kodak Paper” watermark on verso, numbered NASA
AS10-27-3892 in red in top margin
£600 - £800
196 The Sea of Crises, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS10-34-5097 in red in
top margin
£200 - £300
197 John Young Ascent stage of the LM “Snoopy” �ying towards the Command Module for rendezvous, Apollo 10, May 1969Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA AS10-34-
5105, AS10-34-5112 in red in top margin (2)
In the first photograph, the LM is just visible through the CM window as it
climbs towards rendezvous. Tom Stafford and Gene Cernan flew “Snoopy” to
within 9 miles of the Moon’s surface testing systems and procedures before
rejoining John Young in the Command Module “Charlie Brown”.
£400 - £600
197 (1 of 2)
195
196 194 (3 of 9)
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198 Orbital view of possible Apollo 11 landing site, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS10-34-5158 in red in
top margin
£200 - £300
199 Eugene Cernan The Crater Schmidt, Sea of Tranquillity, Apollo 10, May 1969 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS10-34-5162 in red in
top margin
The crater wall is dramatically lit by a low-sun angle.
Illustrated: Moon p.174, The View from Space p.64
£200 - £300
200 Diptych: Crater Godin’s wall, Apollo 10, May 1969
Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS10-34-
5164, AS10-34-5165 in red in top margin (2)
The two adjoining views make up a panorama of the crater’s brightly
illuminated wall.
£300 - £500
201 Lunar mountains seen from orbit, Apollo 10, May 1969
Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA AS10-34-
5171, AS10-34-5173 in red in top margin (2)
On the Moon’s farside these sharply defined impact craters cut into the
older, eroded craters on the surface are relatively new. The crew described
the Moon’s colour as grey-white, but under certain lighting conditions it
showed a rosy brown tint.
Illustrated: Moon pp 172-173
£300 - £500
202 Rima Ariadaeus, Apollo 10, May 1969
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in),
numbered NASA AS10-30-4449 in black in top margin.
£200 - £300
198 199 202
200
201
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203 Orbital landscapes seen through the left window from the spacecraft �ying over Mendeleev Basin from Crater 218 to Crater 216 on the lunar farside, Apollo 10, May 1969Eight vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
between NASA AS10-30-4454 and AS10-30-4468 in black in top margin (8)
The crew of Apollo 10 photographed in an overlapping oblique sequence
looking north.
£400 - £600
204 Earthrise sequence, Apollo 10, May 1969
Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS10-30-4475, AS10-30-4477, AS10-30-4479, AS10-30-4481, AS10-30-
4483 in black in top margin (5)
£800 - £1,200
205 Looking into darkness over Central Bay, Apollo 10, May 1969
A set of three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in),
numbered NASA AS10-32-4734, AS10-32-4736, AS10-32-4738 in black in top
margin; and one vintage chromogenic print on fibre-based Kodak Paper, “A
Kodak Paper” watermark on verso (4)
The photographs were taken at the lunar terminator, the boundary
between day and night on the Moon. Topographic features on the surface
of the lunar mare Central Bay are accentuated by the low sun angle.
£400 - £600
203 (2 of 8)
205 (2 of 4)
204 (3 of 5)
206
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206
Leaving the Moon, Apollo 10, May 1969
Three vintage chromogenic prints on fibre-based paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermarks on verso, numbered NASA AS10-27-3920,
AS10-27-3922, AS10-27-3948 in red in top margin (3)
£500 - £750
207 The receding Moon seen during the return to Earth, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS10-27-3956 in red in
top margin
£300 - £500
208 Return to Earth, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS10-27-3976 in red in top margin
£400 - £600
209 Back from another world, Apollo 10, May 1969
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA S-69-36593 in red in top margin
The Apollo 10 crew arrive aboard USS Princeton as they step from the
helicopter. “Coming back, you were still on a high. You had yet to get on the
carrier. You had to get home. A lot of things had to happen right…” E. Cernan
£200 - £300
208
207
209
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210
Panorama of the lunar horizon at the terminator over the Sea of Vapors, Apollo 10, May 1969. Mosaic of three vintage gelatin silver prints, 30 x 36cm, image 27.5 x 28.5cm,
numbered NASA AS10-32-4819 to AS10-32-4821 in black in top margin
£800 - £1,200
211 Panorama of the Earth rising over the lunar horizon, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 27.5 x 40.8cm, image 21 x 38cm,
numbered NASA AS10-29-4231, AS10-29-4232 in black in top margin.
£1,500 - £2,000
210
211
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212
Telephoto panorama of Papaleksi Crater on the lunar farside, Apollo 10, May 1969
Mosaic of four vintage gelatin silver prints, 26.2 x 35cm, image 19.5 x 30cm,
numbered NASA AS10-31-4653 to AS10-31-4658 in black in top margin
£1,000 - £1,500
213 Telephoto panorama over the west rim of Smyth’s Sea, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 29.2 x 42.5cm, image 27.5 x 37.5cm,
numbered NASA AS10-33-4998 to AS10-33-4999 in black in top margin
£800 - £1,200
213
212
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214 Telephoto panorama of Langemak Crater on the lunar farside, Apollo 10, May 1969
Mosaic of three vintage gelatin silver prints, 22.2 x 37.5cm, 20.5 x 30cm,
numbered NASA AS10-33-4991 to AS10-33-4993 in black in top margin
Within the interior of the crater is a low, curving central ridge near the
midpoint. There is a patch of lower albedo material - light reflecting - to the
right of this ridge, extending to the edge of the inner wall.
£800 - £1,200
215 Telephoto panorama of the lunar terminator over Oppolzer Crater, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 23.5 x 43.5cm, image 21 x 36.8cm,
numbered NASA AS10-32-4735, AS10-32-4737 in black in top margin
“Looking into darkness” was the remark of the photo analysts for this view in
Analysis of Apollo 10 Photography and Visual Observations.
£1,000 - £1,500
214
215
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216
Telephoto panorama of the �oor and eastern rim of Mendeleev Basin, Apollo 10, May 1969
Mosaic of twelve vintage gelatin silver prints, 32.5 x 66.5cm, 28 x 60cm,
numbered NASA AS10-31-4663 to AS10-31-4674 in black in top margin
This crater was identified from Luna 3 imaging and given its present name
in the Russian Atlas of the Far Side of the Moon (1960). During planning
for Apollo 10, astronauts and mission planners (perhaps unaware that this
crater already had a name, or uncertain of its identification), referred to
Mendeleev by the name of Basin IX.
£2,000 - £3,000
217 Telephoto panorama of Arago Crater, Apollo 10, May 1969
Mosaic of four vintage gelatin silver prints, 37.5 x 34cm, image 30.8 x 32cm,
numbered NASA AS10-31-4630 to AS10-31-4633 in black in top margin
Arago is located in Mare Tranquillitatis just north of the Apollo 11 landing site.
£1,500 - £2,000
216
217
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218 Telephoto panorama of Taruntius Crater, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 23.5 x 44.5cm, image 21.5 x 37.5cm,
numbered NASA AS10-31-4569 to AS10-31-4570 in black in top margin
Taruntius is located between Mare Tranquillitatis and Mare Fecunditatis.
£800 - £1,200
219 Panorama of the lunar farside horizon seen in low-Sun light, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 26 x 43cm, image 24 x 36cm,
numbered NASA AS10-30-4452 to AS10-30-4453 in black in top margin
The window of the spacecraft is visible at the right. The view looks towards
Spencer Jones and Anderson Craters.
£1,500 - £2,000
218
219
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220 Panorama of Erro Crater, Apollo 10, May 1969
Mosaic of two vintage gelatin silver prints, 41.5 x 31.5cm, 35 x 28.5cm,
numbered NASA AS10-29-4221 to AS10-29-4222 in black in top margin
The photograph was taken from the LM Snoopy during its approach to the
future Apollo 11 landing site.
£800 - £1,200
221 Telephoto panorama of King Crater, Apollo 10, May 1969
Mosaic of four vintage gelatin silver prints, 30 x 37cm, image 23 x 34cm,
numbered NASA AS10-30-4354 to AS10-30-4360 in black in top margin
King Crater is located on the lunar farside. In Apollo 10 Visual Photography
and Visual Observations, the photo analysts describe it as a “large rough-
rimmed crater with massive central peak”.
£1,500 - £2,000
221
220
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222 Telephoto panorama of an unnamed Crater on the lunar farside, Apollo 10, May 1969
Mosaic of six vintage gelatin silver prints, 37 x 27.5cm, image 29 x 26cm,
numbered NASA AS10-30-4343 to AS10-30-4348 in black in top margin
The crater, still unnamed today, was described as a “medium-size crater with
high central peak” in Apollo 10 Photography and Visual Observations.
£1,000 - £1,500
223
223 Telephoto panorama of the lunar landscape adjacent to Love Crater, Apollo 10, May 1969
Mosaic of three vintage gelatin silver prints, 42 x 35cm, image 40 x 28cm,
numbered NASA AS10-28-3998 to AS10-28-4000 in black in top margin
Love Crater is located on the lunar farside, southwest of Mendeleev crater.
£1,000 - £1,500
222
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224 Panorama of Chaplygin Crater on the lunar farside, Apollo 10, May 1969
Mosaic of vintage gelatin silver prints, 28.2 x 39cm, image 26 x 32cm,
numbered NASA AS10-32-4794 to AS10-32-4797 in black in top margin
Located to the southeast of the huge walled plain Mendeleev.
£1,000 - £1,500
225
Telephoto panorama of the �oor and western rim of Mendeleev Basin, Apollo 10, May 1969
Mosaic of eleven vintage gelatin silver prints, 68 x 35cm, image 64 x 28cm,
numbered NASA AS10-30-4327 to AS10-30-4337 in black in top margin
£2,000 - £3,000
224
225
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226 Panorama from the Sea of Fertility to the Sea of Tranquillity, Apollo 10, May 1969
Mosaic of sixteen vintage gelatin silver prints, 33 x 152cm, image 27 x 146cm,
numbered NASA AS10-28-4029 to AS10-28-4046 in black in top margin
Orbiting the Moon, the Apollo 10 crew photographed the ground track
leading to the future Apollo 11 landing site.
£3,000 - £5,000
227 Panorama from landing site 1 to the lunar terminator, Apollo 10, May 1969. Mosaic of twenty-eight vintage gelatin silver prints, 29 x 224cm, image 25 x
215cm, numbered NASA AS10-31-4527 to AS10-31-4559 in black in top margin
Landing site 1 was one of the possible destinations for Apollo 11.
£4,000 - £6,000
226
227
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228 Telephoto panorama of Ariadaeus Rille, Apollo 10, May 1969. Mosaic of four vintage gelatin silver prints, 32 x 50cm, image 25 x 43cm,
numbered NASA AS10-31-4638 to AS10-31-4646 in black in top margin
Over 300 kilometres long, Ariadaeus Rille is named after the crater (at the
right), which marks its eastern end.
£1,500 - £2,000
229 Panorama of highlands between Central Bay and the Sea of Tranquillity, Apollo 10, May 1969
Mosaic of fifteen vintage gelatin silver prints, 27 x 108cm, 20 x 107cm,
numbered NASA AS10-32-4766 to AS10-32-4780 in black in top margin.
Central Bay is a small Mare which takes its name from its location at the
intersection of the Moon’s equator and prime meridian; as seen from the
Earth, this feature is located in the central part of the Moon’s near side, and
it is the point closest to the Earth. From this spot the Earth would always
appear directly overhead.
£3,000 - £5,000
229
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228
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230 Astronaut Neil Armstrong, Commander of the Apollo 11 lunar landing mission, June 1969
Vintage chromogenic print on fibre-based Kodak paper, 23.3 x 18cm, CBS
news caption and “A Kodak Paper” watermark on verso
“The entire environment in which we were working was a fishbowl, and
everybody was working, and the press was extreme. It would’ve been
impossible for us not to be aware that everybody was looking over your
shoulder.” Neil Armstrong
£200 - £300
231 Neil Armstrong practices a moonwalk, Apollo 11, June 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-69-33921 in
red in top margin
“It’s always hard work running those inflated suits around. And in one G
it’s worse. Nevertheless, I thought those were always worthwhile exercises.
Appreciated the chance to do them.” Neil Armstrong
£200 - £300
232 Training for the Moon landing, Apollo 11, June 1969
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
S-69-33920, S-69-31067 in red in top margin (2)
Lunar Module pilot Buzz Aldrin and Commander Neil Armstrong simulate
lunar EVA and Michael Collins is seen during centrifuge training. “It was the
simulation instructors’ job to make very difficult situations, and they were
very successful in doing that. But the result of that was that the flights
were always easy because they were so much more peaceful than the
simulations that you considered it a welcome change.” Neil Armstrong
£200 - £300
233 The Apollo 11 o�cial crew portrait, Apollo 11, May 1969Vintage chromogenic print, 18.3 x 24cm, on fibre-based Kodak paper, “A
Kodak Paper” watermark on verso, numbered S-69-31739 in red in top
margin, NASA caption on verso
£200 - £300
230
231
232 (1 of 2)
233
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234 Leaving for the Moon, Apollo 11, 16 July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), RCA Astro-electronics stamp and “A Kodak Paper” watermark on verso,
NASA 69-12-5010
The crew of Apollo 11 leave the Kennedy Space Center’s Manned Spacecraft
Operations Building during the prelaunch countdown and before the drive
to Launch Complex 39A. “I’ve often said that my instinct, not a carefully
reasoned statistical study, but my instinct, told me that we had a 90 percent
chance of a safe return and a 50 percent chance of a safe landing.” Neil
Armstrong
£200 - £300
235 The launch to the Moon, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S69-39529 in red in top margin
Liftoff at 9.37am from Pad A, Launch Complex 39, Kennedy Space Center.
£200 - £300
236 The astronauts leave Earth’s orbit, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-36-5299 in red in top margin
A last look at Earth just after translunar burn.
£300 - £500
237 The Earth from 10,000 miles in space, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-36-5337 in red in top margin
“The world of the 1970s will be vastly different from the world of the 1960s,
and many of the changes in it will result directly from the new perspective
that we have suddenly acquired. By heeding the lessons learned in the
last decade, and attacking our many problems with the same spirit,
determination and skill with which we have ventured into space, we can
make “this island Earth” a better planet on which to live.” George M. Low,
NASA Administrator, October 1970
£600 - £800
234
235
236
237
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238
238 The Earth from 98,000 miles in space, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-36-5355 in red in top margin
“It suddenly struck me that that tiny pea, pretty and blue, was the Earth. I
put up my thumb and shut one eye, and my thumb blotted out the planet
Earth. I didn’t feel like a giant. I felt very, very small.” Neil Armstrong
Illustrated: Moon p.211
£600 - £800
239
Neil Armstrong Diptych: inside the Lunar Module “Eagle” during the �ight to the Moon, Apollo 11, July 1969 A set of one vintage chromogenic print on resin-coated Kodak paper, 20.3
x 20.3cm (8 x 8in), “A Kodak Paper” watermark on verso, [NASA negative
number AS11-36-5390] and one vintage chromogenic print on fibre-based
Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark and NASA
MSC caption numbered AS11-36-5389 on verso (2)
Buzz Aldrin is seen communicating with Mission Control on Earth. The first
illustrated Space p.92.
£300 - £500
240 Space TV transmission during translunar journey to the Moon, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-37-5437 in red in top margin
Aldrin is inside the Lunar Module (LM) which was still docked nose to nose
with the Command/Service modules. Apollo 11 was approximately 176,000
nautical miles from Earth, and travelling at a speed of about 3,200 feet per
second.
£200 - £300
241 Earthrise, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, borderless, 18.3
x 18cm, “A Kodak Paper” watermark on verso, borderless, [NASA negative
number AS11-44-6559]
“I really didn’t appreciate the first planet [Earth] until I saw the second one. . .
. I cannot recall [the Moon’s] tortured surface without thinking of the infinite
variety the delightful planet Earth offers.” Michael Collins
£400 - £600
239 240
241
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242 Buzz Aldrin Approach to the landing site, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-37-5437
in red in top margin
Seen just one orbit before final descent, Tranquility Base is near the shadow
line, a little to the right of centre. At this point the Lunar Module was still
docked to the CSM. The jagged shape to the left is one of the LM thruster
engines. “We’re getting our first view of the landing approach . . . the
pictures and maps bought back by Apollo 8 and 10 give us a good preview
of what to look at here.” Apollo 11 air-to-ground transmission
Illustrated: Moon pp188-189
£300 - £500
243 The CSM in lunar orbit with Michael Collins onboard, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, borderless, 17.6 x
17.2cm, NASA MSC caption numbered AS11-37-5443 and “A Kodak Paper”
watermark on verso
The view was taken from the LM which had separated to land on the Moon
with Aldrin and Armstrong onboard. “I guess the question that everyone
has in the back of his mind is how do I feel about having to leave them on
the lunar surface? ... They know and I know, and Mission Control knows,
that there are certain categories of malfunction where I just simply light the
motor and come home without them.” Michael Collins
£300 - £500
244 Michael Collins Diptych: the LM “Eagle” separating for moonlanding, Apollo 11, July 1969 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS11-44-6598, AS11-44-6600 in red in top margin (2)
“In my view, the emotional moment was the landing. That was human
contact with the Moon, the landing.” Neil Armstrong
£300 - £500
245 Buzz Aldrin The lunar surface near the touchdown point seen from the LM, Apollo 11, 20 July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-37-5448 in red in top margin
“Picture yourself in Armstrong’s shoes, as he surveys the lunar landscape
just after landing. The view appears uninviting, forbidden, hostile and he
wonders “What kind of day will it be?” It will be a day like all days on the
surface of the Moon - a velvet black sky with a terrain of rocks, boulders,
craters and dust in all shades of gray.” James Lovell
Illustrated: Moon pp190-191
£300 - £500
242
244 (1 of 2)
243
245
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246 Neil Armstrong Diptych: astronaut Buzz Aldrin emerging from the LM “Eagle”, Apollo 11, 20 July 1969
Two vintage chromogenic prints, one on fibre-based Kodak paper, 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS11-40-5863 in red in top margin; and one on resin-coated Kodak paper,
20.3 x 20.3cm (8 x 8in), “A Kodak Paper” watermark on verso, [NASA negative
number AS11-40-5864] (2)
Guided by directions from Armstrong on the lunar surface below, and after
joking that he had not locked the hatch, Aldrin pushes himself out onto the
Eagle’s porch. The two photographs overlap and make up a general view of
the LM “Eagle” standing on the lunar surface.
£400 - £600
247 Neil Armstrong Buzz Aldrin climbs down the ladder of the LM “Eagle”, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5866 in red in top margin
“Here we were, on the surface, and I knew this is what people were
watching. More people were watching us than had ever watched two
human beings before in history, and yet we’re further away!” Buzz Aldrin
Illustrated: Moon p.192
£400 - £600
248 Neil Armstrong Buzz Aldrin about to take his �rst step on the Moon, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-40-5868
in red in top margin
Aldrin followed Armstrong out of the LM about 15 minutes later, and for
another two hours and 47 minutes they explored where no man had
walked before. “When I stepped down onto the surface and felt each
movement carried by the slow-motion sensation of one-sixth gravity, I
spontaneously exclaimed, “Magnificent desolation””. Buzz Aldrin
Illustrated: Moon p.193
£400 - £600247
248
246
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249 Neil Armstrong descends the ladder before stepping onto the Moon; Armstrong and Aldrin at the foot of the ladder, Apollo 11, July 1969Two vintage gelatin silver prints, 18.3 x 24cm and 19.2 x 24cm, the first
numbered S-69-42583 in top margin, NASA captions on versos, the second
numbered 69-H-1030
Two of the first images of the moonlanding transmitted directly to terrestrial
televisions from the Apollo lunar surface camera.
£400 - £600
250 Neil ArmstrongFirst photograph of a man standing on the surface of another world, Apollo 11, July 1969
Vintage chromogenic print on resin coated Kodak paper, 20.3 x 20.3cm (8 x 8in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5872]
Aldrin is unfurling the solar wind sheet, designed to trap tiny particles
hurled from the distant sun. The two black spots in the sky above the
horizon and the foggy areas seen in the photograph were caused by the
refraction of sunlight in the lens of Armstrong’s camera.
Illustrated: Moon p.196-197
£400 - £600
251 Neil Armstrong Portrait of Buzz Aldrin on the Moon, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5873]
“The lunar landing of the astronauts is more than a step in history; it is a
step in evolution.” New York Times editorial, 20 July 1969
Illustrated: Moon p.182
£400 - £600
252 The astronauts planting the US �ag, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-69-40308 in
red in top margin
Just before receiving a congratulatory phone call from President Nixon,
Aldrin and Armstrong set up the flag as shown in this rare image captured
by an automatic 16 mm camera mounted on the LM.
Illustrated: Moon p.193
£300 - £500
249 (1 of 2
250
252
251
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254
253 Raising the �ag, a TV transmission from the Moon, Apollo 11, July 1969
Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), the first
numbered NASA S-69-39564 in black in top margin, the second with NASA
caption numbered 69-H-1029 on verso (2)
Taken by the Apollo lunar surface camera and broadcast to half a billion
people on Earth.
£300 - £500
254 Neil Armstrong Buzz Aldrin salutes the US �ag, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5874 in red in top margin
Aldrin is saluting the flag with his right hand clearly visible next to his helmet.
Illustrated: Moon p.195
£600 - £800
255 Neil Armstrong Buzz Aldrin poses for a photograph beside the US �ag, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5875 in blue in top margin
This is one of the few Apollo lunar surface photographs where it is possible
to distinguish the astronaut’s face. Normally, the high reflectivity of the gold
visor would block visibility but in this case “his face is directly illuminated by
the sunlight from the front and at a right angle to the observer’s point of
view, so it literally shines through the visor, especially because he’s sticking
his head forward”. (ALSJ)
Illustrated: Space p.53
£600 - £800
253 (1 of 2)
255
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256 Buzz Aldrin Buzz Aldrin makes a footprint on the pristine lunar surface, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS11-40-5879 in red in
top margin
“Yes, the surface is fine and powdery. I can kick it up loosely with my toe.
It does adhere in fine layers, like powdered charcoal, to the sole and sides
of my boots. I only go in a small fraction of an inch, maybe an eighth of an
inch, but I can see the footprints of my boots and the treads in the fine,
sandy particles.” Neil Armstrong’s first report, delivered immediately after his
first words on the Moon, Apollo 11 air-to-ground transmission.
£400 - £600
257 Buzz Aldrin Aldrin’s boot in lunar soil, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5880 in red in top margin
This now famous image was taken to provide a visual record of the relative
density of the surface in a “soil mechanics test”. “I felt buoyant and full of
goose pimples when I stepped down on the surface. I immediately looked
down at my feet and became intrigued with the peculiar properties of the
lunar dust.” Buzz Aldrin
£500 - £750
258 Buzz AldrinThe astronaut’s footprint on the Moon, Apollo 11, July 1969, Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5877]
The impression of Buzz Aldrin’s boot in the fine lunar dust is expected to
endure a million years or more. The photograph has come to be regarded as
iconic of space exploration.
Illustrated: Space, p.97, Chaikin pp350-351, Full Moon p.48, Spacecamp.
£600 - £800
256
257
258
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259 Buzz Aldrin The only clear photograph of Neil Armstrong on the Moon, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-40-5886
in red in top margin
For almost twenty years the only pictures known of Neil Armstrong on
the Moon were a few grainy images from the TV camera and the 16-mm
motion picture camera. NASA believed that no Hasselblad photograph
existed of the first man on the Moon. However, in 1987 two British
researchers studying the Apollo 11 voice transcripts realised that one of
the photographs in a panorama taken by Aldrin included Neil Armstrong
working at the LM, The error probably arose within days of the mission’s
conclusion when Brian Duff, besieged by the world’s media as head of
Public Affairs at MSC in Houston, asked Neil Armstrong if he ever gave
the camera to Buzz Aldrin. Armstrong answered a simple “no” because
according to the flight plan he was required to place the camera on a lower
bay of the LM from where Aldrin would pick it up when he was ready. This
photograph, unseen by the general public at the time, was not included in
the selection made for general distribution by the Public Affairs Office who
explained Armstrong’s conspicuous absence by stating that Aldrin never
had the camera. As a result, vintage prints of the image are extremely rare;
this example was probably printed at the request of a NASA staff member.
£1,000 - £1,500
259
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260 Neil Armstrong Commemorative plaque left behind on the Moon on the LM’s descent stage, Apollo 11, July 1969 Vintage chromogenic print on resin-coated Kodak paper, 20.3 x 20.3cm (8 x 8in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5899]
“Here men from the planet Earth first set foot upon the Moon July 1969, A.D.
We came in peace for all mankind.”
Illustrated: Space p.96
£200 - £300
261 Neil Armstrong Buzz Aldrin walks towards a LM footpad, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5902 in black in top margin
“We felt very comfortable. It was preferable to weightlessness and to the
Earth’s gravity.” Neil Armstrong
Illustrated: Moon p.196
£500 - £750
262 Neil Armstrong Buzz Aldrin’s gold-plated sun visor re�ects the photographer and the Lunar Module, Apollo 11, July 1969Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5903 in red in top margin
“As I walked away from the Eagle lunar module, Neil said, “Hold it, Buzz”. So
I stopped and turned around, and then he took what has become known
as the “Visor” photo. I like this photo because it captures the moment of
a solitary figure against the horizon of the moon, along with a reflection
in my helmet’s visor of our home away from home, the Eagle, and of Neil
snapping the photo.” Buzz Aldrin
Illustrated: Space p. 95, Moon, frontispiece
£1,000 - £1,500
260
261
262
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263 Buzz Aldrin The American �ag on the Moon, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, “A Kodak Paper”
watermark on verso, [NASA negative number AS11-40-5905]
£600 - £800
264 Buzz Aldrin The LM “Eagle” on the Moon, Apollo 11, July 1969 Vintage chromogenic print on resin coated Kodak paper, 20.3 x 20.3cm (8 x 8in),
“A Kodak Paper” watermark on verso, NASA negative number AS11-40-5915
£300 - £500
265 Buzz Aldrin The Solar Wind collector and the LM footpad on the lunar surface, Apollo 11, July 1969 Two vintage chromogenic prints on resin-coated Kodak paper, each 20.3
x 20.3cm (8 x 8in), “A Kodak Paper” watermark on verso, [NASA negative
number AS11-40-5916, AS11-40-5926] (2)
While Aldrin was photographing the Solar Wind experiment, Armstrong
passed in front and the back of his suit and his legs can be seen. Shortly
afterwards Aldrin took his last photograph on the lunar surface and shot the
shallow impression made in the lunar soil by the LM footpad at touchdown.
£200 - £300
266 Neil Armstrong The Earth over the LM “Eagle”, Apollo 11, July 1969 Vintage chromogenic print on resin-coated Kodak paper, 20.3 x 20.3cm (8 x 8in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5924]
“We could also look around and see the Earth, which, though much larger
than the Moon the Earth was seeing, seemed small - a beckoning oasis
shining far away in the sky.” Buzz Aldrin
£300 - £500
263
264
266
265 (1 of 2)
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267 Neil Armstrong Triptych: Buzz Aldrin unpacking scienti�c equipments from the LM “Eagle”, Apollo 11, July 1969 A set of two vintage chromogenic prints on resin-coated Kodak paper, 20.3
x 20.3cm (8 x 8in), “A Kodak Paper” watermarks on verso, [NASA negative
numbers AS11-40-5927, AS11-40-5928] and one vintage chromogenic print
on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), NASA MSC caption
and “A Kodak Paper” watermark on verso, numbered NASA AS11-40-5929 in
red in top margin (3)
£750 - £1,000
268 Neil Armstrong Buzz Aldrin prepares to deploy the Apollo Lunar Surface Experiment Package (ALSEP), Apollo 11, July 1969Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-40-5931 in red in top margin
The foreground object with the handle is the gold camera, designed to take
close-up photographs of the very top layer of the lunar soil.
£300 - £500
269 Neil Armstrong Buzz Aldrin carrying scienti�c equipment, Apollo 11, July 1969 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), one with NASA MSC caption and “A Kodak Paper” watermark
on verso, the other with NASA HQ caption and “A Kodak Paper” watermark on
verso, [NASA negative numbers AS11-40-5942, AS11-40-5943] (2)
Aldrin sets up the laser beam reflector and the seismometer. “I took off
jogging to test my maneuverability. The exercise gave me an odd sensation
and looked even more odd when I later saw the films of it. With bulky suits
on, we seemed to be moving in slow motion”. Buzz Aldrin
£400 - £600
270 Neil Armstrong Buzz Aldrin looks back at Tranquillity Base, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-40-5948
in red in top margin
Illustrated: Moon pp202-203
£400 - £600
267
268
269
270
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271 Neil Armstrong Buzz Aldrin standing next to the seismometer at Tranquillity Base, Apollo 11, July 1969 A set of one vintage chromogenic print on fibre-based Kodak paper, 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS11-40-5949 in red in top margin; and one vintage chromogenic print
on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, [NASA negative number AS11-40-5951] (2)
Armstrong photographed Aldrin at the seismic experiment with the LM,
the U.S. flag, and the TV camera in the background. Then he moved forward
to take a close-up of Aldrin making final adjustments on the seismometer
which was left behind to record possible Moon quakes.
£500 - £750
272 Neil Armstrong Little West Crater, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5954]
Shortly before entering the LM, Armstrong walked back about 200 ft
eastward to photograph the interior of a crater several feet deep and about
80 feet across he noted during descent.
£300 - £500
273 Neil Armstrong Armstrong’s shadow on the Moon, Apollo 11, July 1969 Vintage chromogenic print on resin coated Kodak paper, 20.3 x 20.3cm (8 x 8in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5961]
Armstrong photographed Tranquility Base from the rim of Little West Crater.
£300 - £500
274 Neil Armstrong Buzz Aldrin takes core samples of the lunar surface, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-40-5963]
Aldrin found it difficult driving the sample bits into the closely packed
surface, a problem that he described to Houston once he was safely back in
the Lunar Module.
Illustrated: Moon p.198
£300 - £500
275 Shadow of the LM “Eagle” and footprints left at Tranquility Base, Apollo 11, July 1969
A set of one vintage chromogenic print on fibre-based Kodak paper, 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-
37-5475 in red in top margin; and one vintage chromogenic print on fibre-based
Kodak paper, 20.3 x 25.4cm (8 x 10in), NASA MSC caption and “A Kodak Paper”
watermark on verso, numbered NASA AS11-37-5505 in red in top margin (2)
The frames were taken from inside the LM after the EVA and show the
simplest marks of man’s first visit, footprints in the fine Moon dust and the
shadow of the spacecraft.
Illustrated: Moon pp204-205
£300 - £500
271 272
275
274
273
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276 Buzz Aldrin Portrait of Neil Armstrong back in the LM just after the historic moonwalk, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-37-5528
in red in top margin
“I wasn’t chosen to be first. I was just chosen to command that flight.
Circumstance put me in that particular role. That wasn’t planned by anyone.”
Neil Armstrong Illustrated: Moon p.209
£400 - £600
277 Buzz AldrinNeil Armstrong smiling after the moonwalk, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, borderless, 18.3
x 18cm, “A Kodak Paper” watermark on verso, borderless, [NASA negative
number AS11-37-5529]
Tired but triumphant, Armstrong prepares for the return trip. “I don’t focus
on self-satisfaction, and being first, and those kind of things. . . I take certain
pleasures in the achievements, the techniques.”” Neil Armstrong Illustrated:
Voices from the Moon p.164
£300 - £500
278 Buzz Aldrin The view from Eagle’s window after the moonwalk, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, [NASA negative number AS11-37-5545]
This photograph was the cover of Life Magazine in August 1969.
£300 - £500
279 Neil Armstrong View of the lunar surface before lifto� from the Moon, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-37-5551 in red in top margin
The view looks south of the LM; a LM thruster appears in the foreground.
“There’s a starkness. There’s a precision, and yet there’s a disorder. . . It’s a
precision of dust and rocks, and definitive horizon.” Buzz Aldrin
£200 - £300
280 Michael Collins Diptych: the forbidding lunar farside, Apollo 11, July 1969 A set of one vintage chromogenic print on fibre-based Kodak paper, “A
Kodak Paper” watermark on verso, numbered NASA AS11-44-6608 in red in
top margin and one vintage chromogenic print on fibre-based Kodak paper,
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS11-44-6609 in red in top margin (2)
The two adjoining views form a panorama of the lunar farside near
Daedalus Crater. “When the sun is shining on the surface at a very shallow
angle, the craters cast long shadows and the Moon’s surface seems very
inhospitable, forbidding almost. I did not sense any great invitation on the
part of the Moon for us to come into its domain. I sensed more almost a
hostile place, a scary place.” M. Collins
£400 - £600
276 277 278
279
280
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281
Michael Collins Triptych: the Earth and the Lunar Module “Eagle” rising from the surface of the Moon, Apollo 11, July 1969A set of two vintage chromogenic prints on fibre-based Kodak paper,
borderless, 18.2 x 17.8cm and 17.8 x 15.8cm, “A Kodak Paper” watermark on
verso, [NASA negative numbers AS11-44-6623 and AS11-44-6632]; and one
vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-44-6638
in red in top margin (3)
“Bigger and bigger the LM gets in my window, until finally it nearly fills it
completely... Neil is flying in formation with me...”I got the Earth coming up...
it’s fantastic!” I shout at Neil and Buzz, and grab for my camera, to get all
three actors (Earth, Moon and Eagle) in the same picture.” M. Collins
£600 - £800
282 Michael Collins LM “Eagle” and Earthrise, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-44-6642
in red in top margin
“As I reached for my Hasselblad, suddenly the Earth popped up over the
horizon. I could not have staged it any better, but the alignment was not of
my doing. But at any rate, as I clicked away, I realized that for the first time, in
one frame, appeared three billion earthlings, two explorers, and one moon.
The photographer, of course, was discreetly out of view.” M. Collins
Illustrated: Moon p.206
£600 - £800
283 Michael Collins Earthrise, Apollo 11, July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS11-44-6648
in red in top margin
“We were in its shadow, and we were seeing its surface with sunlight that
had travelled from the sun and then bounced off the surface of the Earth
and then back up to the moon.” M. Collins. In Richard Underwood’s opinion,
Apollo 11 brought back “the best Earth rises and sets, by far.”
£600 - £800
281
282
283
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284Full Moon seen during the return �ight to Earth, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS11-44-6665 in red in top margin
When the photograph was taken, the spacecraft was already 10,000 nautical
miles from the Moon.
“It really does appear that there are three different Moons. One that you’re
on, one that you’re in orbit of, and one that’s a long way away. And they
don’t blend, and you don’t get the transition. There was only one exception
to it, and that was shortly after we left the Moon, leading back to Earth, after
we made the burn and it was okay. Then we could orient and look back
and watch it grow smaller, from the back side. . . And that was the only time
when we were really allowed to experience the change.” Buzz Aldrin
Illustrated: Moon p.210
£400 - £600
285 TV transmission during the homeward journey, Apollo 11, July 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-69-39725 in red in top margin
Buzz Aldrin illustrates zero gravity experiments.
£200 - £300
286 President Nixon visits the astronauts con�ned to the Mobile Quarantine Facility after recovery, Apollo 11, July 1969Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-69-31395 in
red in top margin
£200 - £300
287 Scientists examine lunar samples at the lunar receiving laboratory, Apollo 11, July 1969
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on
verso, numbered NASA S-69-40940, S-69-44831 in red in top margin (2)
£200 - £300
281
285
286
287
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288 The original Mercury Seven astronauts, January 1961
Large-format vintage chromogenic print, flush-mounted on original card,
40.5 x 51cm, image 27 x 34cm.
The Mercury astronauts are standing beside a Convair 106-B aircraft. They
are, left to right, Scott Carpenter, Gordon Cooper John Glenn, Virgil Grissom,
Walter Schirra, Alan Shepard, and Donald Slayton
£400 - £600
289 NASARanger VII Photographs of the Moon, July 1964 Parts I-3 (complete): Cameras A, B and P Series. Photographic EditionComplete set of 597 gelatin silver prints, those in Part 3 with 4 images, each
35 x 27.5cm (13 x 10 in), images 19 x 19.5cm (7 x 7 in), each numbered at
top right and backed with fine linen as issued, first photograph in Part 2
with short tears to one edge, loose with 2 text booklets (of 3, lacking in Part
2), in three original cloth-covered boxes with flaps and closing studs, titles
on upper covers, edges slightly rubbed, folio, Jet Propulsion Laboratory,
California Institute of Technology, 27 August 1964 - 10 February 1965
The first close-up views of the moon. This boxed set was a costly production
intended for the use of NASA scientists and for presentation. It had very
limited distribution and is now extremely rare on the market; the only
auction record we have traced is for Part 1 only, sold in these rooms 12
December 2011 (£4,000). A popular edition with lithographed plates
appeared later in the year (NASA Special Publication-61).
Ranger VII was the first completely successful flight of the series. The final
approach to the Moon was on 31 July 1964 and its widest-angle Camera A,
one of six onboard, was the first to transmit images. The mission objective
was to obtain close-up, high resolution pictures of the lunar surface during
the final 17 minutes of the flight before impact for the benefit of both the
scientific and manned programmes. Pictures were transmitted as radio
signals from the spacecraft to the receiving station at Goldstone, California,
where they were recorded on magnetic tape and on 35-mm film.
In the accompanying text to Part 1, Gerard Kuiper takes up the account:
“From the prime negative 35-mm film, a contact positive 35-mm film was
produced. This positive was mounted in a specially prepared holder to
avoid scratching the film during transport. The holder had a conventional
glass lower plate and an upper plate of specially prepared glass to prevent
Newton rings. Enlargements of all of the A camera frames were then made
onto 8 x 10-in. sheets of Plus-X film, using a special enlarger; this device has
the capability of reducing large density gradients over the field without
reducing local contrasts. The 199 negatives so produced were then used to
make the contact prints which comprise this atlas.”
£10,000 - £12,000
288
289
The following 70 lots are large-format vintage prints specially produced by NASA. Usually described as
presentation prints, they are of considerable rarity and almost never appear on the market.
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290 O�cial spacesuit portrait of Edward H. White II, Gemini 4, 1965 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 28 x 35.6cm,
“A Kodak paper” watermark on verso
Provenance: The personal collection of Ed White,
Heritage Auctions, sale 6082, lot 40031
£400 - £600
291 James McDivitt First US Spacewalk - Ed White’s EVA over the Gulf of Mexico, Gemini 4, 3 June 1965 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 27.7 x
35.5cm, “A Kodak Paper” watermark on verso,
[NASA negative number S-65-30429]
Provenance: The personal collection of Ed White,
Heritage Auctions, sale 6082, lot 40031
£3,000 - £5,000
290
291
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292 James McDivitt First US Spacewalk - Ed White’s EVA over South California, Gemini 4, 3 June 1965 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 27.7 x 35.5cm, “A Kodak Paper” watermark on verso, [NASA
negative number S-65-30430]
Provenance: The personal collection of Ed White, Heritage Auctions, sale
6082, lot 40031
£3,000 - £5,000
292
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293 James McDivittFirst US Spacewalk - Ed White’s EVA over New Mexico, Gemini 4, 3 June 1965
Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 28 x 35.8cm, “A Kodak Paper” watermark on verso, [NASA
negative number S-65-30433]
Coming back into the spacecraft, White expressed his feelings to McDivitt.
White: That was something. That was the most natural feeling, Jim.
McDivitt: Yeah. I know it. You looked like you were in your mother’s womb.
(Gemini 4 air-to-ground transmission)
£3,000 - £5,000
293
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294 James McDivitt First US Spacewalk - Ed White’s EVA over Hawaii, Gemini 4, 3 june 1965 Large-format vintage chromogenic print, borderless, 40 x 48.5cm, flush-
mounted on original card, [NASA negative number S-65-30431]
McDivitt: “You’re right in front, Ed. You look beautiful.”
White: “I feel like a million dollars.”
(Gemini 4 air-to-ground transmission)
£3,000 - £5,000
294
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295 Earth horizon over Central American coastline, Gemini 9, June 1966Large-format vintage chromogenic print on
fibre-based Kodak paper, 28.5 x 35.5cm, image
27.5 x 34.5cm, title, technical details in ink and
“A Kodak Paper” watermark on verso, [NASA
negative number S-66-38271]
£600 - £800
296 Eugene Cernan The angry alligator, Gemini 9, June 1966 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 27.7 x
35.5cm, “A Kodak Paper” watermark on verso,
[NASA negative number S-66-37969]
The failure of the docking adapter protective
cover to fully separate prevented the docking of
the two spacecraft. Looking at the Agena Target
vehicle, Stafford transmitted to Mission Control:
“We have an angry alligator on our hands.”
Illustrated: The View from Space p.61
£1,000 - £1,500
295
296
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297 Richard Gordon The curvature of the Earth seen from the highest orbiting spacecraft in history, Gemini 11, September 1966Large-format vintage chromogenic print on
fibre-based Kodak paper, 28.5 x 35.5cm, image
27.5 x 34.5cm, title, technical details in ink and
“A Kodak Paper” watermark on verso, [NASA
negative number S-66-54547]
The view was taken over the Indian Ocean west
of Australia looking northeast at 665 miles up.
The record high altitude enabled Gordon and
Cooper to take stunning photographs of the
curvature of the Earth never seen before.
£600 - £800
298 Richard Gordon Libya, United Arab Republic and Sudan from Space, Gemini 11, September 1966 Large-format vintage chromogenic print on
fibre-based Kodak paper, 28.5 x 35.5cm, image
27.5 x 34.5cm, title, technical details in ink and
“A Kodak Paper” watermark on verso, [NASA
negative number S-66-54528]
“It is somewhat paradoxical that man’s new
ability to fly above the atmosphere and voyage
in space has provided him with a new and
valuable way to appreciate his Earth. But the
changes that both natural and human forces
bring about on the Earth’s surface can best be
grasped from the respectful distances inherent in
Earth orbits.” Georges M. Low, NASA administrator
Illustrated: Cortright p.176
£600 - £800
299 Richard Gordon The Arabian Peninsula and the Red Sea from Space, Gemini 11, September 1966 Large-format vintage chromogenic print, 28.5
x 35.5cm, image 27.5 x 34.5cm, title, technical
details in ink and “A Kodak Paper” watermark on
verso, [NASA negative number S-66-54536]
Sudan, Ethiopia, Somalia, Saudi Arabia, Yemen
and South Arabia.
Illustrated: Cortright p.192, Newhall,
front dust jacket
£600 - £800
297
298
299
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300 First high quality photograph of the farside of the Moon over Korolev Crater, Lunar Orbiter 1, August 1966Large-format vintage gelatin silver print on matte paper, medium resolution, 61 x
51cm, image 48 x 40cm, numbered NASA LRC I-38-M (Langley Research Center)
The Soviet Luna 2 probe had transmitted the first image of the far side of
the Moon in 1959 but it was of very poor quality. Lunar Orbiter images
were sent as radio signals to the Deep Space Network station at Goldstone,
California where they were reassembled.
£400 - £600
301 The Moon’s horizon at sunrise, Lunar Orbiter II, November, 1966
Large-format vintage gelatin silver print on matte paper, medium resolution,
61 x 51cm, image 50 x 41cm, numbered NASA LRC II-213 M
”This magnificent northerly oblique view from Lunar Orbiter II brings to
view the Marius Hills region shortly after lunar sunrise. The central portion
of this scene is dominated by a spectacular array of dome structures. These
domes are up to 10 miles in diameter and as much as 1500 feet high.”
Clifford H Nelson, Lunar Orbiter Project Manager
Illustrated: Cortright pp90-91
£500 - £750
302 The farside of the Moon, Lunar Orbiter III, February 1967
Large-format vintage gelatin silver print on matte paper, medium resolution,
61 x 51cm, image 47.5 x 41cm, numbered NASA LRC III-121 M
Crater Tsiolkovsky at the centre of the bleak lunar landscape.
Illustrated: Moon p.140
£500 - £750
300 301
302
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303 Theophilus Crater, Lunar Orbiter III, February 1967
Large-format vintage gelatin silver print on semi-gloss paper, medium
resolution, 60 x 51cm, image 50 x 43.5cm, numbered NASA LO III-78 M
“This photograph will allow the visible characteristics of Theophilus to be
compared with those of other large craters, such as Copernicus and Tycho,
that have been photographed by Lunar Orbiter spacecraft. This can now be
done at a scale that was impossible prior to the Lunar Orbiter photography.”
E. C. Draley, Assistant Director for Flight Projects, Langley Research Center.
Illustrated: Cortright p.102
£500 - £750
304 Lunar landscapes near Tycho and Markov Craters, Lunar Orbiter IV, May 1967
Two large-format vintage gelatin silver prints on gloss paper, high
resolution, each 61 x 51cm, image 51 x 41cm, numbered NASA LRC IV-119
H2, LO IV-175 H3 (2)
£400 - £600
305 Mosaic of the lunar surface, Ocean of Storms, Lunar Orbiter IV, May 1967
Set of three large-format, high-resolution adjoining views, vintage gelatin
silver prints on matte paper, each ca. 61 x 51cm, images 53 x 41cm,
numbered NASA-LRC IV-158 H1 to IV-158 H3 (3)
The view extends from Schröter’s Valley to the Sea of Cold.
£1,000 - £1,500305
303
304
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306 Rilles on the Moon, Lunar Orbiter IV, May 1967
Two large-format vintage gelatin silver print on matte paper, high
resolution, each ca.61 x 51cm, images 52 x 41cm and 46.5 x 41cm,
numbered NASA LRC IV-151 H1, LO V-97 M (2)
Rilles (rimae in Latin) are long channels or valleys on the lunar surface. These
images include Rimae Schröteri, the largest sinuous rille, Aristarchus, Prinz
and Hygenius.
£400 - £600
307 The Alpes mountain range on the Moon, Lunar Orbiter V, August 1967 Large-format vintage gelatin silver print on matte paper, medium
resolution, 61 x 51cm, 47.5 x 41cm, numbered NASA LRC V-102 M
Montes Alpes is a mountain range on the north-eastern border of the Mare
Imbrium lunar mare of the Moon’s near side.
£400 - £600
308 Mosaic of the lunar surface, Copernicus Crater’s central peak, Lunar Orbiter V, August 1967
Set of three large-format, high-resolution adjoining views, vintage gelatin
silver prints, each ca.61 x 51cm, images 53 x 40.5cm, numbered NASA LRC
V-150 H1, V-151 H1, V-152 H1 (3)
£1,000 - £1,500
306 307
308
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309 Mosaic of the lunar surface, Copernicus crater’s east rim, Lunar Orbiter V, August 1967
Set of three large-format, high-resolution adjoining views, vintage gelatin
silver prints, 61 x 51cm, images 52 x 41cm, numbered NASA-LRC V-157 H1
to V-157 H3 (3)
£1,000 - £1,500
310 Vitello Crater and its central peak, Lunar Orbiter V, August 1967
Two vintage large-format vintage gelatin silver prints, medium and high
resolution, 61 x 51cm, images 49 x 41cm and 53 x 41cm, numbered NASA
LO V-168 M, LO V-168 H2 (2)
£500 - £750
310
309
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311 Telephoto panorama of Marius Hills in the Ocean of Storms, Lunar Orbiter V, August 1967
Mosaic of 10 high-resolution adjoining views, vintage gelatin silver prints, 50
x 168cm, image 41 x 156cm, “A Kodak Paper” watermark on verso, numbered
NASA LO V 212 H1- H3
Provenance: Lunar and Planetary Laboratory, University of Arizona
£1,500 - £2,000
312 Telephoto panorama of an unidenti�ed lunar feature, Lunar Orbiter V, August 1967
Mosaic of 10 high-resolution adjoining views, vintage gelatin silver prints,
48.5 x 168cm, image 41 x 156cm, “A Kodak Paper” watermarks on verso,
numbered NASA LO V 178 H1- H3
Lunar Orbiter 5, the last of the series sent to the Moon over twelve months,
took 174 photographs during 69 orbits between 6 and 18 August. The aim
of the mission was to provide additional photographs of possible Apollo
landing sites and other scientific sites on the lunar nearside and farside.
These large-format subjects are now very scarce, particularly in the excellent
condition of this and the preceding lots. The online resources of the Lunar
and Planetary Institute provide a comprehensive overview of the Lunar
Orbiter mission and a complete set of images.
Provenance: Lunar and Planetary Laboratory, University of Arizona
£1,500 - £2,000
311
312
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313 The very �rst colour photograph of the Planet Earth, 10 November 1967
Large-format vintage chromogenic print on fibre-based Kodak paper, 28 x
35.5cm, image 27 x 28.5cm, “A Kodak Paper” watermark on verso
Five years before the astronauts of Apollo 17 could witness it with their own
eyes, and for the first time in history, Mankind could admire the first high
quality photograph of its entire planet in its true colours.
£3,000 - £5,000
314 Walter Cunningham Saturn Rocket third stage over Cape Canaveral, Apollo 7, October 1968 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 27.5 x 34.2cm, “A Kodak Paper” watermark on verso, [NASA
negative number AS7-3-1545]
“Probably my favorite picture is of Cape Canaveral shown through the
petals of the SIV-B. Cunningham took the picture but I had to fly the Apollo
command module to get in position so he could sight down between the
petals and see Cape Canaveral in the background.” W.Schirra
Illustrated: The View from Space, p.89
£1,000 - £1,500314
313
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315 William Anders Earthrise, Apollo 8, December 1968 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 50 x 59.5cm, “A Kodak Paper” watermark on verso, NASA HQ
caption on separate page, [NASA negative number AS8-14-2383]
“To see the earth as it truly is: small and blue and beautiful in that eternal
silence where it floats, is to see ourselves as riders on the earth together,
brothers on that bright loveliness in the eternal cold. Brothers who know
they are truly brothers.” Archibald MacLeish, “Bubble of Blue Air”, New York
Times, 25 December 1968
£8,000 - £10,000
315
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316 David Scott Russell Schweickart’s spacewalk, Apollo 9, March 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 27.7 x
35.5cm, “A Kodak Paper” watermark on verso,
[NASA negative number AS9-19-2994]
The visor of Schweickart’s red helmet reflects
the Earth.
£1,500 - £2,000
317 Ralph Morse Apollo 11 lifts o� on its historic �ight to the Moon, 16 July 1969 Large-format vintage chromogenic print on resin
coated Kodak paper, borderless, 35.2 x 27.5cm, “A
Kodak Paper” watermark on verso
Perhaps Morse’s greatest image for Life
Magazine: “You have to realize that the rocket
had to go through the camera, in a sense. It
had to go through the camera’s field of view. It
took me two years to get NASA to agree to let
me make this shot. Now, RCA had the camera
contract at Cape Canaveral at that time, and they
had a steel box-with optical glass-attached to
the launch platform. We negotiated a deal with
them and I was able to put a Nikon, with maybe
30 or 40 feet of film, inside the box, looking out
through the glass. The camera was wired into the
launch countdown, and at around minus-four
seconds the camera started shooting something
like ten frames per second.” Ralph Morse
£1,000 - £1,500
316
317
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318 The Earth, Apollo 11, July 1969
Large-format vintage chromogenic print on fibre-based Kodak paper, 51
x 41cm, image 49 x 40cm, “A Kodak Paper” watermark on verso, [NASA
negative number AS11-36-5355]
“Houston, Apollo 11 . . . I’ve got the world in my window.” Michael Collins,
Apollo 11 air-to-ground transmission
Illustrated: Moon p.211
£4,000 - £6,000
318
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319 Neil Armstrong Buzz Aldrin prior to becoming second human being to set foot upon the Moon, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 60.5 x 50.5cm, “A Kodak Paper” watermark on verso, NASA HQ
caption on separate page, [NASA negative number AS11-40-5866]
“We opened the hatch and Neil, with me as his navigator, began backing
out of the tiny opening. It seemed like a small eternity before I heard Neil
say, “That’s one small step for man . . . one giant leap for mankind.” In less
than fifteen minutes I was backing awkwardly out of the hatch and onto the
surface to join Neil, who, in the tradition of all tourists, had his camera ready
to photograph my arrival.” Buzz Aldrin
Illustrated: Moon p.193
£4,000 - £6,000
319
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320 Neil ArmstrongFirst photograph of a man standing on the surface of another world, Apollo 11, July 1969
Large-format vintage chromogenic print on
fibre-based Kodak paper, 36.8 x 28.2, image 34.3
x 27cm, “A Kodak Paper” watermark and US army
caption numbered AS11-40-5872 on verso
“My first words of my impression of being on
the surface of the Moon that just came to
my mind were “Magnificent desolation.” The
magnificence of human beings, humanity, Planet
Earth, maturing the technologies, imagination
and courage to expand our capabilities beyond
the next ocean, to dream about being on the
Moon, and then taking advantage of increases
in technology and carrying out that dream
- achieving that is magnificent testimony to
humanity. But it is also desolate - there is no
place on Earth as desolate as what I was viewing
in those first moments on the Lunar Surface.”
Buzz Aldrin
Illustrated: Moon p.196-197
£2,000 - £3,000
321 Neil ArmstrongPortrait of the lunar explorer Buzz Aldrin, Apollo 11, July 1969
Large-format vintage chromogenic print on
fibre-based Kodak paper, 36.8 x 28.2, image 33.3
x 27cm, “A Kodak Paper” watermark and US army
caption numbered AS11-40-5873 on verso
“There was that moment, right after we touched
down, when . . .We just kind of looked to each
other and, Im not sure how it happened, a slap
on the back, or whatever, but there was that, just,
little moment of, Hey, we made it.” Buzz Aldrin
Illustrated: Moon p.182
£2,000 - £3,000
320
321
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322 Neil Armstrong Buzz Aldrin and the American �ag on the Sea of Tranquillity, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 60 x 51cm, “A Kodak Paper” watermark on verso, NASA HQ
caption on separate page, [NASA negative number AS11-40-5874]
On the windless plain Aldrin saluted the American flag, stiffened with wire
so it would “wave”.
Illustrated: Moon p.194-195
£5,000 - £7,000
322
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323 Buzz Aldrin Boot print on the lunar surface, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-based Kodak paper,
36.5 x 28.2, image 34.3 x 27cm, “A Kodak Paper” watermark and US army
caption on verso, [NASA negative number AS11-40-5880]
“This is the result of six billion years of evolution. Tonight, we have given the lie
to gravity. We have reached for the stars.” Ray Bradbury, BBC TV, 20 July 1969
£3,000 - £5,000
323
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324 Neil Armstrong Buzz Aldrin walks on the Moon, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 51 x 61cm, “A Kodak Paper” watermark on verso, NASA HQ
caption on separate page, [NASA negative number AS11-40-5902]
Buzz Aldrin is surrounded by a vacuum atmosphere in the one sixth
gravity environment. In this silent world he can hear only the crackling of
communications, the sounds of his life support system and the echo of his
breathing in his helmet.
Illustrated: Moon p.196
£5,000 - £7,000
324
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325 Neil Armstrong Portrait of Buzz Aldrin with the photographer and the Lunar Module re�ected in his gold-plated visor, Apollo 11, July 1969Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 61 x 51cm, “A Kodak Paper” watermark on verso, NASA HQ
caption on separate page, [NASA negative number AS11-40-5903]
A Man on the Moon, the legendary image.
Illustrated: Moon, frontispiece
£8,000 - £10,000
325
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326 Neil Armstrong Buzz Aldrin at the Lunar Module “Eagle”, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-
based Kodak paper, borderless, 57.5 x 48cm, “A
Kodak Paper” watermark on verso, [NASA negative
number AS11-40-5927]
“Our LM was sitting there with its black, silver, and
bright yellow-orange thermal coating shining
brightly in the otherwise colorless landscape. I had
seen Neil in his suit thousands of times before,
but on the Moon the unnatural whiteness of it
seemed unusually brilliant.” Buzz Aldrin
£2,000 - £3,000
327 Neil Armstrong Buzz Aldrin walks away from the LM, Apollo 11, July 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 33.7 x
26.6cm, “A Kodak Paper” watermark and US
Army caption identified in error on verso, [NASA
negative number AS11-40-5942]
“When you move, the combination of the
restriction of the suit and the gravity, you just
wait to be brought down to the surface . . .
You’ve got a lot of time, which means that time
slowed down, which gives you this sensation of
slow-motion.” Buzz Aldrin
Illustrated: Moon p.199, Full Moon plate 50
£2,000 - £3,000
326
327
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328 Neil Armstrong Buzz Aldrin carrying experiment packages, Apollo 11, July 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 57.5 x 48cm,
“A Kodak Paper” watermark on verso, [NASA
negative number AS11-40-5944]
The astronauts had to set up the experiments
far away enough so that they would not be
damaged by the ascent stage rocket when
the “Eagle” lifted off. “I don’t believe any pair of
people had been more removed physically from
the rest of the world than we were.” Buzz Aldrin
Illustrated: Moon p.200-201
£2,000 - £3,000
329 Neil ArmstrongBuzz Aldrin sets up the Passive Seismic Experiment, Apollo 11, July 1969Large format vintage chromogenic print, 28 x
35cm, on fibre-based Kodak paper, “A Kodak
Paper” watermark on verso, [NASA AS11-40-5949]
£2,000 - £3,000
329
328
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330 Neil Armstrong Buzz Aldrin conducting the seismic experiment on the Moon, Apollo 11, July 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, 36.4 x 28.2, image 34.3
x 27cm, “A Kodak Paper” watermark and US Army
caption numbered AS11-40-5947 on verso
“The little EMU, the combination of spacesuit
and backpack that sustained our life on the
surface, operated magnificently. The primary
difficulty was just far too little time to do the
variety of things we would have liked. We had
the problem of the five-year-old boy in a candy
store.” Neil Armstrong
Illustrated: Moon p.181
£2,000 - £3,000
331 Neil Armstrong Buzz Aldrin surveys the Tranquillity Base landing site, Apollo 11, July 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, 51 x 41cm, image 43
x 40cm, “A Kodak Paper” watermark on verso,
[NASA negative number AS11-40-5948]
“This has been far more than three men on a
mission to the Moon; more still than the efforts
of a government and industry team; more, even,
than the efforts of one nation. We feel this stands
as a symbol of the insatiable curiosity of all
mankind to explore the unknown.” Buzz Aldrin
£2,000 - £3,000
330
331
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332 Neil ArmstrongBuzz Aldrin collecting samples on the Moon, Apollo 11, July 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 34 x 26.7cm, “A Kodak
Paper” watermark and US army caption numbered AS11-40-
5963 on verso.
“It’s very different than here. But I have no doubt that
humans would adapt to it as a home in some reasonably
short period of time.” Neil Armstrong . Illustrated: Moon p.198
£2,000 - £3,000
333 Earthrise from outer space, Apollo 11, July 1969
Large-format vintage chromogenic print on fibre-based
Kodak paper, borderless, 26.8 x 34.2cm, “A Kodak Paper”
watermark and US Army caption identified in error on verso,
[NASA negative number AS11-44-6560]
As the astronauts were in lunar orbit preparing for descent
to the surface they came over the Moon’s horizon and
witnessed the awesome sight of an Earthrise from outer
space. “I have done things and been places you simply would
not believe, and I keep that inside me.” M. Collins
£4,000 - £6,000
333
332
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334 Pete Conrad Alan Bean taking his �rst step on the Moon’s Ocean of Storms, Apollo 12, November 1969 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 26.6 x
34.2cm, “A Kodak Paper” watermark and US Army
caption numbered AS12-46-6729 on verso
Illustrated: Voices from the Moon p.65
£1,500 - £2,000
335 Alan Bean Pete Conrad and the American �ag on the Ocean of Storms, Apollo 12, November 1972 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 34.3 x
26.7cm, “A Kodak Paper” watermark and US Army
caption numbered NASA AS12-47-6897 on verso
The crew erected the American flag after landing
and collecting the contingency sample. The long
shadow of the LM and the bleak lunar surface
serve as a fitting background.
£2,000 - £3,000
334
335
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336 Alan Bean Pete Conrad and two US spacecrafts on the surface of the Moon, Apollo 12, November 1969 Large-format vintage gelatin silver print flush-
mounted on original card, 41 x 51cm, image 39 x
50cm, [NASA negative number AS12-48-7134]
The Surveyor 3 spacecraft had landed more than
two years earlier and this view shows just how close
Conrad landed the LM to its designated landing
point. Illustrated: The View from Space p.102
£2,000 - £3,000
337 Lifto�, Apollo 13, April 1970
Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 35.5 x
27.6cm, “A Kodak Paper” watermark on verso
£600 - £800
338 Saturn V rocket on the launch pad, Apollo 14, February 1971
Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 35.5 x 28cm,
“A Kodak Paper” watermark and Acme photo
service stamp verso.
£400 - £600
336
337
338
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339 “Apollo 14 Landmarks. Enlargements of Apollo Photos. Crew Copy 2” [Apollo 14, before February 1971]Eight large-format vintage chromogenic prints on fibre-based paper, each
ca.50 x 48cm., five with “A Kodak Paper” watermark on verso, printed labels
identifying locations at bottom right corners, ring-bound between stiff
boards through three file holes along top edge, upper cover with title label
as above
Extremely rare recognition photographs used by the Apollo 14 crew in
training. The orbital views were taken by Apollo 10, 12 and 13 and used to
familiarise Command Module pilot Stuart Roosa and his crew with easily
recognisable landmarks on the lunar surface. Each is neatly marked with a
few locations and traverse routes in extremely fine tape. One view shows
the fantastic sight of Earthrise from outer space admired only by 24 Apollo
astronauts from 1968 to 1972.
“The experience of drifting in was so unreal. Then darkness. Then the burn.
Then everything’s okay. Everything checks, you’re in a safe orbit. You go to a
viewing attitude. And your first view of the Moon almost knocks you out of
the cockpit. So close. You could walk out and touch it. It’s there. It’s like the
pictures but you never really thought it would be so much like the pictures,
so close, so real. I wasn’t really prepared for that, even though I had studied
these maps. I knew them exceptionnaly well. . . I guess I never really had
really prepared myself for that initial view of the Moon.” Stuart Roosa
£4,000 - £6,000
339 (1 of 8)
339 (1 of 8)
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340 Edgar Mitchell Alan Shepard and the American �ag, Apollo 14, February 1971 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 27.7 x 35.5cm, “A Kodak Paper” watermark on verso, [NASA
negative number AS14-66-9232]
The portrait of Shepard is framed by the shadows of the Lunar Module,
the S-band antenna and the photographer. “I look back now on the flights
carrying Apollo 12 crew and my crew as the real pioneering explorations of
the Moon. Neil, Buzz, and Mike in Apollo 11 proved that man could get to
the Moon and do useful scientific work, once he was there. Our two flights
- Apollo 12 and 14 - proved that scientists could select a target area and
define a series of objectives, and that man could get there with precision
and carry out the objectives with relative ease and a very high degree of
success.” Alan Shepard
£4,000 - £6,000
340
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341 Alan Shepard The landing site Fra Mauro in the lunar sunlight, Apollo 14, February 1971 Large-format vintage chromogenic print on GAF
paper, borderless, 50 x 40.5cm, [NASA negative
number AS14-67-9367]
“The lighting’s incredible, the contrasts. It’s
something you’ve never seen before. In that stark
sunlight, it’s either black or it’s grey or it’s dazzling
sunlight. Nothing muted about it…” Ed Mitchell
£2,000 - £3,000
342 Re�ections of the Sun over the LM “Antares” in the lunar black sky, Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 27.7 x
35.5cm, “A Kodak Paper” watermark on verso,
[NASA negative number AS14-66-9306].
£2,000 - £3,000
341
342
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117
343 “Lunar Surface Exploration Photomap Package. Apollo 15. Hadley Rille”, Apollo 15, 5 June 1971Set of eighteen photo-maps on plasticised paper,
each 26.5 x 20.5cm., held by a flat-headed screw
at top left, in fine condition within a NASA buff
envelope
Three larger-scale and 15 more detailed orbital
views of the Hadley landing site used for Apollo
15 training and based mainly on Lunar Orbiter
photographs.
£400 - £600
343
344
345
344 James Irwin David Scott exploring the Moon with the Lunar Rover, Apollo 15, August 1971 Large-format vintage gelatin silver print, 35.5
x 28cm, image 26.6 x 26.6cm, [NASA negative
number AS15-82-11168]
“I was surprised that time went so fast. We never
had enough time. And, boy, we had trained to
make sure we were efficient. And when we got
there, we never had enough time to explore
a site like we would have liked to. Because it
was so exciting. There was so much there. And
you just wanted more and more and more and
more…” David Scott
£1,000 - £1,500
345 James Irwin Hadley Rille lunar canyon, Apollo 15, August 1971 Large-format vintage gelatin silver print, 35.5
x 28cm, image 26.6 x 26.6cm, [NASA negative
number AS15-82-11425]
“It was the ultimate desert” James Irwin
£1,000 - £1,500
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494118
346 James Irwin The Hadley-Apennine landing site in sunlight, Apollo 15, August 1971 Large-format vintage gelatin silver print, 35.5
x 28cm, image 26.6 x 26.6cm, [NASA negative
number AS15-82-11056]
£1,000 - £1,500
347 James IrwinHadley Rille, St Georges Crater and Mount Hadley Delta, Apollo 15, August 1971
Large-format vintage gelatin silver print, 35.5 x 28cm, image
26.6 x 26.6cm [NASA negative number AS15-82-11179]
“It had a majestic feeling about it. And one says this after
talking about how it’s dusty, it’s gray, nothing’s growing,
nothing of any real beauty. But yet, take it all together with
the vastness of it, the sense of history, the boulders, and the
elevations we had on our flight and certainly some of the
other flights, Hadley for example, it really is majestic, in the
sense of a desolate mountain desert type of a setting.” Alan
Shepard
£1,000 - £1,500
348 James Irwin David Scott and the re�ection of the photographer in his visor, Apollo 15, August 1971 Large-format vintage gelatin silver print, 35.5
x 28cm, image 26.6 x 26.6cm[NASA negative
number AS15-82-11146]
Illustrated: Voices from the Moon p.81
£1,000 - £1,500
346
347
348
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349 David Scott James Irwin salutes the American �ag, Apollo 15, August 1971 Large-format vintage chromogenic print on fibre-based Kodak paper,
51 x 41cm, 42 x 40cm, RCA stamp and “A Kodak Paper” watermark on verso,
[NASA negative number AS15-88-11866]
Few Apollo photographs have been reproduced more often than this
photograph of Irwin, the flag, the Rover, the LM and Mount Hadley.
Illustrated: A man on the Moon pp 64-65
£4,000 - £6,000
349
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494120
350 Planet Earth, Apollo 16, April 1972, Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 35 x 27.7cm, “A Kodak Paper” watermark on verso, [NASA
negative number AS16-118-18880].
£3,000 - £5,000
350
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121
351 Eugene Cernan Final approach to the Taurus-Littrow Valley landing site, Apollo 17, December 1972 Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 35.3 x
27.7cm, “A Kodak Paper” watermark on verso,
[NASA negative number AS17-147-22465]
Taken on the orbit before final descent. The
CSM with Ron Evans on board can be seen in
the left distance with the South Massif in the
background. The Valley of Taurus-Littrow extends
some 20 miles through the ring of massifs
surrounding the plains of the Serenitatis basin.
£1,500 - £2,000
352 Eugene CernanHarrison Schmitt at Tracy’s Rock, Apollo 17, December 1972Large format vintage chromogenic print, 27 x
34.5cm, flush-mounted on original NASA card,
[NASA AS17-140-21496]
Illustrated: A Man on the Moon, pp272-273
£2,000 - £3,000
351
352
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353 Harrison Schmitt Portrait of astronaut Eugene Cernan, explorer of another world, Apollo 17, December 1972 Large-format vintage chromogenic print on fibre-based Kodak paper,
borderless, 27.7 x 34.3cm, “A Kodak Paper” watermark on verso, [NASA
negative number AS17-140-21388]
Schmitt used Cernan’s Hasselblad to take his portrait at the start of their last
moonwalk. Earth can be seen over the South Massif reflected in Cernan’s visor.
£3,000 - £5,000
353
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354 Ronald Evans The ascent stage of the Lunar Module returning from the Moon, Apollo 17, December 1972 Large-format vintage chromogenic print on fibre-based
Kodak paper, borderless, 35.3 x 27.7cm, “A Kodak Paper”
watermark on verso, [NASA negative number AS17-
149-22857]
The Lunar Module descent stage was used as a launch
platform and remains on the Moon. At its foot the
crew left a letter which read: “Here man ended his
exploration of the Moon, December 1972. May the
spirit of peace, in the name of which we came here,
reflect upon the life of all mankind.”
Illustrated: Voices from the Moon p.117
£1,500 - £2,000
355 Ronald EvansThe crescent Earth rising from behind the Moon, Apollo 17, December 1972Large format vintage chromogenic print, 27 x 34.5cm,
flush-mounted on original NASA card, [NASA AS17-152-
23274]. Illustrated: A Man on the Moon, p.260
£3,000 - £5,000
355
354
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494124
356 Ronald Evans’ EVA, the last in deep space, Apollo 17, December 1972
Large-format vintage chromogenic print on
fibre-based Kodak paper, borderless, 35.3 x
27.7cm, “A Kodak Paper” watermark on verso,
[NASA negative number AS17-152-23391]
“You’re not really a spaceman when you’re in the
confines of your spaceship. You go outside, and
you’re hanging on, maneuvering out there from
the safety and security of your mother ship. If
you ever want to be a spaceman, that’s the way
to do it!” Ron Evans
£1,500 - £2,000
357 Harrison SchmittThe “Blue Marble”, the �rst view of Earth fully illuminated, Apollo 17, December 1972 Large format vintage chromogenic print, 27 x
34.5cm, flush-mounted on original NASA card
Illustrated: A Man on the Moon, p.158
£3,000 - £5,000
357
356
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358 Portrait of the crew, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-69-38852 in
red in top margin
From left to right, Charles Conrad, Richard Gordon and Alan Bean. “Our
second journey to the Moon opened the new age of extraterrestrial
scientific exploration by man. Going beyond Apollo 11, which
demonstrated to an eager world that astronauts can set foot on a celestial
body and return safely to Earth, Apollo 12 concentrated on a systematic
scientific sampling designed to help unlock some secrets of the solar
system’s origin and early history.” Thomas Paine, NASA administrator
£200 - £300
359 The half-illuminated World, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS12-50-7353
in red in top margin
“As we got farther away from Earth, only areas that contrasted strongly with
the blue-gray and blue-green areas of Earth were noticeable. Overall, the
Earth seemed to be a pretty blue and white, and our planet looked like an
oasis.” Apollo 12 crew observations
£500 - £750
360 Crescent Earthrise, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS12-47-6874
in red in top margin
This remarkable view was photographed from the LM before it started its
final descent to the lunar surface.
“I don’t think any of us ever tired of looking out the window and watching
the world or the Moon go by. One of the best things that our photography
has done is come close to giving people down here an idea of what the hell
it looks like from up there.” Charles Conrad
£400 - £600
361 The lunar nearside illuminated by low-sun light, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS12-47-6876
in red in top margin
The lunar horizon seen from the LM “Inteprid” while it was still docked with
the CSM “Yankee Clipper” prior to landing. “Boy, oh boy, Houston. Do we
have a fantastic view of Copernicus.” C. Conrad
Illustrated: Moon p.226
£300 - £500
358
361
360
359
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362 The Command Module highlighted by the Sun in lunar orbit, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-47-6877]
“I tell you what, I envied them. I wish to hell I could have gone with them,
but there was no way for that to happen. I think Pete and Al kind of felt the
same way.” R. Gordon
£200 - £300
363 Richard Gordon The Lunar Module heading for the Ocean of Storms landing site, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-51-7507]
Illustrated: Full Moon p.43, A Man on the Moon pp48-49, Voices from the
Moon p.50
£300 - £500
364 Pete Conrad Astronaut Alan Bean taking his �rst step on the lunar surface, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), NASA KSC caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-46-6729]
“Man, that may have been a small one for Neil, but that’s a long one for me.”
Pete Conrad’s first words on the Moon
Illustrated: Voices from the Moon p.65
£300 - £500
365 Alan Bean Astronaut Pete Conrad and the US �ag on the Ocean of Storms, EVA 1, Apollo 12, November 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS12-47-6897 in red in top margin
“I’ve always thought the pictures we took of each other on the Moon were
all we were going to have left after it was over to remember what we did.”
Pete Conrad
£400 - £600
362
364
365
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370 Pete Conrad Sun glare over Alan Bean carrying scienti�c equipments out from the LM, EVA 1, Apollo 12, November 1969Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-46-6806]
Unfiltered by any atmosphere, the Sun as seen from the lunar surface is
more brilliant than on Earth. Sunlight played luminous tricks with the two
astronauts; the photograph shows unpredicted and thus far unexplained
formations cropping up here and there on the lunar surface.
Illustrated: The View from Space p.44, Moon pp256-257
£300 - £500
366 Pete Conrad Sun glare over the LM “Intrepid”, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-46-6740]
“Here, on the sunny Sea of Storms, the crew of Intrepid had cause for their
ebullience. They had eight hours, twice as much as their predecessors,
Armstrong and Aldrin, to explore, set up experiments and collect more and
bigger rocks.” Life Magazine, 12 December 1969
£300 - £500
367 Pete Conrad Human tracks on the lunar surface, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-46-6780]
Alan Bean photographs the LM footpad; tracks lead to the lunar TV camera.
Enabling live broadcast from the Moon, the camera, like many Apollo
artefacts, remains on the surface.
£300 - £500
368 Pete Conrad Close-up of Alan Bean near the LM “Intrepid”, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS12-46-6786
in red in top margin
“Frequently on the lunar surface I said to myself, This is the Moon; that is the
Earth. I’m really here, I’m really here!” Alan Bean
£300 - £500
369 Pete Conrad Alan Bean unpacking experiments at the LM, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS12-46-6787
in red in top margin
“The Lunar Module - surely the clumsiest-looking flying machine ever built -
consisted of a descent stage destined to remain on the Moon, and an ascent
stage that later carried the crew and samples into lunar orbit.” NASA caption
£300 - £500
366 367 368
369
370
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371 Pete Conrad Alan Bean and his shadow on the sunny Ocean of Storms, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso, [NASA
negative number AS12-46-6807]
Alan Bean is using a “barbell” carry to take the scientific equipment to its
deployment site.
£300 - £500
372 Pete Conrad Alan Bean conducting scienti�c experiments, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS12-47-6919 in red in top margin
“You’re trying to plant those little experiments, which, at that time, you don’t
care whether they’re seismometers, magnetometers, solar winds; you just
have to put that particular device level and pointed north or something
like that. And so you’re really not doing anything so, more than, like,
housekeeping, almost.” Alan Bean
£300 - £500
373 Alan Bean Pete Conrad at the ALSEP site, EVA 1, Apollo 12, November 1969
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS12-47-6921 in red in top margin
The deployment of the ALSEP (Apollo Lunar Surface Experiment Package)
was one of the major tasks of the first EVA period; it was deployed on every
lunar landing mission. “Some of the experiments started working right
away as planned, sending data back. Others weren’t set to start operating
until after we had left.” Pete Conrad
£300 - £500
374 Alan Bean Lunar Ionosphere and Atmosphere detector, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS12-47-6922 in red in top margin
£200 - £300
375
Pete ConradBluish halo around Alan Bean exploring the Ocean of Storms, EVA 1, Apollo 12, November 1969
Vintage chromogenic print on resin coated Kodak paper, borderless, 20.3
x 20.3cm (8 x 8in), “A Kodak Paper” watermark on verso, [NASA negative
number AS12-46-6826]
“Neither Al or I remember seeing the other guy putting the stuff out, but the film
picked it up. The conclusion was the halos around Alan Bean were water-vapor
ice crystals coming out of the water boilers on our backpacks.” Pete Conrad.
This photograph was the cover of Life Magazine, Apollo 12 on the Moon, 12
December 1969. Illustrated: Full Moon p.55, The View from Space p.47, Moon p.260
£300 - £500
371
372 373374
375
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376 Alan Bean TV camera on the lunar surface, EVA 1, Apollo 12, November 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS12-47-6978 in red in top margin
Unfortunately, live television coverage was subsequently lost because
the camera was accidentally pointed at the sun. Thus the Hasselblad
photographs taken by the crew are the only visual records of their lunar
surface activities.
£200 - £300
377 Pete Conrad Alan Bean with the re�ection of the photographer in his visor, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered NASA AS12-49-7278 in black in top margin
Alan Bean holds a container of lunar soil in his right hand. His Hasselblad
camera is mounted on the control unit on his chest.
Illustrated: Full Moon plate 69, The View from Space p.46
£600 - £800
378 Alan Bean Pete Conrad taking a picture of his photographer, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
48-7071 in black in top margin
Illustrated: The View from Space pp 102-103
£300 - £500
379 Alan Bean Pete Conrad at the rim of Surveyor Crater, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
49-7318 in black in top margin
“The craters are hard to see. They look great on a map, but they don’t look
worth a damn when you’re running along next to them. You can’t judge
distance, and you can’t tell how far you’ve run, because you’ve never run on
the moon. So not only can’t you guess the distance, if you’ve been running
for fifteen seconds, you don’t know if you’ve covered fifty yards or fifty feet.”
Alan Bean
£200 - £300
376
377
378
379
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380 Alan Bean Surveyor 3 and the Lunar Module “Intrepid” on the Ocean of Storms, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
48-7099 in black in top margin
Apollo 12’s assignment was to land the LM near the location of Surveyor 3,
an unmanned lunar probe that had landed there thirty months earlier.
£200 - £300
381Alan Bean Surveyor 3, a close-up of the footpad and surface sampler, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in),
numbered NASA AS12-48-7110 in black in top margin
The Surveyor has three footpads, an arrangement that increased the
chances that the spacecraft would remain upright no matter where it
landed as long as the descent was vertical. This is a view of the footpad from
the south, with the two imprints made during the landing. The scoop is in
the background.
£200 - £300
382 Alan Bean Surveyor 3 standing in the Ocean of Storms, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
48-7121 in black in top margin
Located in a crater 650 feet wide, Surveyor had sent back detailed views
that enabled NASA to pinpoint its location and guide Intrepid’s course to a
site only 600 feet away.
£200 - £300
383 Alan Bean Surveyor 3 TV mirror, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
48-7131 in black in top margin
Conrad and Bean removed 10kg of parts including the television camera
and brought them back to Earth for examination, the most distant salvage
operation in history.
£200 - £300
384 Alan Bean Pete Conrad examining the Surveyor 3 TV camera, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS12-
48-7134 in black in top margin
“This image is symbolic of our mission. Our objective was to perform a
pinpoint landing at the Surveyor 3 target site at the rim of the Surveyor
Crater. This precision landing was of great significance to the future
exploration program because landing points in rough terrain of great
scientific interest could then be targeted.” R. Gordon
Illustrated: The View from Space p.102, Space p.105, Moon p.259
£300 - £500
380 381 382
383
384
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385 Alan Bean Lunar dust on Pete Conrad’s spacesuit, EVA 2, Apollo 12, November 1969 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered NASA AS12-48-7149 in black in top margin
“And the dust! Dust got into everything. You walked in a pair of little dust
clouds kicked up around your feet. We were concerned about getting dust
into the working parts of the spacesuits and into the lunar module, so we
elected to remain in the suits between our two EVAs.” Pete Conrad
£200 - £300
385386
387
386
Eclipse of the Sun by the Earth, Apollo 12, November 1969
Vintage chromogenic print on resin coated Kodak paper, borderless, 20.3 x
20.3cm (8 x 8in), “A Kodak Paper” watermark on verso, [NASA S80-37406]
This dramatic view of an eclipse when the Earth moved directly between
the sun and the spacecraft is a scene only visible in space. It was taken with
a 16mm motion-picture camera from the Apollo 12 spacecraft during its
journey home from the Moon.
“You could see the spectrum spread out all around the Earth. Finally, when
the Earth completed eclipsing the sun, you could see a big white light right
in the middle of the Earth moving across the ocean. We didn’t know what
that was. When we got back, Rusty Schweickart pointed out that it was the
Moon right behind us reflecting off the Earth.” Alan Bean
Illustrated: The View from Space p.105
£500 - £750
387 Astronaut Fred Haise simulates lunar EVA during training, Apollo 13, February 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-70-27034 in red in top margin
£200 - £300
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388 The ill-fated crew leaves Earth’s orbit, Apollo 13 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS13-60-8578 in red in top margin
The crew shot this view of the Gulf of California before leaving the Earth’s
gravitational sphere of influence.
£200 - £300
389 The LM “Aquarius” stowed in the Saturn Rocket third stage during the transposition and docking manoeuvre, Apollo 13, April 1970Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8581
in red in top margin
Shortly after trans-lunar injection, the Command and Service Module (CSM)
separated from the S-IVB stage, turned around, and docked its nose to the
top of the Lunar Module (LM) still nestled in the S-IVB. The CSM/LM stack
then separated from the S-IVB for the trip to the Moon.
£200 - £300
390 The planet Earth seen from Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS13-60-8588 in red in top margin
£600 - £800
391 One third of the Earth illuminated, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8597
in red in top margin
£500 - £750
391
390
389
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392 393
394
392 Crescent Earth seen during translunar travel, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8602
in red in top margin
£300 - £500
393 Slender Crescent Moon seen during translunar travel, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8605
in red in top margin
£300 - £500
394 TV broadcast by astronaut James Lovell inside the Lunar Module before the accident, Apollo 13, April 1970Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-70-34844 in red in top margin
Fred Haise filmed James Lovell in the LM to show the interior of the capsule
to TV viewers on Earth while Jack Swigert stayed alone in the Command
Module. This photograph was released by NASA MSC on April 13, just before
the oxygen tank explosion.
£200 - £300
396 (3 of 5)
395
395 Oxygen tank explosion - “Houston, we’ve had a problem”, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-70-35703 in red in top margin
After 56 hours flight time, the crew heard a loud explosion. The Service
Module had been due to take them back to Earth but this view from the
Command Module reveals that an entire panel had been blown away by
the explosion of an oxygen tank. “I thought, when I saw that oxygen system
leaking down, I figured we’d lost them. I really did. I didn’t think we’d make
it.” John Young, Apollo 13 backup crew member
£300 - £500
396 The damaged Service Module, Apollo 13, April 1970
Five vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-58-8459, AS13-58-8461, AS13-58-8466, AS13-58-8471, AS13-58-8479 in
red in top margin (5)
Apollo 13 was 200,000 miles from home when the SM oxygen tank
exploded. Within about 3 hours, all oxygen stores were lost, along with
water, electrical power and use of the service module propulsion system.
Only when the service module was jettisoned in preparation for re-entry
could the crew see that the cover of bay number 4 had blown off and the
equipment inside was badly mangled.
£500 - £750
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397 Views of the interior of the spacecraft during the transfer from the CSM to the “lifeboat” LM, Apollo 13, April 1970Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8891, AS13-62-8880, AS13-62-8899 in red in top margin (3)
The transfer tunnel between the LM and the CSM is clearly visible. With
the service module damaged beyond use, the only source for power and
consumables was the Lunar Module which became the “lifeboat”.
£300 - £500
398 Moon and Earth seen from the windows of the LM, Apollo 13, April 1970
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8883, AS13-62-8889 in red in top margin (2)
While surviving in their “lifeboat” LM, the Apollo 13 astronauts took these
astonishing photographs of the Moon and the Earth not knowing whether
they would ever return. “We were as calm as could be. We didn’t panic. If we
did, we’d still be up there.” J. Lovell
£400 - £600
399 The aborted �ight approaches the Crescent Moon, Apollo 13, April 1970
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8883, AS13-62-8889 in red in top margin (3)
The crew had to undertake a free-return trajectory and make a ‘slingshot’
around the moon to get back to Earth. “Looking at the mission rules, and I
knew it already without looking, we couldn’t even go into lunar orbit. So the
mission was gone, right there.” Fred Haise
£400 - £600
400 The Earth seen from the farthest distance ever �own by a manned crew, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-62-8903
in red in top margin
Following the free-return trajectory, the altitude of Apollo 13 over the lunar
far side was approximately 100 km (60 mi) greater than the orbital altitude
on the remaining Apollo lunar missions. It holds the absolute altitude record
for a manned spacecraft, reaching a distance of 400,171 kilometres (248,655
miles) from Earth on 7:21 pm EST, April 14, 1970.
£300 - £500
398
397 (1 of 3)
399 (1 of 3)
400
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401
The spacecraft over the Moon, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8907
in red in top margin
The crew were forced to shut down the Command Module to conserve its
batteries and save its oxygen for use in re- entry. “We really got out the cameras,
at least Jack and I, and tried to make use of as much of the film as we could.”
£400 - £600
402 The lunar farside seen during the single pass around the Moon, Apollo 13, April 1970
Four vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on
verso, numbered NASA AS13-60-8635, AS13-62-8922, AS13-60-8659, AS13-
60-8675 in red in top margin (4)
The Apollo 13 crew may have been forced to cancel their landing but a
lunar pass afforded them the opportunity to take some of the finest-ever
photographs of the Moon.
£500 - £750
403 The crew leaves the Moon to return to Earth, Apollo 13, April 1970
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), NASA MSC captions and “A Kodak Paper” watermark on
verso, numbered NASA AS13-61-8736, AS13-61-8741 (2)
“I did, of course, occasionally think of the possibility that the spacecraft
explosion might maroon us in an enormous orbit about the Earth - a sort of
perpetual monument to the space program. But Jack Swigert, Fred Haise,
and I never talked about that fate during our perilous flight. I guess we were
too busy struggling for survival.” James Lovell
£300 - £500
404 The Moon vanishing in the spacecraft’s window after trans-Earth injection, Apollo 13, April 1970
Five vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-60-8690, AS13-60-8693, AS13-60-8695, AS13-60-8699, AS13-60-8702 in
red in top margin (5)
“The biggest emotion I had for several months after that flight was
disappointment. It was the biggest emotion in real time, when the
explosion happened, was disappointment. Just a big sinking feeling. . .
Biggest disappointment of my life.” Fred Haise in Voices from the Moon
£600 - £800
404 (4 of 5)
402
401 403
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405 The Moon behind the astronauts, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8703
in red in top margin
This outstanding view of a nearly full Moon was photographed from the
spacecraft during its journey back to Earth.
£400 - £600
406 Crescent Earth seen during the homeward journey, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8717
in red in top margin
“Our idea was, if all hope was lost, if we went by the Earth, say we missed
the Earth, and we were on an orbit about the Sun, if we had exceeded the
escape velocity. . . My idea was to hold off, you know, as long as we had
options, as long as we could stand it, send back data. . . We probably would
have been farther out than anybody.” James Lovell
£300 - £500
407 Full Moon, Apollo 13, April 1970
Four vintage chromogenic prints on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-61-
8758, AS13-61-8771, AS13-61-8788, AS13-61-8795 in red in top margin (4)
£600 - £800
408 The receding Moon seen from increasing distances as the astronauts head home, Apollo 13, April 1970
Ten vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-61-8760, AS13-61-8772, AS13-61-8782, AS13-61-8792, AS13-61-8825,
AS13-61-8858, AS13-61-8869, AS13-61-8875, AS13-62-8953, AS13-62-8992 in
red in top margin (10)
“The finest hour, in my viewpoint, of the space program was getting Apollo
13 back, not the first lunar landing.” Tom Stafford
£800 - £1,200
407
405 406
408
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409 Crescent Earth rising above the LM thruster and the CSM exterior, Apollo 13, April 1970
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-61-8836, AS13-62-8960 in red in top margin (2)
“We do not realize what we have on Earth until we leave it.” J. Lovell
£300 - £500
410 Views of the control panel and the transfer tunnel inside the LM “Aquarius”, Apollo 13, April 1970
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8931, AS13-61-8813, AS13-61-8879 in red in top margin (3)
The lunar module was built for a 45-hour lifetime and that had to be
stretched to 90. It was determined that the oxygen and power supply were
probably sufficient but water looked like it was going to be a problem and
had to be severely rationed.
£300 - £500
411 View of the celebrated “mailbox” which saved the astronauts’ lives, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS13-62-8931 in red in top margin
In order to purge carbon dioxide from the LM, an improvised contraption
was devised using lithium hydroxide canisters from the command module.
Following instructions relayed from mission control, it took the astronauts
about one hour to build the device out of plastic bags, cardboard,
parts from a lunar suit and a lot of tape. In the words of Jim Lovell, “The
contraption wasn’t very handsome, but it worked.”
Illustrated: A Man on the Moon p.144
£300 - £500
412 View of one of the astronauts sleeping in the dark and cold LM “Aquarius” during the return to Earth, Apollo 13, April 1970Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-62-
8944 in red in top margin
With most of the electrical systems turned off to conserve power, they were
not producing sufficient heat to keep the spacecraft warm. In addition, a
considerable amount of moisture condensed on the interior which added
to the astronauts’ discomfort.
£300 - £500
413 Jack Swigert works on the “mailbox” in the LM Aquarius, Apollo 13, April 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS13-62-9004 in red in top margin
“I never felt we were in a hopeless situation. . . No, we never had that
emotion at all. We never were with our backs to the wall, where there were
no more ideas, or nothing else to try, or no possible solution. That never
came.” Fred Haise
£400 - £600
409 (1 of 2) 410 (1 of 3) 411
413
412
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414 The Crescent Earth getting closer, Apollo 13, April 1970
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8981, AS13-62-9012, AS13-62-9026 in red in top margin (3)
“The vast loneliness of space is awe-inspiring, and it makes you realize what
you have back there on Earth.” J. Lovell
£400 - £600
415 Views of the exterior of the spacecraft heading back to Earth, Apollo 13, April 1970
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS13-62-8941, AS13-62-9030 in red in top margin (2)
Taken from the windows of the lifeboat LM “Aquarius” docked to the CSM.
“As far as spacecraft operations go, 13 was, I think, the epitome of man and
machine, you know, trying to go back home safely.” J. Lovell
£200 - £300
416 The astronauts inside the LM “Aquarius” before the �nal transfer to the Command Module, Apollo 13, April 1970Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS13-59-8483, AS13-59-8488, AS13-59-8490 in black in top margin (3)
Fred Haise is seen in the cockpit; one of the astronauts wearing a
Speedmaster watch is seated with his arms crossed; and the LM control
panel can be seen. “Survive we did, but it was close. Our mission was a
failure but I like to think it was a successful failure.” James Lovell
£300 - £500
417 The Earth seen in a crescent waiting for the return of the astronauts, Apollo 13, April 1970
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS13-
59-8494 in black in top margin
The exhausted astronauts near home.
£300 - £500
418 Jettison of the damaged Service Module with the now very distant Moon in the background, Apollo 13, April 1970Twelve vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS13-59-8501, AS13-59-8504, AS13-59-8506, AS13-59-8509, AS13-59-
8513, AS13-59-8517, AS13-59-8520, AS13-59-8525, AS13-59-8529, AS13-59-
8538, AS13-59-8544, AS13-59-8548 in black in top margin (12)
The exterior of the docked Command Module that the astronauts will use
for the landing is visible in some of these photographs taken from the
window of the LM.
£500 - £750
414 (1 of 3)
415
416 (1 of 3) 417
418 (4 of 12)
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419 Jettison of the Lunar Module after the �nal transfer to the Command Module for re-entry into the Earth’s atmosphere, Apollo 13, April 1970Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS13-59-8549, AS13-59-8555, AS13-59-8562, AS13-59-8567, AS13-59-
8574 in black in top margin (5)
Due to the unusual spacecraft configuration resulting from retaining
the lunar module, entry procedures had to be modified. First came the
separation of the damaged service module. Then the command module
was powered up and the crew transferred back to the CM. The lunar
module was undocked just over an hour before splashdown and burned up
on re-entry. From this point, the mission was similar to previous flights, with
a safe landing approximately 1 mile from the target point.
£500 - £750
420 Safe landing of the Command Module and recovery of the astronauts in the Paci�c Ocean, Apollo 13, April 1970Vintage chromogenic print on fibre-based Kodak paper, NASA MSC caption
and “A Kodak Paper” watermark on verso, numbered NASA S-70-35631 in red
in top margin
Apollo 13 may have been the most carefully watched mission of the
programme. For a tense four days, no-one knew if the crew would make it
back safely.
£200 - £300
421 Alan Shepard training for one sixth G lunar gravity on a KC-135 aircraft, Apollo 14, November 1970
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-70-53479 in red in top margin
£200 - £300
422 Lifto� to the Moon, Apollo 14, February 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-71-18399 in red in top margin
£200 - £300
423 The LM stowed in the Saturn Rocket third stage during the transposition and docking manoeuvre, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper”
watermark on verso, numbered NASA AS14-72-9920 in red in top margin
Gas venting from the Saturn third stage during the manoeuvre is clearly visible.
£200 - £300
419
420 421
422
423
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424 Saturn Rocket third stage jettison, Apollo 14, February 1971
Four vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-
72-9924, AS14-72-9928, AS14-72-9932, AS14-72-9934 in red in top margin (4)
After the successful docking manoeuvre and extraction of the LM, the SIVB
third stage was targeted for a crash landing on the Moon. The compartment
in the SIVB formerly occupied by the LM is visible beyond the LM thrusters.
£300 - £500
425 Stuart Roosa Crescent Moon with re�ections of the Sun through the CSM window, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-72-9937
in red in top margin
Illustrated: Voices from the Moon p.34
£300 - £500
426 Stuart Roosa The slender crescent of the Moon seen during translunar coast, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-72-9940
in red in top margin
£300 - £500
427 Stuart Roosa The slender crescent of the Earth seen during translunar coast, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-76-10356
in red in top margin
On their way to the Moon, the astronauts watched the Earth decreasing in
their window. “It was a funny feeling; you knew the Earth was there, but you
could never see anything but the crescent. It’s the abject smallness of the
Earth that gets you.” Stuart Roosa
£300 - £500
424 (3 of 4)
425
426
427
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428 Stuart Roosa The LM separating from the CSM in preparation for landing, Apollo 14, February 1971 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS14-74-10205, AS14-74-10210 in red in top margin (2)
“The both of us knew we were going to land. Even when the landing radar
didn’t come in, it was pretty certain to pitch over, and if we were in any
sort of position, we’d’ve landed anyhow. We’re not going to get down to
eighteen thousand feet and not take a look. Regardless of what Houston
says.” Ed Mitchell
£300 - £500
429 The CSM “Kitty Hawk” in lunar orbit seen from the LM “Antares”, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-66-9220 in red in top margin
While Shepard and Mitchell descended in the Lunar Module to explore the
Moon, Roosa remained with the CSM in lunar orbit. “I think this solo aspect
of being in that spacecraft by yourself, being 250,000 miles away from Earth,
you feel fairly lonely. A lot of mixed emotions. None of which is fear. I guess,
some wonderment. Awe, I suppose, thankfulness that you’re there, that you
have the opportunity to experience that. Some loneliness.” Stuart Roosa
£300 - £500
430 The Earth emerging from behind the rim of the Moon, Apollo 14, February 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-66-9224 in red in top margin
Taken from the LM prior to descent to the lunar surface. “Suddenly, from
behind the rim of the Moon, in long, slow-motion moments of immense
majesty, there emerges a sparkling blue and white jewel, a light, delicate
sky-blue sphere laced with slowly swirling veils of white, rising gradually like
a small pearl in a thick sea of black mystery. It takes more than a moment to
fully realize this is Earth ... home.” Edgar Mitchell
£400 - £600
431 Stuart Roosa View of a bright-rayed Crater from Moon orbit, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-72-10030
in red in top margin.
£200 - £300
430 431
428 429
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432 Stuart Roosa Crescent Earth rising through the spacecraft’s window, Apollo 14, February 1971 Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered AS14-72-
10031, AS14-72-10033, AS14-72-10034 in red in top margin (3)
“You’re proud of what you’re doing. I mean you’re proud of the fact that, hey,
I made it to the Moon. And then you look back out and you see this little
bitty Earth back there, and you see all that darkness, and you also feel pretty
humble at the same time.” Stuart Roosa
£500 - £750
433 Edgar Mitchell Alan Shepard on the lunar surface, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-66-9230
in red in top margin
Ed Mitchell took the photograph through the window of the LM before his
moonwalk. Shepard is shading his eyes from the Sun, looking up toward
Cone Crater.
Illustrated: Space p.114
£400 - £600
434 Edgar Mitchell Alan Shepard and the American �ag, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-66-9232
in red in top margin
Stripes on commander Shepard’s helmet and on his arms and legs help
distinguish him from Mitchell, who has no stripes.
Illustrated: A Man on the Moon pp 240-241, Voices from the Moon p.166
£600 - £800
433
434
432
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435 Alan Shepard Edgar Mitchell and the American �ag, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-66-9233
in red in top margin
£600 - £800
436 Edgar Mitchell sets up the TV camera for a panorama, Cone Crater beyond, Apollo 14, February 1971Vintage chromogenic print, 19.3 x 19.3cm, on fibre-based Kodak paper, “A
Kodak Paper” watermark on verso, NASA caption numbered AS14-66-9302
on verso
£300 - £500
437 Alan Shepard Lunar landscape at Fra Mauro, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on resin coated Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, [NASA negative number AS14-
66-9250]
“The targeting data for the Apollo 14 landing site were every bit as good
as the data for Apollo 12, but we had to fly around for a little while for
the same reason they had to. The landing site was rougher, on direct
observation, than the photos had been able to show. So I looked for a
smoother area, found one, and landed there.” Alan Shepard
£300 - £500
438
Alan Shepard Details of the LM “Antares” on the lunar surface, EVA 1, Apollo 14, February 1971 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), with NASA MSC caption and “A Kodak Paper” watermark
on verso, numbered NASA AS14-66-9260, AS14-66-9262 in red in top
margin (2)
“To shut down and drop to the surface was a real relief.” Ed Mitchell
£300 - £500
433
436
437
438 (1 of 2)
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439 Alan Shepard The LM and the American �ag, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-66-9277
in red in top margin
£300 - £500
440 Alan Shepard The LM re�ects a circular �are, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-66-9305 in red in top margin
The unusual ball of light was said by astronauts to have a jewel-like appearance.
Illustrated: A Man on the Moon pp206-207
£400 - £600
441 Alan Shepard Fra Mauro landing site photographed against brilliant Sun glare, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-67-9367 in red in top margin
Tracks of the Modularized Equipment Transporter (MET) show the route
taken by the two astronauts on their traverse to Cone Crater.
Illustrated: Space p.116
£300 - £500
442 Alan Shepard The lunar base camp, EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-67-9376
in red in top margin
£200 - £300
439
440
441
442
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443 Edgar Mitchell Looking down on the landing site from the LM after EVA 1, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-66-9324 in red in top margin
The two-wheeled Modularized Equipment Transporter (MET) is covered with
a sheet of foil material to protect the cameras and rock box between EVAs.
£200 - £300
444 Edgar Mitchell Alan Shepard assembles a core tube at Station A, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS14-
68-9405 in black in top margin
“We’re there to do a job. That idea is never out of your head for one instant.
Very much aware that it is a professional exploratory mission, and you’re
explorers and you’ve got a hell a lot of people and a hell a lot of money
tied up behind you, trying to find out what this new planet’s all about. And
you’re their eyes and their ears.” Ed Mitchell
£300 - £500
445 Alan Shepard The 16-mm sequence camera recording the scene during the traverse, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS14-
64-9094 in black in top margin
£200 - £300
446 Alan Shepard Lunar valley, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print,
20.3 x 25.4cm (8 x 10in),
NASA MSC caption on verso,
numbered
NASA AS14-64-9118
in black in top margin
Taken on the flank of Cone Crater, the view is looking south across the valley
which the crew overflew during the final approach to landing.
Illustrated: Voices from the Moon, back cover
£300 - £500
447 Alan Shepard Boot prints in the lunar soil, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered NASA AS14-64-9127 in black in top margin
£200 - £300
448 Edgar Mitchell Field of boulders near Cone Crater, EVA 2, Apollo 14, February 1971 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA MSC
captions on verso, numbered NASA AS14-68-9448, AS14-68-9451 in black in
top margin (2)
The first illustrated, Full Moon, plate 63 ; the LM is visible in the plain on the
right behind the rock.
£400 - £600
443 444 445
446 447
448
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449 Edgar Mitchell The hammer and Saddle Rock, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS14-
68-9452 in black in top margin
Illustrated: Full Moon, plate 68
£300 - £500
450 Alan Shepard Distant view of Edgar Mitchell working at the MET, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in),
[NASA negative number AS14-64-9140]
“You know, you’re not heavy, and you have the feeling that you’re floating a
lot of the time. You’re just kind of touching your feet every so often. Moving
over the surface was fairly effortless, except for the cumbersomeness of the
suit. We weren’t heavy at all.” Ed Mitchell
£200 - £300
451 Edgar Mitchell Distant view of Alan Shepard and the Lunar Module, EVA 2, Apollo 14, February 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on
verso, numbered AS14-69-9487 in black in top margin
“That was it, Antares was in sight, as it had been throughout much of the
traverse, and our long moonwalk was almost over.” Alan Shepard
£300 - £500
452 An onboard movie camera records the lifto� of the LM ascent stage, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-71-19500 in
red in top margin
“No, there was really not any worry; it’s just the apprehension, the
anticipation of waiting for it to go. And since we’d never experienced that
liftoff, we didn’t know what we were going to feel. It was a pretty severe
shock. It staggers you… it makes you sag.” Ed Mitchell
£200 - £300
453 Stuart Roosa Chain craters in the Davy G region of the lunar surface, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-73-10103 in red in top margin
This “chain” phenomenon occurs in numerous other parts of the Moon and
the cause of this effect remains to be discovered.
£200 - £300
449 450 451
452 453
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457 Return to the CSM “Kitty Hawk”, Apollo 14, February 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-66-9346 in red in top margin
“Because you were running on adrenalin, you didn’t really feel the
exhaustion. That all came after you got back in the Command Module, took
off the suit and relaxed for a minute. And then you realized you were just
dead tired. And we hurried. Even Houston hurried us, because they wanted
to get us out of orbit on the next pass, because they knew we were all dog
tired.” Ed Mitchell
£200 - £300
458 Lunar Module jettison, Apollo 14, February 1971
Six vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS14-74-10213, AS14-74-10214, AS14-74-10216, AS14-74-10218, AS14-74-
10220, AS14-74-10221 in red in top margin (6)
After docking with the CSM, the LM was jettisoned and drifted into space
before crashing into the Moon at a velocity of approximately 1,600 km/hour.
£400 - £600
454 Stuart Roosa The Fra Mauro area seen from orbit, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS14-73-10115 in red in top margin
£200 - £300
455 Stuart Roosa Lunar horizon over the Sea of Fecundity, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-73-10169
in red in top margin
£200 - £300
456 Stuart Roosa The LM ascending from the Moon, Apollo 14, February 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-74-10211
in red in top margin
“I didn’t want to leave. Real sad to think of having to leave at that point,
knowing you’d never go back.” Ed Mitchell
£200 - £300
454 455
456 457
458 (3 of 6)
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459 Half Moon seen during the return �ight to Earth, Apollo 14, February 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS14-73-10170
in red in top margin
£300 - £500
460 No Lot
461 O�cial portrait of the crew, Apollo 15, 1971
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-71-37963
in red in top margin
From left to right, astronauts David Scott, Alfred Worden and James Irwin.
“In richness of scientific return, the Apollo 15 voyage to the plains at
Hadley compares with voyages of Darwin’s H.M.S. “Beagle”, and those of
“Endeavour” and “Resolution”. Just as those epic ocean voyages set the stage
for a revolution in the biological sciences and exploration generally, so also
the flight of “Falcon” and “Endeavour” did the same in planetary and Earth
sciences and will guide the course of future explorations.” James Fletcher,
NASA administrator, December 1971
£200 - £300
462 The Earth, Apollo 15, 1971 Vintage chromogenic print on fibre-based
paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso,
numbered NASA AS15-91-12343 in red in top margin
“We’ve been taking turns looking at the Earth through the telescope. It’s a
fantastic sight.” Dave Scott. “Of course, he is an experienced space traveller
compared to the other two rookies on the flight. He flew on the near-
disastrous Gemini 8 mission with Neil Armstrong and on Apollo 9. Although
this is the first time he has seen the Earth from 60,000 kilometres, he has had
time to reflect on the sights and sensations of space travel, whereas Jim Irwin
and Al Worden are discovering them for the first time”. (Apollo Flight Journal)
£500 - £800
463
Alfred Worden UV photographs of the receding Earth, Apollo 15, August 1971 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-99-13412, AS15-99-13413, AS15-99-13430 in black in top margin (3)
“As we got further and further away, it [the Earth] diminished in size. Finally
it shrank to the size of a marble, the most beautiful you can imagine. That
beautiful, warm, living object looked so fragile, so delicate, that if you
touched it with a finger it would crumble and fall apart. Seeing this has to
change a man.” James Irwin
£400 - £600
462
459 461
463
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464 Craters Newcomb and Posidonius in the Montes Taurus region of the Moon, Apollo 15, 1971
Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-91-
12353, AS15-91-12366 in red in top margin (2)
£200 - £300
465 Alfred Worden Coloured Moonscape, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS15-91-12374 in red
in top margin
A combination of the low slant of sunlight, the angle of view, and the
reflective quality of the Moon’s rumpled and cratered surface surface gives
a warm brown tone. The true colour of the Moon, as reported by all Apollo
astronauts, is grey.
£300 - £500
466 Triptych: the Sea of Ingenuity seen with re�ections of the low sunlight in the spacecraft’s window, Apollo 15, August 1971Three vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-91-
12375, AS15-91-12377, AS15-91-12376 in red in top margin (3)
£400 - £600
467 The giant, dark-�oored Crater Tsiolkovsky and its central peak on the lunar farside, Apollo 15, August 1971Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-91-
12383, AS15-87-11727 in red in top margin (2)
£400 - £600
468 Orbital landscape seen from the window of the LM descending to the lunar surface, Apollo 15, August 1971Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-87-11704 in red in
top margin
£200 - £300
464
466
467
465
468
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469 The Earth hanging in space seen from the LM 12 km above the lunar surface, Apollo 15, August 1971
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-87-11723 in red in
top margin
£300 - £500
470 Alfred Worden Tsiolkovsky Crater’s �oor and Humboldt Crater photographed with the Fairchild camera, Apollo 15, August 1971Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA MSC
captions on verso, numbered NASA S-71-44670, S-71-44668 in black in top
margin (2)
While Scott and Irwin spent 66 hours on the lunar surface, overhead in
solo orbit Worden, besides taking hand-held photographs, operated two
automatic photographic systems one of which, the Fairchild metric camera,
was located in the SIM bay of the Apollo 15 CSM along with the stellar
camera, the laser altimeter, and the panoramic camera.
£300 - £500
471 Alfred Worden Archimedes Crater in the twilight of the nearside lunar terminator, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-91-12401 in red in
top margin
£200 - £300
472 Alfred Worden Meteorite splash, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS15-97-13156 in red
in top margin
£200 - £300
473 Alfred Worden UV photographs of the Earth from lunar orbit, Apollo 15, August 1971 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-99-13454, AS15-99-13442 in black in top margin (2)
“Now I know why I’m here. Not for a closer look at the moon, but to look
back at our home, the Earth.” Alfred Worden
£300 - £500
469
471
470
473
472
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474 Alfred Worden Apollo 15 Hadley Apennine landing site seen from lunar orbit, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-94-
12811 in black in top margin
“I think I mentioned the surprise we had when we looked up at six thousand
feet above the surface to find this mountain on our left went another seven
thousand feet above us. We’d never had that view out of the simulator
window. Fortunately, Hadley Rille was very obvious out in front of us, and
that reassured us that we’d probably come to the right place.” James Irwin
£200 - £300
475 Alfred Worden Copernicus Crater on the lunar horizon seen from the spacecraft’s window, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
94-12848 in black in top margin
£200 - £300
476 David Scott Silver Spur Mountain from the top hatch of the LM, Standup EVA, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
84-11250 in black in top margin
Silver Spur - named for Caltech geologist Lee Silver - is immediately east of
Mt. Hadley Delta and shows striking evidence of layering.
£200 - £300
477 James Irwin Station 1 at Elbow Crater, EVA 1, Apollo 15, August 1971 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-85-11416, AS15-85-11418 in black in top margin (2)
Station 1 was located on the east flank of Elbow Crater. Here the astronauts
collected samples at varying distances from the crater, corresponding to
material ejected from different depths below the surface when the crater
formed, and gathered documented samples.
£200 - £300
478 James Irwin Shadow-catching at St George Crater’s Station 2, EVA 1, Apollo 15, August 1971 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-85-11439, AS15-85-11441, AS15-85-11444 in black in top margin (3)
£300 - £500
474 475 476
477
478
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480 (1 of 2)479
David Scott The bottom of Hadley Rille lunar canyon, EVA 1, Apollo 15, August 1971 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-84-11286, AS15-84-11288 in black in top margin (2)
David Scott took the photographs with a 500mm lens from St George
Crater. The clarity of the lunar vacuum and the foreshortening of the
telephoto lens offer a deceptively small sense of scale since the biggest
boulder at the bottom is house-sized.
£300 - £500
480 David Scott The Lunar Ranging Retro-Re�ector and the lunar magnetometer at the ALSEP (Apollo Lunar Surface Experiments Package) site, EVA 1, Apollo 15, August 1971A set of one vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-85-11468 in black in top margin and one vintage chromogenic
print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, numbered NASA AS15-86-11563 in red in top margin (2)
£200 - £300
481 James Irwin David Scott in the Lunar Rover, EVA 1, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
85-11470 in black in top margin
The electric car enabled Scott and Irwin to cover a greater distance and
collect a greater variety of geological samples than accomplished on the
three previous lunar landings combined. They spent almost 38 man-hours
on expeditions.
Illustrated: Full Moon plate 70
£400 - £600
482 David Scott Portrait of James Irwin and the Rover at the Hadley Apennine landing site, EVA 1, Apollo 15, 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS15-86-11601 in
red in top margin
£400 - £600
479
481
482
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483 David Scott Portrait of James Irwin and the Rover in front of Mount Hadley, EVA 1, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS15-86-11603 in red in top margin
“When I look at the Moon I do not see a hostile, empty world. I see the
radiant body where man has taken his first steps into a frontier that will
never end.” D.Scott
Illustrated: Space p.120, Spacecam p.29, A Man on the Moon p.54
£400 - £600
484 David Scott The North �ank of Mount Hadley and a hill in the nearby area of the Swann range, EVA 2, Apollo 15, August 1971 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-84-11317, AS15-84-11320 in black in top margin (2)
£200 - £300
485 David Scott The LM “Falcon” in the desolate lunar landscape of Hadley Apennine, EVA 2, Apollo 15, August 1971 Vintage chromogenic print on fibre-¬based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA S-¬66-¬63539 in red in top margin
£300 - £500
486 James Irwin David Scott using his chest-mounted Hasselblad at station 6, EVA 2, Apollo 15, August 1971 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-85-11505, AS15-85-11523, AS15-85-11527 in black in top margin (3)
£300 - £500
483
484 (1 of 2)
485
486 (2 of 3)
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487 David Scott Hadley Rille lunar canyon seen on the horizon, EVA 2, Apollo 15, 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-86-11601 in red in
top margin
The view was taken from Hadley Delta’s Station 6, five km southeast of the
LM “Falcon”.
£200 - £300
488 James Irwin David Scott photographs at Spur Crater, EVA 2, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
90-12224 in black in top margin
£200 - £300
489 James Irwin Geology at Spur Crater’s Station 7, EVA 2, Apollo 15, August 1971 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-90-12230, AS15-90-12231, AS15-90-12236 in black in top margin (3)
At this station, located on the rim of Spur Crater, the crew gathered selected
rock samples and a comprehensive soil sample. In all, 93 samples were
collected, including one that became known as the “Genesis Rock.”
£300 - £500
490 James Irwin Close-up of David Scott covered with lunar dust, EVA 2, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
90-12233 in black in top margin
After Scott dropped his tongs, Irwin accidentally stepped on them and
Scott is examining them for damage. Spur Crater is in the background.
Illustrated: Full Moon plate 76
£300 - £500
491 David Scott The long-handled lunar tongs set against the Station 4 boulder at Dune Crater, EVA 2, Apollo 15, August 1971Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS15-87-11776 in red in top margin
Even on the last three lunar missions which featured more flexible space
suits, the set of long-handled tongs, used to pick up rock samples, were
essential to the moonwalkers.
£200 - £300
487 488 489 (1 of 3)
490 491
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492 James Irwin Mount Hadley, EVA 2, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS15-87-11793 in red
in top margin
“They [the mountains] looked big, but not as big as they were. Interestingly
enough. And they were enormous. They were huge. But I expected them,
frankly, to look bigger in the scope of things. The problem is, you don’t have
anything to compare them with, ‘cause how high is up, and how big is big?”
David Scott
£200 - £300
493 James Irwin Lunar soil under the LM’s gold-foil covered descent stage, EVA 2, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark on verso, numbered NASA AS15-87-11841 in red
in top margin
£200 - £300
494 James Irwin Lunar landscape at the Hadley Apennine landing site, EVA 2, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-87-11793 in red in
top margin
The pink colour in the lunar black sky is due to the phenomenon known as
sunstruck.
£200 - £300
495 James Irwin David Scott salutes the American �ag, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11863 in red in
top margin
£600 - £800
496 David Scott James Irwin salutes the American �ag, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11865 in red in
top margin
£600 - £800
492 493 494
495 496
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497 The pristine lunar surface, Apollo 15, August 1971
Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-85-11467, AS15-82-11131 in black in top margin. (2)
Bombarded by meteorites for billions of years, the Moon’s surface is
pockmarked by craters ranging in size from microscopic pits to giant basins
hundreds of miles across.
£300 - £500
498 Human traces in the lunar surface: footprints and patterns made by the lunar rake, EVA 3, Apollo 15, August 1971A set of one vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-
88-11876 in red in top margin and one vintage gelatin silver print, 20.3 x
25.4cm (8 x 10in), numbered NASA in margin (2)
£300 - £500
499 James Irwin View of the ALSEP site, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in),
NASA MSC caption and “A Kodak Paper” watermark on verso, numbered
NASA AS15-88-11878 in red in top margin.
£200 - £300
500 James Irwin The LM “Falcon” and the American �ag at Hadley Apennine from the ALSEP site, EVA 3, Apollo 15, August 1971Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
82-11056 in black in top margin
£200 - £300
501 David Scott Lunar landscape on the way to Hadley Rille lunar canyon and arrival at Station 9, EVA 3, Apollo 15, August 1971Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11056, AS15-82-11107, AS15-82-11108 in black in top margin (3)
Because Irwin’s camera was jammed, Scott made a pause driving the Rover
and took a photograph of a remarkable boulder on the way to Hadley
Rille. Then the astronauts parked the rover at Station 9 which was located
approximately 1.4 kilometres west of the LM and 300 metres east of the
edge of Hadley Rille.
£300 - £500
497 (1 of 2) 498 (1 of 2) 499
500
501
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157
502 James Irwin David Scott and the Rover on the edge of Hadley Rille lunar canyon at station 9A, EVA 3, Apollo 15, August 1971Two vintage gelatin silver prints, each 20.3 x 25.4cm
(8 x 10in), numbered NASA AS15-82-11129,
AS15-82-11135 in black in top margin (2)
Station 9A was located at the edge of Hadley Rille,
about 1.8 kilometres west of the LM. The crew completed
an extensive sampling of the area.
£200 - £300
503 James Irwin David Scott using his hammer in a �eld of boulders on the edge of Hadley Rille at station 9A, EVA 3, Apollo 15, August 1971Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11140, AS15-82-11141, AS15-82-11142 in black in top margin (3)
“It’s hard to whack on the moon. Because the hammer only weighs one
sixth. It’s got the mass, but you can’t get the force behind it.” Dave Scott
£300 - £500
504
James Irwin David Scott prospecting for samples on the edge of Hadley Rille lunar canyon, EVA 3, Apollo 15, August 1971Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11143, AS15-82-11145, AS15-82-11146 in black in top margin (3)
£300 - £500
505 James Irwin Eastern and western sides of Hadley Rille lunar canyon, EVA 3, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
82-11147 in black in top margin
Hadley Delta is the mountain in the background and St George Crater is
partially visible in the upper right.
£300 - £500
506 David Scott James Irwin prospecting for samples on the edge of Hadley Rille lunar canyon, EVA 3, Apollo 15, August 1971Four vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11159, AS15-82-11153, AS15-82-11157, AS15-82-11160 in
black in top margin (4)
£300 - £500
502 (1 of 2)
505
503 (1 of 3)
504506 (2 of 4)
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507 David Scott Lunar landscapes, EVA 3, Apollo 15, August 1971 Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASAAS15-89-12163, AS15-89-12164, AS15-89-12175, AS15-89-12176, AS15-
89-12178 in black in top margin (5)
From station 10 on the edge of Hadley Rille, David Scott used a telephoto
lens to photograph interesting landscapes. He captured a small crater near
Elbow Crater, a white ejecta crater near St George Crater, a dark feature on
Mount Hadley Delta, an outcrop in the Swann Range and finally a patch of
boulders in the Swann Range.
£300 - £500
508 James Irwin Return to the LM, EVA 3, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS15-
82-11195 in black in top margin.
£200 - £300
509 David Scott The Lunar Rover seen from every angle, EVA 3, Apollo 15, August 1971 Six vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11196, AS15-82-11197, AS15-82-11198, AS15-82-11197,
AS15-82-11201, AS15-82-11203 in black in top margin (6)
£500 - £750
510 The photographer’s shadows on the lunar surface, EVA 3, Apollo 15, August 1971
A set of one vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-82-11187 in black in top margin; and one vintage chromogenic
print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, numbered NASA AS15-88-11886 in red in top margin
£200 - £300
511 David Scott The battery mirrors of the Lunar Rover, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11891 in red in
top margin
£200 - £300
507 (3 of 5) 508
509 (3 of 6)
510
511
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159
512 David Scott Memorial of the “fallen” astronauts, EVA 3, Apollo 15, August 1971 Two vintage chromogenic prints on fibre-based paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-88-
11926, AS15-88-11893 in red in top margin (2)
David Scott placed a small figure on the ground near the final parking place of
the Rover to represent the “fallen” astronauts and cosmonauts, who had died in
the course of duty. Next to the figure, he placed a card that lists their names.
£300 - £500
513 David Scott The LM, the �ag and James Irwin in the barren lunar landscape, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11896 in red in
top margin
£200 - £300
514 David Scott The Lunar Rover at its �nal parking place, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11901 in red in
top margin
Scott has driven the Rover to the best location where the worldwide television
audience can watch the launch transmitted by the Rover’s TV camera.
£300 - £500
515 David Scott Last photograph taken on the lunar surface, EVA 3, Apollo 15, August 1971 Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-88-11930 in red in
top margin
Back at the LM “Falcon” after three days of exploration, Scott took this picture
through the struts towards the Rover with the Apennine mountains in the
background..
Illustrated: Full Moon plate 96
£300 - £500
516 Launch from the Moon, Apollo 15, August 1971
Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA S-71-
55816, S-71-55818 in red in top margin (2)
Transmitted by the TV camera mounted on the Rover, these views showed
the LM lifting off from the Moon to return to Earth.
“We used to joke about the fact that you have, I don’t know, ten thousand guys
at the Cape getting you launched? On the Moon you have two.” David Scott
£300 - £500
516
515514
512 513
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517 Alfred Worden The LM “Falcon” returning from the Moon, Apollo 15, August 1971 Three vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-96-
13034, AS15-96-13035, AS15-96-13036 in red in top margin (3)
£300 - £500
518 The CSM “Endeavour” manoeuvring for rendezvous in lunar orbit, Apollo 15, August 1971
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-87-11962 in red in
top margin
£400 - £600
519 Close-up of the CSM over the Sea of Fertility, Apollo 15, August 1971
Vintage chromogenic print on fibre-based paper, 20.3 x 25.4cm (8 x 10in), “A
Kodak Paper” watermark on verso, numbered NASA AS15-87-11962 in red in
top margin
Alone in “Endeavour” Worden pitched the command ship nose down
toward the Moon so that Scott and Irwin in the LM could inspect the
exposed SIM bay where he would later retrieve the cassettes of the
panoramic cameras during his deep space EVA.
£400 - £600
520 Hadley Rille and Crater Hadley C, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-81-
10894 in black in top margin
£200 - £300
517
520
518
519
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161
521 Brilliant craters on the lunar nearside, Apollo 15, August 1971 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
AS15-81-10909, AS15-81-10920, AS15-81-10929 in black in top margin (3)
A vertical view of the Crater Dawes, an oblique view of an impact crater on
the rim of Gibbs Crate and a high-oblique view of Proclus Crater
£300 - £500
522 The rugged features of Taurus-Littrow valley, Apollo 17’s future landing site, Apollo 15, August 1971Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-81-
10894 in black in top margin
The Apollo 17 landing site is located on the dark mare material in the
Taurus-Littrow valley at lower left, a tectonically produced break in the rim
of the Serenitatis Basin.
£200 - £300
523 The lunar terminator, the boundary between day and night, Apollo 15, August 1971
Two vintage chromogenic prints on fibre-based paper, each 20.3 x 25.4cm
(8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-88-
11979, AS15-88-11983 in red in top margin (2)
£200 - £300
524 Crater Seleucus in the twilight of the terminator, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-98-
13360 in black in top margin
“And then a remarkable thing happens. You come around, and
instantaneously it’s sunlight. Suddenly the sun is there. I mean, without any
warning. One instant it is total blackness; the next instant the sun is there…
and this repeats itself every two hours.” Stuart Roosa
£200 - £300
525 Crater Messier in the Sea of Fertility, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-81-
10992 in black in top margin
The photograph was made from an altitude of 70 miles with a 500 mm
telephoto lens. A low-angle meteorite impact is believed to have formed
Messier, creating a furrow 5 miles wide and 9 miles long.
Illustrated: Full Moon plate 33
£200 - £300
521
522 523
524
525
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526 Spitsbergen Mountains, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-81-
11022 in black in top margin
A solitary mountain chain in the eastern Mare Imbrium of the Moon named
for their resemblance to the jagged terrestrial mountains of Spitsbergen
Island in the Arctic Ocean.
£300 - £500
527 Crater Langrenus and its central peak, Apollo 15, August 1971
A set of one vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered
NASA AS15-84-11352 in black in top margin and one vintage chromogenic
print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, numbered NASA AS15-96-13066 in red in top margin (2)
£200 - £300
526
527 (1 of 2)
528 Crescent Earth rising beyond the Moon’s barren horizon, Apollo 15, August 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-97-13267
in red in top margin
Illustrated: Voices from the Moon p.168
£600 - £800
528
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532
529 Abstract bright spots on the lunar surface, Apollo 15, August 1971
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS15-93-12665, AS15-93-12684 in red in top margin (2)
These bright spots are produced when lunar craters are illuminated by a
high sun angle.
£200 - £300
530 Eratosthenes Crater, Apollo 15, August 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-93-12688
in red in top margin
£200 - £300
531 Lunar subsatellite deployment, Apollo 15, August 1971
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA
AS15-96-13070, AS15-96-13072, AS15-96-13075 in red in top margin (3)
Before transearth injection, the CSM launched a subsatellite around the
Moon containing three experiments: the S-band transponder, the particle
shadow/boundary layer experiment and a magnometer.
£300 - £500
529
530
532 The Moon vanishing in the spacecraft’s window just after transearth injection, Apollo 15, August 1971Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-96-13083
in red in top margin
£300 - £500
533 Quarter of the Moon, Apollo 15, August 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-96-13085
in red in top margin
Illustrated: Space p.125
£300 - £500
533
531
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534 The Southern Sea of the Moon with re�ections of the sun in the spacecraft’s window, Apollo 15, August 1971Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-88-12007
in red in top margin
£400 - £600
535 Lunar disc, Seas of Crises, Fertility, Serenity, Apollo 15, August 1971
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-88-12014
in red in top margin
The pink colour in the black sky is due to “sunstruck”.
£400 - £600
536 The lunar disc during transearth coast phase, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-
94-12865 in black in top margin
“Yet, in addition to making these assigned scientific observations, we left
the Moon indelibly impressed with its stark, surrealistic features, its nearly
overwhelming variety of landforms, and, above all, its awesome beauty.
It is truly a fascinating place for exploration and study.” Apollo 15 crew
observations.
£300 - £500
537 Details of the receding Moon photographed with a telephoto lens, Apollo 15, August 1971
Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
AS15-95-12985, AS15-95-12987, AS15-95-12999 in black in top margin (3)
£300 - £500
534
535
536
537
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165
538 The receding Moon’s disc, seen through a 500-mm telephoto lens, Apollo 15, August 1971
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-95-
13000 in black in top margin
£300 - £500
539 James Irwin First deep space EVA, by Alfred Worden, Apollo 15, August 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-96-13102
in red in top margin
Approximately 18 hours after transearth injection, Alfred Worden left the CM to
retrieve film cassettes from the SIM bay. His helmet and backpack can be seen
in the centre of this photograph taken from the Command Module’s hatch.
£300 - £500
540 First deep space EVA, by Alfred Worden, Apollo 15, August 1971
Vintage chromogenic print on resin coated Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA HQ caption and “A Kodak Paper” watermark on verso
This picture was taken from a frame of motion picture film exposed by the
16mm Maurer camera mounted on the hatch of the Command Module.
Apart from Apollo 15, 16 and 17 EVAs to retrieve SIM bay film cassettes,
every other EVA from a spacecraft in freefall has taken place in low Earth
orbit, never more than about 600 kilometres away from the home planet.
£300 - £500
541 Alfred Worden UV photograph of the Crescent Earth seen during the return from the Moon, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered
AS15-99-13487 in black in top margin
£200 - £300
538 539
540
541
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542
543
543 Al Worden Telephoto panorama of Rimae Aristarchus, Revolution 61, Apollo 15, august 1971 Mosaic of two vintage chromogenic prints on fibre-based Kodak paper,
each with the “A Kodak Paper” watermark on verso, numbered AS15-96-
13046 to AS15-96-13049 in red in top margin, 38.4 x 31cm, image 35.7 x
23.5cm
£1,000 - £1,500
542 Al Worden Oblique telephoto panorama of the North Rim of Crater Pasteur on the farside of the Moon, Revolution 37, Apollo 15, August 1971Mosaic of nine vintage gelatin silver prints numbered NASA AS15-94-12820
to AS15-94-12829 in black in top margin, 47 x 125cm, image 43 x 118cm
The view extends from Crater Meitner to Crater Wyld on the horizon.
£3,000 - £5,000
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167
544 Al Worden Partial telephoto panorama of Schröter’s Valley, Revolution 61, Apollo 15, August 1971 Mosaic of three vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS16-96-13052 to
AS16-96-13058 in red in top margin, 26.5 x 51.5cm, image 22.5 x 44cm
£2,000 - £3,000
544
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LONDON
545 Al Worden Orbital panorama of Craters Prinz and Aristarchus, Revolution 70, Apollo 15, August 1971 Mosaic of six vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS15-93-12607 to
AS15-93-12612 in red in top margin, 26.5 x 48.2cm, image 24 x 40.5cm
The view shows many sinuous rilles including Rimae Prinz and Rimae
Aristarchus. “We’ve all been sitting here kind of looking at Aristarchus a
little bit in awe. It looks like probably the most volcanic area that I’ve seen
anywhere on the surface. And certainly it’s just very covered with rilles,
very - quite deep rilles, too, some of them.” Alfred Worden, Apollo 15 air-to-
ground transmission
£2,000 - £3,000
546 Al Worden Orbital panorama of Aristarchus Plateau in the Ocean of Storms, Revolution 70, Apollo 15, August 1971Mosaic of five vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS15-93-12616 to
AS15-93-12622 in red in top margi, 60 x 34cm, 54.5 x 29cm
£2,000 - £3,000
545
546
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169
547 Al Worden Orbital panorama of Schröter’s Valley, Revolution 70, Apollo 15, August 1971 Mosaic of four vintage chromogenic prints on fibre-based Kodak paper,
each with the “A Kodak Paper” watermark on verso, numbered AS15-93-
12623 to AS15-93-12630 in red in top margin, 30 x 47.8cm, image 27 x 41cm
The view shows the full 160-km length of Schröter’s Valley from its source
in the so-called “Cobra Head” on the left to where it fades out in Oceanus
Procellarum.
£2,000 - £3,000
548 Al Worden Orbital panorama of Humboldt Crater, Revolution 71, Apollo 15, august 1971 Mosaic of six vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS15-93-12651 to
AS15-93-12657 in red in top margin, 34 x 71cm, image 29 x 63cm
£3,000 - £5,000
547
548
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494170
549 Al Worden Telephoto panorama of northwest Mare Tranquillitatis, Revolution 71, Apollo 15, August 1971 Mosaic of three vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS15-93-12666 to
AS15-93-12669 in red in top margin, 37.7 x 26.5cm, image 35 x 18.5cm
£1,500 - £2,000
550 Al Worden Telephoto panorama of the lunar horizon over Sinus Iridum (the Bay of Rainbows), Revolution 71, Apollo 15, August 1971Mosaic of five vintage chromogenic prints on fibre-based Kodak paper, each
with the “A Kodak Paper” watermark on verso, numbered AS15-93-12690 to
AS15-93-12695 in red in top margin, 24 x 52.3cm, image 21.5 x 44.8cm
£2,000 - £3,000
549
550
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171
551
552 Panorama of the receding Moon, Apollo 15, August 1971
Mosaic of nine vintage gelatin silver prints numbered NASA AS15-94-12855
to AS15-94-12859 in black in top margin, 32 x 38cm, image 29 x 33cm
The crew was on its way back to Earth when they captured this view of the
Moon.
£3,000 - £5,000
551 Al Worden Telephoto panorama of the Bay of Rainbows, Revolution 71, Apollo 15, August 1971 Mosaic of three vintage chromogenic prints on fibre-based Kodak paper,
each with the “A Kodak Paper” watermark on verso, numbered AS15-93-
12702 to AS15-93-12705 in red in top margin, 23 x 50cm, image 19 x 42.3cm
The Bay of Rainbows was the landing site of the first Chinese Lunar Lander
Chang’e-3 which landed in December 2013.
£2,000 - £3,000
552
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LONDON
553
554 David Scott Telephoto panorama of Chain Crater in the North Complex, Standup EVA, Apollo 15, August 1971 Mosaic of three vintage gelatin silver prints numbered NASA AS15-84-11244
to AS15-84-11246 in black in top margin, 28.5 x 57.5cm, image 26 x 50.5cm
The North Complex is a Complex of hills, craters, scarps and apparent flow
fronts to the north of the landing site.
Apollo 15 was the first mission equipped with a 500-mm lens Hasselblad
and one of the obvious benefits of the standup EVA was that David Scott
had a stable platform for the camera. “We had to push very hard to get a
500-mm lens. There was a lot of skepticism on whether it would be useful at
all. And we were always pleased that it was useful. And yeah, we got some
great pictures, because it was pretty easy. You point the dude and you’ve
got a great scene out there to take pictures of.” David Scott, ALSJ
Literature: Apollo 15 Preliminary Science Report pp5-34
£2,000 - £3,000
555 David Scott Telephoto panorama of the base of Mount Hadley, Standup EVA, Apollo 15, August 1971 Mosaic of three vintage gelatin silver prints numbered NASA AS15-84-11247
to AS15-84-11249 in black in top margin, 21 x 44cm, image 19 x 36.5cm
“The whole surface of the area appears to be smooth, with the largest
fragments I can see are in the walls of Pluton. There are no boulders at all on
St. George, Hill 305, Bennett (Hill), or, as far as I can tell, looking back up at
Hadley. Hadley’s sort of in the shadow.” David Scott, Apollo 15 air-to-ground
transmission
£1,500 - £2,000
553
David Scott 360° panorama of the Hadley-Apennine landing site from the top hatch of the LM, Standup EVA, Apollo 15, August 1971Mosaic of eleven vintage gelatin silver prints numbered NASA AS15-85-11357
to AS15-85-11378 in black in top margin, 26 x 140cm, image 24 x 132cm
Scott and Irwin gave the scientists in Houston a thorough description of
the surrounding countryside and, rather than restricting themselves to the
views out the forward-facing windows, they donned helmets and gloves for
what was known as a “Stand-up EVA”. They bled all the air out of the cabin
then Scott opened the overhead hatch. Standing on the ascent engine
cover with his upper body outside the spacecraft, and bracing himself in
the opening he took a series of pictures all the way round the horizon with
the Hasselblad 70-mm camera.
“How good are your eyes, how can they transmit images to your brain is so
much better on the Moon than anybody can believe. And that’s why, when
people say ‘What was it like?’, I can’t tell you what it’s like because there’s
nothing on the Earth that compares with it. There’s no way to describe it
in any terms I’ve ever found, even through [science fiction author] Arthur
Clarke, who does a wonderful job. I’ve never read anything that can
adequately describe how well you can see. Whatever that means. It’s crisp,
and it’s clear, and it’s distinct, and it’s definitive.
David Scott, Apollo Lunar Surface Journal
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-1-a
£4,000 - £6,000
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LONDON
554
555
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556 David Scott Panorama of the landing site looking towards Hadley Rille canyon, Standup EVA, Apollo 15, August 1971Mosaic of four vintage chromogenic prints numbered NASA AS15-87-11731
to AS15-87-11735 in red in top margin, each on fibre-based Kodak paper with
the “A Kodak Paper” watermark on verso, 21.5 x 48.3cm, image 19.3 x 41cm
“The SEVA, boy that was a rush. To be able to stand there and just look at
all that stuff. I mean, that was just a mindblower to be able to just stand up
there and gaze around and report what you saw.” David Scott, ALSJ
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-1-b
£2,000 - £3,000
557 David Scott and James Irwin 180° panorama of the landing site taken from the LM windows before EVA 1, Apollo 15, August 1971 Mosaic of seven vintage gelatin silver prints numbered NASA AS15-85-11386
to AS15-85-11397 in black in top margin, 27 x 79.5cm, image 25 x 72cm
A panoramic view of the landing site from Hadley Delta in the south to the
base of Mt Hadley in the north. St. George Crater is in the distance beyond
the thruster with an illuminated, subsidiary peak southwest of Hadley Delta
in the far distance.
Literature: Apollo 15 Preliminary Science Report, pp3-14
£2,000 - £3,000
556
558
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175
558 James Irwin 360° panorama at Elbow Crater, Station 1, EVA 1, Apollo 15, August 1971 Mosaic of fifteen vintage gelatin silver prints numbered NASA AS15-85-11398
to AS15-85-11415 in black in top margin, 27 x 155cm, image 25 x 147cm
“For a boots-on-the-ground perspective of the lunar surface, one of the
best resources is a spectacular set of 70-mm Hasselblad panoramas that
the Apollo astronauts created. These panoramas were not easy to produce.
The astronauts’ movements on the lunar surface were encumbered by
spacesuits. The astronauts were also unable to align the cameras with a
view-finder. Because the astronauts were wearing helmets, the cameras
were mounted on the chests of the spacesuits. Without a view-finder,
the crew had to learn how to point, shoot, turn slightly, point and shoot
again, etc., until a panorama of overlapping photographs was generated.
This required a lot of training on Earth, before they travelled to the Moon.
Fortunately, this task will be much easier with modern digital imaging
systems when we return to the Moon.” David Kring, Lunar and Planetary
Institute
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-4
£5,000 - £7,000
557
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559 James Irwin Panoramic view with David Scott on the edge of Hadley Rille canyon, Station 2, EVA 1, Apollo 15, August 1971Mosaic of four vintage gelatin silver prints numbered NASA AS15-85-11447
to AS15-85-11455 in black in top margin, 23.5 x 75cm, image 22 x 67.5cm
““That’s beautiful . . . That’s spectacular!” exclaimed Irwin and Scott as
they stood at station 2, near the edge of Hadley Rille, whose East Wall is
blackened by shadow. Off in the distance, Mount Hadley and the hills
west of the rille gave the horizon a distinctive personality - missing at the
earlier landing sites - and provided visual balance to the winding, sinuous
rille which trends north away from the mountain. Exulting over scenery
long characterized as barren and drab, the astronauts scanned this broad
vertical cross section of geology for clues to the Moon’s early development.”
Apollo 15 Preliminary Science Report, appendix D, figure D-5-c, reproduced in
National Geographic, February 1972, “The Mountains of the Moon” pp242-243
£4,000 - £6,000
560
James Irwin Panoramic view of David Scott photographing a geologic �nd, 300 feet up the �ank of 11,500-foot-high Hadley Delta mountain, Station 6, EVA 2, Apollo 15, august 1971Mosaic of eight vintage gelatin silver prints numbered NASA AS15-85-11511
to AS15-85-11521 in black in top margin, 25 x 111cm, image 23 x 103cm
The white spots above Scott are lens flares caused by shooting directly east
into the sun. The mountains behind him are 10.5 miles away with Mount
Hadley on the left, Mount Hadley Delta on the right.
The panorama shows the steep 11 degree angle at which the Rover is parked.
Because of the slope, Irwin had trouble leaning back far enough to get the
apparent summit of Mt. Hadley Delta in the picture. “Working on the hillside
took some practice. Without the suits, they might well have spent much of
their time standing sideways to the slope, with the uphill leg bent a little to
keep themselves upright. However, in the stiff suits it was difficult to stand
sideways for very long and, most of the time, they had to stand facing into
the mountain and leaning into it. As they soon discovered, work on the
hillside was possible only because the soil was soft enough that their boots
sank in a way, giving them extra purchase.”
Apollo 15 Preliminary Science Report, appendix D, figure D-9-b; Full Moon plate 79
£4,000 - £6,000
560
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561 James Irwin Panorama above the green boulder, Station 6A, EVA 2, Apollo 15, August 1971 Mosaic of six vintage gelatin silver prints numbered NASA AS15-89-12180 to
AS15-89-12190 in black in top margin, 30 x 84cm, image 24 x 81cm
From station 6, the crew drove 650 ft (200 m) to a large boulder which
had a greenish tinge, later found to come from magnesium oxide. One
crew member had to stay by the rover, holding it to make sure it didn’t
slide down the hill, which was now at a 15 degree slope; it was the highest
location explored on the Apennine Front.
Illustrated: Apollo 15 Preliminary Science Report, appendix D, figure D-10
£4,000 - £6,000
562 James Irwin Panoramic view of rover tracks on the 17 degree gradient of Hadley Delta near Spur Crater, Station 6A, EVA 2, Apollo 15, August 1971Mosaic of four vintage gelatin silver prints numbered NASA AS15-90-12194
to AS15-90-12198 in black in top margin, 27.5 x 60cm, image 24 x 54cm
At left is the slope that rises to the peak of the mountain, more than 11,000
feet above Palus Putredinus (the Marsh of Decay) below. Though the rover
was highly mobile, the soft soil and precipitous gradient here caused it to
begin sliding down the hill when parked. In general, crossing a slope was
nerve-racking for the astronaut on the downhill side, but there were no
rollovers in any of the missions equipped with a rover.
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-10;
Full Moon, plate 71
£2,000 - £3,000
561
562
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565
563
564
563 James Irwin 360° panorama at Spur Crater, Station 7, EVA 2, Apollo 15, August 1971 Mosaic of eleven vintage gelatin silver prints numbered NASA AS15-90-
12201 to AS15-90-12222 in black in top margin, 28 x 154cm, 24 x 145cm
At Spur Crater the crew gathered a comprehensive soil sample. In all, 93
samples were collected, including that which became known as the “Genesis
Rock.”
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-11
£5,000 - £7,000
564 James Irwin Panorama at Dune Crater, station 4, EVA 2, Apollo 15, August 1971 Mosaic of nine vintage gelatin silver prints numbered NASA AS15-90-12238
to AS15-90-12248 in black in top margin, 28 x 100cm, image 23 x 99cm
From left to right, Hill 305, Mount Hadley and the Swann Range are behind
the rim of Dune Crater.
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-6
£4,000 - £6,000
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179
565 James Irwin Panoramic view with David Scott at the ALSEP site near the LM, Station 8, EVA-2, Apollo 15, August 1971Mosaic of five vintage chromogenic prints numbered NASA AS15-87-11845
to AS15-87-11851 in red in top margin, each on fibre-based Kodak paper
with the “A Kodak Paper” watermark on verso, 23 x 78.5cm, 20 x 72cm
The Central Station and the magnetometer are at the left. David Scott is
leaning to his right and picking up the drill for the Heat-Flow experiment
with the Solar Wind Spectrometer in the foreground. Mount Hadley and the
Swann range are in the background.
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-16.
£5,000 - £7,000
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LONDON
566 James Irwin 360° panoramic view with David Scott and the rover beside Hadley Rille, Station 9A, Apollo 15, EVA 3, August 1971Mosaic of eleven vintage gelatin silver prints numbered NASA AS15-82-11110
to AS15-82-11126 in black in top margin, 24 x 154cm, image 23 x 147cm
Station 9 is located at the edge of Hadley Rille, about 1.8 kilometers west of
the LM. Scott is collecting a camera from the rover to photograph the far
side of the Rille which is about 1 km across. Behind the rover to the right is
Mount Hadley Delta with the huge St George Crater punched into its side.
Mount Hadley is on the right. “Oh, the beauty! The spectacular beauty. Oh,
yeah, that is, to coin a phrase, mind-boggling. It’s absolutely mind-boggling,
because you cannot believe that it is really that spectacular. I didn’t expect
the beauty of it. That’s the one thing everybody talks about, and you can’t
appreciate it until you get there and see it.” David Scott
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-14.
£6,000 - £8,000
567 David Scott Telephoto panorama of Hadley Rille canyon’s Far Wall, Station 9A, EVA 3, Apollo 15, August 1971 Mosaic of ten vintage gelatin silver prints numbered NASA AS15-89-12018
to AS15-85-12043 in black in top margin, 33 x 104cm, image 31 x 97cm
Scientists offer several explanations for the mysterious canyon that wanders
through this waterless, windless environment. Flowing volcanic materials
may have cut the gorge or gases erupting through cracks could have
left the 70-mile-long fissure. By a third theory, the rille may have opened
when the cooling Imbrium lava shrank. Photographed with the 500-mm
telephoto lens, the rille in this view appears much narrower than its actual
one-mile width.
Literature: Apollo 15 Preliminary Science Report, frontispiece ; National
Geographic, February 1972, “The Mountains of the Moon”, p.242-243.
£3,000 - £5,000
568 David Scott Telephoto panorama of boulders on the West Wall of Hadley Rille lunar canyon, Station 9A, EVA 3, Apollo 15, August 1971Mosaic of five vintage gelatin silver prints numbered NASA AS15-89-12074
to AS15-89-12078 in black in top margin, 22.5 x 64cm, image 20 x 57cm
£1,000 - £1,500
566
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567
568
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569
570
571
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569 David Scott Telephoto panorama of Trophy point on Hadley Rille’s West Wall, Station 9A, EVA 3, Apollo 15, August 1971Mosaic of five vintage gelatin silver prints numbered NASA AS15-89-12074
to AS15-89-12078 in black in top margin, 25.2 x 57.7cm, image 23.7 x 50.7cm
Trophy Point is the promontory on the West Wall dividing the two arms of
the Hadley Rille lunar canyon. The talus, or scree, slope on Hadley Rille’s East
Wall below St. George Crater is visible in the background.
£1,000 - £1,500
570 David Scott Telephoto panorama of Hadley Rille’s East Wall below Mount Hadley Delta, Station 9A, EVA 3, Apollo 15, August 1971Mosaic of four vintage gelatin silver prints numbered NASA AS15-89-12165
to AS15-89-12171 in black in top margin, 28 x 61.5cm, image 26 x 54cm
£1,000 - £1,500
571 James Irwin Panorama of Hadley Rille lunar canyon and the Apennine mountains, Station 10, EVA 3, Apollo 15, August 1971Mosaic of seven vintage gelatin silver prints numbered NASA AS15-85-
11171 to AS15-85-11182 in black in top margin, 23 x 112cm, image 20 x
105cm
From left to right, Mount Hadley, The Swann Hills, Silver Spur, Mount Hadley
Delta with St George Crater are part of the front range of the Apennine
mountains which rise 15,000 feet above the floor of the Sea of Rains. Hadley
Rille lunar canyon is at the right. “Most people can’t comprehend a black
sky except at night. But we can comprehend a black sky in the daytime.
Because on the Moon you have a black sky. And it’s very different from
a blue sky. I mean, when the surface of the Moon is illuminated, and it’s
bright, and there are shadows and contrasts, etc, and then you see the
ridgelines, and above that is a black sky, that is a whole new thing for the
mind to handle. And that’s why we say, Ooh this is spectacular.” David Scott
Literature: Apollo 15 Preliminary Science Report, appendix D, figure D-15;
Full Moon plate 90
£4,000 - £6,000
572 David Scott Telephoto panorama of Hadley Rille lunar canyon’s upper wall seen from Station 10, EVA 3, Apollo 15, August 1971Mosaic of six vintage gelatin silver prints numbered NASA AS15-89-12098 to
AS15-89-12114 in black in top margin, 24 x 96cm, image 23 x 89cm
The area shown is approximately 800 m wide.
Illustrated: Apollo 15 Preliminary Science Report pp5-27
£2,500 - £3,500
572
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573 David Scott Telephoto panorama of Hadley Rille lunar canyon below St George Crater, Station 10, EVA 3, Apollo 15, August 1971Mosaic of seventeen vintage gelatin silver prints numbered NASA AS15-89-
12122 to AS15-89-12148 in black in top margin, 45 x 114cm, image 43 x 107cm
£3,000 - £5,000
574 David Scott Telephoto panorama of Big Rock Mountain and a foreground hill in the Swann Range, Apollo 15, August 1971Mosaic of five vintage gelatin silver prints numbered NASA AS15-89-12165
to AS15-89-12171 in black in top margin, 35 x 52.5cm, image 33.5 x 45.7cm
This panorama was taken when the astronauts had returned from EVA 3 and
were back at the landing site.
£2,000 - £3,000
573
575
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575 James Irwin Telephoto panorama of Pluton Crater, Apollo 15, August 1971 Mosaic of nine vintage gelatin silver prints numbered NASA AS15-82-11204
to AS15-82-11213 in black in top margin, 27 x 90cm, image 25 x 82cm
Pluton Crater is situated in the North Complex, an area the astronauts did
not explore during their three EVAs. This panorama was taken from the LM
window before liftoff.
£3,000 - £5,000
574
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www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494186
576 Lifto�, Apollo 16, April 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in),
“A Kodak Paper” watermark, numbered NASA S-72-35345 in red in top margin
The crew members were John Young, commander, Ken Mattingly,
Command Module pilot, and Charles Duke, Lunar Module pilot.
£200 - £300
577 The Earth seen just before and just after translunar insertion burn, Apollo 16, April 1972
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-118-
18865, AS16-118-18867 in red in top margin (2)
Until now only the astronauts of Apollo have escaped the gravitational
sphere of influence of the Earth and travelled to another world. “I hadn’t
been in the air an hour, and I knew I was in deep trouble. Because my mind
was being overwhelmed with one extraordinarily impressive view, image,
picture and as soon as you got that and you said, “Look at that!” And then,
shit, here came another one that was even more impressive!” Ken Mattingly
£300 - £500
578 The LM before extraction from the Saturn Rocket SIVB third stage, �re�y phenomenon, Apollo 16, April 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-118-18875 in red
in top margin
The CSM separated from the SIVB stage approximately 30 minutes after
the translunar injection burn. This photograph was taken after the vehicle
revolved to examine the LM before docking. The top hatch, used for docking,
is clearly visible. Particles released from the vehicles during separation shine
against the blackness of space causing the “firefly” phenomenon.
Illustrated: Apollo 16 Preliminary Science Report p.4
£200 - £300
579 The planet Earth, Apollo 16, April 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-118-18880 in red
in top margin
Most of the United States and Central America is clearly visible.
£600 - £800
580 The Saturn Rocket third stage after LM ejection, Apollo 16, April 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-118-18882 in red
in top margin
Controlled from Houston, the spent SIVB manoeuvred away from the hard-
docked CSM and LM to impact on the lunar surface. Part of the LM including
three of the four thrusters can be seen along the bottom edge of the frame.
Illustrated: Apollo 16 Preliminary Science Report p.4
£200 - £300
576 577
578
579
580
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581 The lunar horizon seen during the �rst orbits around the Moon, Apollo 16, April 1972
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-120-
19186, AS16-120-19188 in red in top margin (2)
“Going to the Moon is an extraordinary thing! It doesn’t matter if you’re first
or last; it’s extraordinary.” Ken Mattingly
£200 - £300
582 Charles Duke The Command Module and the Earth both rising over the lunar horizon, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, description mounted verso, numbered
NASA AS16-118-18289 in red in top margin
“The most exhilarating thing in the world. To be there, by yourself, totally
responsible for this thing. Dead quiet. And this spectacular, unreal world.
Nothing could be more exhilarating.” Ken Mattingly
Illustrated: The View from Space p.119
£500 - £750
583 Charles Duke Rendezvous with the CSM “Orion”, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-118-18290 in red
in top margin
“We had a problem with the command module before landing. Mattingly
reported a major engine problem that required us to rendezvous. This
photograph was taken as we closed in on Mattingly for a little station
keeping until they solved the problem.” C. Duke
£200 - £300
584 Charles Duke Close-up views of the LM “Orion” at the Descartes landing site, EVA 1, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-113-
18335, AS16-113-18337 in red in top margin (2)
£300 - £500
581 (1 of 2)
582
583
584 (1 of 2)
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585 Charles Duke John Young jumps and salutes the �ag, EVA 1, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak
paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark, numbered NASA AS16-113-18339 in
red in top margin
“This shows the advantage of lunar gravity. I
weighed, with my suit and backpack, about 360
earth pounds, but only 60 pounds in the 1/6
gravity of the moon.” John Young
Illustrated: The View from Space pp116-117,
Spacecam p.32, A Man on the Moon pp140-141
£600 - £800
586 John Young Charles Duke salutes the American �ag, EVA 1, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak
paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark, stamped AS16-113-18342 on verso
£600 - £800
585
586
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587 Charles Duke Descartes landing site, EVA 1, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-113-18339 in red
in top margin
“That’s the other thing about the Moon, you have no feeling of depth
perception. Because you have no telephone poles or anything to relate to.”
John Young
£300 - £500
588 Scienti�c experiments on the lunar surface, EVA 1, Apollo 16, April 1972
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-113-
18372, AS16-113-18377, AS16-113-18378 in red in top margin (3)
The magnetometer, the mortar pack and a view of both with the ALSEP
central station at the lunar base camp.
£200 - £300
589 Sunstruck phenomenon on the lunar surface, Apollo 16, EVA 1, April 1972
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-113-
18382, AS16-114-18383 in red in top margin (2)
£200 - £300
590 Charles Duke John Young at the Descartes landing site, EVA 1, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-114-18388 in red
in top margin
“That blackness you see in those photographs is just black black. You feel
like you can go over there and it’s a black velvet screen - it’s just a backdrop
for this stage deal we did. So that’s the feeling of space, that you can just
reach out and touch it. And yet there’s nothing there.” Charles Duke
£400 - £600
591 Charles Duke John Young working at Plum Crater’s Station 1, Apollo 16, April 1972 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS16-109-17800 in black in top margin and AS16-109-17804,
description printed verso (2)
John Young photographs at Plum Crater and, with hammer in hand,
prepares to sample a boulder. The flash of light in front of the visor is a light
reflection on the camera lens.
£300 - £500
587 588
589
591 (1 of 2)
590
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592 John Young Charles Duke at the rim of Plum Crater, Apollo 16, EVA 1, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered AS16-114-18423 in red in top
margin
“It was probably the most hostile environment I’d ever been in in a flying
situation. And yet I felt more at peace and more serene... You didn’t feel
fearful of the hostile environment...There was a serenity and a peacefulness
about the Moon.” Charles Duke
£500 - £750
593 Charles Duke John Young beyond the rover parked next to the LM “Orion”, EVA 1, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark, description printed verso, numbered
NASA AS16-107-17436 in red in top margin
During their 71 hours on the Moon, the Apollo 16 crew conducted three
extravehicular activities totalling about 20.3 hours on the lunar surface.
These EVAs included lunar rover traverses totalling 26.7 kilometres.
£300 - £500
594
Charles Duke South Ray Crater and Baby Ray Crater, Apollo 16, April 1972 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS16-112-18234, AS16-112-18253 in black in top margin (2)
Duke took the photographs with a 500mm telephoto lens from Spook
Crater on the traverse up Stone Mountain during EVA 1 and on arriving at
Stone Mountain’s Station 4 on EVA 2.
£300 - £500
595 Charles Duke John Young and the rover in the barren lunar landscape of Stone Mountain at station 4, EVA 2, Apollo 16, April 1972Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS16-
110-17960 in black in top margin
Station 4 marked the highest point reached at Stone Mountain. Smoky
Mountain is about 8km on the far horizon. “The first place we parked, I tried
to get out of the rover, and I was going to roll down the hill, it was really
steep. The rover could actually climb a steeper slope than we could walk on.
We were five to seven hundred feet above the valley floor. This was one of
the most incredible stops we made.” Charles Duke
£200 - £300
592
593
595
594
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596 John Young Charles Duke and the lunar rover at the base of Stone Mountain at Station 6, EVA 2, Apollo 16, April 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-107-17446 in red
in top margin
Station 6 on the Cayley Plain where the astronauts gathered samples and
took panoramic photographs.
£200 - £300
597 Charles Duke John Young kneeling to get a rock at Station 6, EVA 2, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-107-17503 in red
in top margin
“John’s balance was outstanding. He could jump up and do a split, go down
and come back up.” Charles Duke
£200 - £300
598 Charles Duke Close-ups of John Young working at Station 6, EVA 2, Apollo 16, April 1972 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
NASA AS16-108-17622, AS16-108-17629 in black in top margin (2)
£300 - £500
599 John Young Lunar rock sampling at Station 9, Apollo 16, EVA 2, April 1972 Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-107-
17561, AS16-107-17568, AS16-107-17573 in red in top margin (3)
John Young collects lunar samples from an overturned boulder.
£200 - £300
600 Charles Duke John Young changing a �lm magazine in the Hasselblad camera, Apollo 16, EVA 2, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-115-18472 in red
in top margin
The camera storage area is lower left under the seat of the rover and the
control stick is to the right.
Illustrated: Full Moon plate 88
£300 - £500
600
598
596 597
599 (1 of 3)
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601 Charles Duke The Descartes landing site of the LM “Orion” seen from the lunar rover, EVA 2, Apollo 16, April 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-115-18549 in red
in top margin
Taken during traverse from Station 9 to the ALSEP site near the LM. The
colour TV camera mounted on the front of the rover was remotely operated
by Mission Control in pan and tilt axes as well as zoom, allowing far better
television coverage of the EVA than on the earlier missions.
£200 - £300
602 John Young The Lunar Rover at the ALSEP site, Apollo 16, EVA 2, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-114-18454 in red
in top margin
£300 - £500
603 Charles Duke John Young driving the Rover back to the LM “Orion”, EVA 2, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-115-18549 in red
in top margin
Young prepares to drive back with the rover from the ALSEP site. Taken by
Duke from the LM with its shadow in the foreground.
Illustrated: Spacecam p.27
£300 - £500
604 Charles Duke Lunar landscapes seen from the Rover during the traverse from the LM “Orion” to North Ray Crater, EVA 3, Apollo 16, April 1972Fifteen vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in),
consecutively numbered NASA AS16-111-18111 to AS16-111-18125 in black
in top margin (15)
While Young was driving the rover, Duke took a series of panoramic
photographs from his passenger seat revealing the unknown landscape in
front of them.
£800 - £1,200
601 602 603
604 (4 of 15)
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605 John Young Collecting lunar samples at North Ray Crater, EVA 3, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-116-
18629, AS16-116-18637 in red in top margin (2)
Station 11 was located on the southeast rim of North Ray Crater, several
kilometres north of the Lunar Module.
£200 - £300
606 John Young Charles Duke with the Hasselblad camera mounted on his chest examines House Rock, EVA 3, Apollo 16, April 1972Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-116-
18647, AS16-116-18649 in red in top margin (2)
Young holds a sample bag and the cuff checklist indicates the tasks to be
performed at each station.
£200 - £300
607 John Young The Lunar Rover antenna and the barren lunar landscape during return to the landing site, EVA 3, Apollo 16, April 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-116-18673 in red
in top margin
£200 - £300
608 Charles Duke John Young walking on the lunar surface, EVA 3, Apollo 16, April 1972 Vintage chromogenic print on resin coated Kodak paper, borderless, 18.8 x
22.8cm, “A Kodak Paper” watermark and NASA KSC caption on verso, [NASA
negative number AS16-117-18825]
Young prepares to take samples at the ALSEP/LM site. He holds sample bags
in his left hands, the cuff-card checklist is on his left arm and the Hasselblad
camera is mounted on the remote control unit on his chest.
£300 - £500
609 John Young Charles Duke hammering a lunar rock at the ALSEP site, EVA 3, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-116-18689 in red
in top margin
“In a suit that’s pressurized, your hands get awfully tired; by the end of the
EVAs you can barely move your fingers. So you have to learn how to work
with your hands when your hands get so tired they don’t work any more.”
John Young
£200 - £300
605 606
607 608 609
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610 John Young Charles Duke assembling a double core near the Lunar Rover, EVA 3, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-116-
18696, AS16-116-18697 in red in top margin (2)
£400 - £600
611 John Young Charles Duke at the front of the Lunar Rover, EVA 3, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-116-18719 in red
in top margin
£300 - £500
612 John Young The magnetometer experiment, EVA 3, Apollo 16, April 1972 Two vintage chromogenic print on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA S-72-35610,
AS16-116-18721 in red in top margin (2)
A TV view transmitted to Earth by the Lunar Rover TV camera of an
astronaut inspecting the LPM (Lunar Portable Magnetometer) - used to
measure magnetic fields - and a view of the LPM on the lunar surface.
£200 - £300
613 Charles DukeLunar Grand Prix at Descartes, EVA 3, Apollo 16, April 1972
Two vintage chromogenic prints, one on fibre-based Kodak paper, “A Kodak
Paper” watermark, numbered NASA S-72-37002, one on resin coated Kodak
paper, “A Kodak Paper” watermark, numbered 72-H-649, description printed
verso (2)
The rover gets a speed workout by John Young to test how the vehicle
handles in the Moon’s one sixth gravity. The views are frames from motion
picture film exposed by a 16mm Maurer camera held by Charles Duke.
£300 - £500
610 611
613
612
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614 The LM ascent stage lifts o� towards Earth, Apollo 16, April 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), RCA stamp and “A Kodak Paper” watermark on verso
Transmitted to Earth from the remote-controlled TV camera on the lunar
rover parked at its final place.
Illustrated: Full Moon plate 102
£300 - £500
615 Ken Mattingly Orbital landscapes near Anderson Crater, Apollo 16, April 1972 Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-118-
18911, AS16-118-18913, AS16-118-18922 in red in top margin (3)
“The thing that impressed me about the Moon is how different regions are
so different. Now they all look the same to the geophysicist. But they sure
look different to the people that are orbiting close in. Every little crater’s
got a different characteristic. And it’s sure hard to pick out till you get down
there and really look at ‘em.” John Young
£300 - £500
616 Ken Mattingly Lunar horizon over Nagaoka Crater, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-118-
18942, AS16-118-18951 in red in top margin (2)
£200 - £300
617 Ken Mattingly Lunar horizon over Leonov Crater, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-118-
18956, AS16-118-18963 in red in top margin (2)
£200 - £300
618 Ken Mattingly Craters on Mendeleev �oor, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-118-
18977, AS16-118-18986 in red in top margin (2)
£200 - £300
614 615
616 617 618
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619 Ken Mattingly The Sea of Fertility and the Pyrenees Mountains of the Moon, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-120-19194 in red
in top margin
£200 - £300
620 Ken Mattingly The Moon in twilight at the lunar terminator, Apollo 16, April 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-120-
19223, AS16-120-19224 in red in top margin (2)
£200 - £300
621 Ken Mattingly Orbital landscapes near Lassell Crater, Apollo 16, April 1972 Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-120-
19233, AS16-120-19234, AS16-120-19236 in red in top margin (3)
£300 - £500
622 Ken Mattingly Bullialdus Crater, Apollo 16, April 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, numbered NASA AS16-120-19242 in red
in top margin
£200 - £300
623 Orbital landscapes near Herigonius and Lubiniezki, Apollo 16, April 1972
Four vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-120-
19233, AS16-120-19234, AS16-120-19236 in red in top margin (4)
£400 - £600
619620
621 622
623
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624 Thomas Mattingly’s spacewalk during the return from the Moon, Apollo 16, April 1972, Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S72-37001 in
red in top margin.
Assisted by Charles Duke whole helmet is visible in the open hatch of the
Command Module, Mattingly inspects the SIM bay of the Service Module
and retrieves film from the Mapping and Panoramic cameras.
£300 - £500
625 Ken Mattingly Telephoto panorama in two parts of King Crater, Revolution 63, Apollo 16, April 1972 Left: mosaic of three vintage chromogenic prints on fibre-based Kodak
paper, each with the “A Kodak Paper” watermark on verso, numbered NASA
AS16-120-19269 to AS16-120-19272 in red in top margin, 39.5 x 32cm,
image 37 x 24.5 cm
Right: mosaic of three vintage chromogenic prints on fibre-based Kodak
paper, each with the “A Kodak Paper” watermark on verso, numbered NASA
AS16-120-19265 to AS16-120-19267 in red in top margin, 33.6 x 30cm,
image 31.3 x 22.7cm
£3,000 - £5,000
624
625
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626 Ken Mattingly Telephoto panorama of Gassendi A Crater, Revolution 63, Apollo 16, April 1972 Mosaic of three vintage chromogenic prints on
fibre-based Kodak paper, each with the “A Kodak
Paper” watermark on verso, numbered NASA
AS16-120-19287 to AS16-120-19291 in red in top
margin, 40.8 x 35cm, image 38.5 x 28cm
£1,500 - £2,000
627 Ken Mattingly Telephoto panorama of the nearside lunar terminator over Mersenius Rille, Apollo 16, April 1972 Mosaic of four vintage chromogenic prints on
fibre-based Kodak paper, each with the “A Kodak
Paper” watermark, numbered NASA AS16-120-
19341 to AS16-120-19344 in red in top margin,
41 x 29.2cm, image 39 x 22cm
£1,500 - £2,000
626
627
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628 Charles Duke Panorama of the LM at the Descartes landing site, EVA 1, Apollo 16, April 1972 Mosaic of three vintage chromogenic prints on fibre-based Kodak paper,
each with the “A Kodak Paper” watermark on verso, numbered NASA AS16-
113-18325 to AS16-113-18329 in red in top margin, 21.5 x 50cm, 19.5 x
42.5cm
Duke took this panorama from a point 20 metres northeast of the
spacecraft. Beyond the LM, John Young is sitting on the rover preparing to
make a test drive. Stone Mountain is on the left and the crater that Young
overflew during the final approach to the landing site is in the foreground.
£2,000 - £3,000
629 Last lifto� to the Moon, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark on verso, numbered NASA S-72-55070 in
red in top margin
The Saturn V rocket lights up the night sky at the Kennedy Space Center
shortly after midnight on 7 December 1972, the only night launch of the
programme.
£200 - £300
628
629
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630 O�cial portraits of the three last lunar voyagers, Apollo 17, 1971
Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3
x 25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, one numbered
S-71-51273 in red in top margin (3)
Eugene Cernan, commander, Ronald Evans, Command Module pilot and
Harrison Schmitt, Lunar Module pilot and the mission’s first professional
scientist.
£200 - £300
631 Harrison Schmitt Southern Africa, Madagascar and Antarctica seen after translunar injection, Apollo 17, December 1972
Vintage chromogenic print on resin-coated Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA Goddard caption and “A Kodak Paper” watermark on verso,
[NASA negative number AS17-148-22717]
“You know, in Earth orbit the horizon is barely curved. All of a sudden you
move out at 25,000 miles per hour and the first few hours, things really
happen…I mean you can see yourself leave the Earth at a tremendous rate
of speed.” Gene Cernan
£200 - £300
630
631
632
632 Harrison Schmitt The very �rst “Blue Marble” view of the full Earth, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-148-
22725 in red in top margin
Only the final Apollo mission saw the Earth fully illuminated and largely free
of cloud. This rare photograph, the first by a man to portray the whole Earth,
was not released to the public but is an early frame preceding Schmitt’s
larger and thus better-known view.
£600 - £800
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633 Harrison Schmitt The “Blue Marble”, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS17-148-22727 in red in top margin
The photograph was released by NASA on Christmas Eve - four years to
the day since the Apollo 8 Earthrise - and soon became known as the “Blue
Marble”, probably the most widely distributed image in history. “I was the
first person to see that photograph. When I saw it, I said “Boy, that’s it!”, and
it was on 17, the last flight, because they went at night and went translunar
over Madagascar so they had a full-lit Earth because of where they were
headed for on the Moon. It was the only circumstance that brought that
picture.” Richard Underwood
Illustrated: A Man on the Moon p.158
£750 - £1,000
634 Harrison Schmitt The Earth, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-148-
22737 in red in top margin
“You begin to see and realize after a period of time that the Earth’s rotating,
because the continents are beginning to change places. And the second
day, now you’ve been looking at the Earth, it’s become quite small and
continues to get smaller, but very slowly does it continue to get smaller.
So it’s pretty dynamic in those first twelve hours - that’s when things really
happen.” Gene Cernan
£400 - £600
635 Lunar horizon over the farside terminator during the �rst orbit, Apollo 17, December 1972
Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
AS17-151-23106, AS17-151-23110 in red in top margin (2)
£200 - £300
633
634
635
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636 Orbital landscape over Crater Racan during the �rst pass around the Moon, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-151-
23124 in red in top margin
“I look at it very three-dimensionally. I mean I can look beyond the moon. I
can see the three dimensions. I think, prior to going there, and I think most
people just look at it as something flat out there in the night sky. But I look
at it as a sphere. I can feel the depth of it. I know that it is in inner space. I
mean, I know that it’s not at the end of that blackness.” Eugene Cernan
£300 - £500
637 The setting Earth over the dark side of the Moon, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-151-
23173 in red in top margin
As the spacecraft rounded the western limb of the Moon on revolution 2, the
crew witnessed this unusual view of the gibbous Earth about to disappear
below the dark lunar horizon which is invisible on top of the Earth.
£300 - £500
638 King Crater on the lunar horizon, the LM thrusters below, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-151-
23180 in red in top margin
£200 - £300
639 Earthrise over the LM thruster and the Eastern limb of the Moon, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-151-
23180 in red in top margin
Shortly after the beginning of revolution 3, the gibbous Earth rising over
the eastern limb of the Moon was photographed from the CSM still docked
with the LM. Part of the LM ascent stage is visible in the right foreground.
£600 - £800
636
638
639
637
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640 The Command and Service Module “America” in lunar orbit, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-147-
22461 in red in top margin
Taken from the window of the LM “Challenger”, after separation and prior to
landing.
£300 - £500
641 Ronald Evans North East wall of Tsiolkovsky and the lunar horizon over Buisson Crater from the orbiting CSM, Apollo 17, December 1972Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
AS17-151-23213, AS17-151-23248 in red in top margin (2)
While Cernan and Schmitt landed on the Moon, Ronald Evans stayed in
lunar orbit in the CSM.
£200 - £300
642 Harrison Schmitt Eugene Cernan tests the unloaded Lunar Rover, EVA 1, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS17-147-22526 in red in top margin
£400 - £600
643 Harrison Schmitt Eugene Cernan parks the Lunar Rover by the LM “Challenger”, the South Massif beyond, EVA 1, Apollo 17, December 1972Vintage chromogenic print on GAF paper, 20.3 x 25.4cm (8 x 10in), NASA
Goddard caption on verso [NASA negative number AS17-147-22527]
£400 - £600
640 641
642
643
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644 Harrison Schmitt Eugene Cernan salutes the US �ag, EVA 1, Apollo 17, December 1972 Vintage chromogenic print on resin coated Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA Goddard caption and “A Kodak Paper” watermark on verso,
[NASA negative number AS17-134-20380]
“We, as Americans, did not conquer the Moon, because that was not our
aim. But the American flag is still up there and we proved to the rest of the
world that our nation could do that. We could take a man from the Earth,
send that man to the Moon, and then return him back to Earth.” Ronald
Evans
Illustrated: Spacecam p.24
£400 - £600
645 Eugene Cernan Harrison Schmitt with the Earth above the US �ag, EVA 1, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak
paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper”
watermark on verso, numbered NASA AS17-134-
20384 in red in top margin
“I captured the Earth, the Moon, the man, and
the country all in one. I’m proud of this picture.”
Eugene Cernan. “One of the great photos ever
to come out of the space program.” Richard
Underwood
Illustrated: Space pp132-133, The View from
Space p.65, Spacecam p.35
£750 - £1,000
646 Harrison Schmitt Lunar landscape looking at Wessex Cleft, Apollo 17, EVA 1, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-147-
22534 in red in top margin
£200 - £300
644
645
646
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647 Eugene Cernan Harrison Schmitt collecting lunar rock samples at Steno Crater’s station 1, EVA 1, Apollo 17, December 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x
10in), “A Kodak Paper” watermark, NASA MSC caption and “A Kodak Paper”
watermark on verso, numbered NASA AS17-134-20425 in red in top margin
The six Apollo missions collected a total of 382 kg (842lb) of moon rocks.
£300 - £500
648 Geological discoveries: Geophone Rock at the ALSEP site and orange soil at Shorty Crater, Apollo 17, EVA 1 and 2, December 1972 Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x
25.4cm (8 x 10in), “A Kodak Paper” watermarks on verso, numbered NASA
AS17-147-22534, AS17-137-20990 in red in top margin
£200 - £300
649 Eugene Cernan The LM “Challenger” at Taurus-Littrow landing site, EVA 2, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-137-
20873 in red in top margin
£300 - £500
650 Harrison Schmitt Eugene Cernan driving the rover, EVA 2, Apollo 17, Apollo 1972 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS17-135-
20548 in black in top margin
“What really seemed fast was the fact that you kept bouncing off the
surface, you didn’t want to go any faster! The rover left the surface at every
bump.” H. Schmitt
£200 - £300
651 Harrison Schmitt Lunar rock sampling at station 2, 2A and 3, EVA 2, Apollo 17, December 1972 Five vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
AS17-138-21035, AS17-138-21045, AS17-138-21047, AS17-138-21096, AS17-
138-21149 in black in top margin (5)
Station 2 and 2A were located near Nansen Crater, station 3 was located at
Lara Crater.
£300 - £500
647
648
651 (3 of 5)
650
649
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652 Eugene Cernan Close-up of the Lunar Rover driven by Harrison Schmitt, EVA 2, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-137-
20979 in red in top margin
The crew used lunar maps and clamps to make a makeshift repair over the
right rear wheel of the rover just before driving off from Station 2 to prevent
them from being sprayed with lunar dust.
£300 - £500
653 Eugene Cernan The Lunar Rover antenna, EVA 2, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-137-
20980 in red in top margin
£300 - £500
654 Eugene Cernan Harrison Schmitt and the rover in the desolate lunar landscape, EVA 2, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS17-137-21011 in red in top margin
£400 - £600
655 Large boulder �eld at Taurus-Littrow, EVA 2, Apollo 17, December 1972
Vintage chromogenic print on GAF paper, 20.3 x 25.4cm (8 x 10in), NASA
Goddard caption on verso, [NASA negative number AS17-145-22159]
£300 - £500
652 655
653
654
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656 The Lunar Rover parked at the Taurus-Littrow landing site, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-140-
21358 in red in top margin
The astronauts took this photograph from the LM window before
performing the last ever EVA on the Moon.
£300 - £500
657 Harrison Schmitt The LM ”Challenger” in the lunar sunlight, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-140-
21372 in red in top margin
£300 - £500
658 Eugene Cernan Harrison Schmitt examines a house-sized boulder in the North Massif at Station 6, EVA 3, Apollo 17, December 1972Vintage chromogenic print on resin coated Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark, NASA Goddard caption and “A Kodak
Paper” watermark on verso [NASA negative number AS17-140-21496]
Illustrated: Space p.133, A Man on the Moon pp 272-273
£500 - £750
659 Eugene CernanTracy’s Rock, Bear Mountain, Apollo 17, December 1972Vintage chromogenic print, 18 x 18cm, on fibre-based Kodak paper, “A Kodak
Paper” watermark on verso, numbered AS17-140-21499 in red in top margin
£300 - £500
656 657
658
659
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660 Eugene CernanHarrison Schmitt photographs Station 6 leaning on a boulder for stability, Apollo 17, December 1972Vintage chromogenic print, 18 x 18cm, on fibre-based Kodak paper, “A Kodak
Paper” watermark on verso, numbered AS17-146-22294 in red in top margin
Illustrated: A Man on the Moon, p.246
£400 - £600
661 Harrison Schmitt Eugene Cernan with the hammer at Station 7, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-146-
22338 in red in top margin
“It doesn’t make any difference whether you’re in a suit or whether you’re
in shirtsleeves. You’re still going through the same mental process. It’s the mind that you’re taking, not the hands. . . Your mind is not in a spacesuit.” H.
Schmitt
£200 - £300
662 Eugene Cernan The Lunar Rover parked at the base of the North Massif, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm
(8 x 10in), NASA MSC caption and “A Kodak Paper” watermark on verso,
numbered NASA AS17-137-21011 in red in top margin
Three Lunar Rovers still rest on the Moon waiting for future astronauts.
£300 - £500
663 Harrison Schmitt The Lunar Rover’s seats and �oor, EVA 3, Apollo 17, December 1972 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
AS17-141-21666, AS17-143-21835 in black in top margin (2)
£200 - £300
664 Harrison Schmitt Lunar rock sampling at Sculptured Hills’ station 8, EVA 3, Apollo 17, December 1972 Eight vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), numbered
AS17-142-21698, AS17-142-21700, AS17-142-21705, AS17-142-21707, AS17-
142-21709, AS17-142-21716, AS17-142-21726 in black in top margin (8)
“We raised more questions than we answered. That’s the nature of field
geology.” H. Schmitt
£400 - £600
660
661
662
664 (1 of 3)663 (1 of 2)
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665 Harrison SchmittLunar landscapes seen during the traverse from Station 8 to Station 9, EVA 3, Apollo 17, December 197245 consecutively numbered vintage gelatin silver prints, each 20.3 x 25.4cm
(8 x 10in), numbered AS17-142-21746 to AS17-142-21790 in black in top
margin (45)
While Cernan was driving the Lunar Rover from Station 8 to Van Serg’s
Station 9, Schmitt took a series of photographs from his passenger seat
recording the unknown landscape in front of them.
£2,000 - £3,000
666 Harrison Schmitt Eugene Cernan at Van Serg Crater’s Station 9, EVA 3, Apollo 17, December 1972 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS17-143-
21838 in black in top margin
The object in the foreground is Seismic charge 5. Eugene Cernan is seen on
the left hammering a double core tube.
£200 - £300
667 Eugene Cernan Harrison Schmitt driving the Lunar Rover at Station 9, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20454 in red in top margin
Illustrated: The View from Space p.65, A Man on the Moon p.244
£300 - £500
668 Eugene Cernan The LM “Challenger” seen from the Lunar Rover during the return to the landing site, EVA 3, Apollo 17, December 1972Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20459 in red in top margin
£400 - £600
666 667 668
665 (4 of 45)
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669 Eugene Cernan The Lunar Rover at its �nal parking place, EVA 3, Apollo 17, December 1972 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS17-143-
21931 in black in top margin
The rover was positioned so that its camera could record the LM’s liftoff.
£300 - £500
670 Eugene Cernan A half Earth hangs over the LM “Challenger” on the lunar surface, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20461 in red in top margin
“Looking back at the Earth is your identity with reality. It’s home. . . I wonder
what it would have been to walk on the Moon and not have the Earth in the
sky.” Eugene Cernan
£500 - £750
671 Eugene Cernan The Moon, the Flag, the Earth, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20466 in red in top margin
£500 - £750
672 Eugene Cernan Flag decal on the LM “Challenger”, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20470 in red in top margin
“Another hundred years may pass before we understand the true significance
of Apollo. Lunar exploration was not the equivalent of an American pyramid,
some idle monument to technology, but more of a Rosetta Stone, a key to
unlocking dreams as yet undreamed.” Eugene Cernan
£300 - £500
669
670
671
672
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673 Harrison Schmitt Eugene Cernan and the Earth above the antenna on the rover, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20473 in red in top margin
“On most of the other flights the Earth was straight up; on Apollo 17, we
landed at an easterly landing site that put the Earth lower in the sky.” Eugene
Cernan
£600 - £800
674 Harrison Schmitt Eugene Cernan and the Lunar Rover, EVA 3, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-134-
20474 in red in top margin
“I thought about it when we left the surface.... I knew it would be a long
time. I just felt it might very well be a generation before we get back to the
moon. I’m probably going to be proven to be right.” Eugene Cernan
£600 - £800
675 Rendezvous of the CSM “America” with the LM “Challenger”, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-145-
22254 in red in top margin
“When we got back in that Command Module, we were home. Never mind
that we were in lunar orbit, it was home.” Eugene Cernan
Illustrated: Space p.136
£300 - £500
676 Ronald Evans The LM ascends from the Moon for rendezvous, Apollo 17, December 1972 Vintage chromogenic print on resin-coated Kodak paper, 20.3 x 25.4cm (8
x 10in), NASA Goddard caption and “A Kodak Paper” watermark on verso,
[NASA negative number AS17-149-22857]
This is the last photograph of a spacecraft orbiting the Moon.
Illustrated: Space p.136, A Man on the Moon p.256
£300 - £500
673 674
675 676
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677 Taurus-Littrow landing site seen from orbit, Apollo 17, December 1972
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17-
139-21278 in black in top margin
£200 - £300
678 Eratosthenes Crater, Apollo 17, December 1972
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17-
139-21286 in black in top margin
£200 - £300
679 The Sea of Rains in the twilight at the terminator, Apollo 17, December 1972
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17-
139-21293 in black in top margin
£200 - £300
680 Crescent Earthrise, Apollo 17, December 1972
Vintage chromogenic print on GAF Paper, 20.3 x 25.4cm (8 x 10in), NASA
Goddard caption on verso, [NASA negative number AS17-152-23279]
“I look at that Earthrise. How can I sit here and tell you about it without first
showing you a picture? You’ve got a whole historical drama, if you will, in
photographs of something that most people still consider an incredible
venture.” Eugene Cernan
Illustrated: The View from Space p.125, Space p.137, A Man on the Moon p.260
£750 - £1,000
677 678 679
680
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681 Crescent Earth over the dark side of the Moon, Apollo 17, December 1972
Vintage chromogenic print on GAF Paper, 20.3 x 25.4cm (8 x 10in), NASA
Goddard caption on verso, [NASA negative number AS17-152-23279]
A crescent Earth, with the dark edge of the Moon silhouetted, creates an
illusion similar to the horns of a bull. “As I orbited the moon, and the moon
was in turn making its twenty-eight-day orbit around the Earth, I could
watch the Earth change from three-quarters to one-half and on down to a
crescent.” R. Evans
£400 - £600
682 Coloured Moonscape over Lick Crater, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-148-
22767 in red in top margin
“There are changes in the color of the moon as you traverse from sunrise to
sunset. At sunset you think the Moon is brownish. Then the brownish gets
lighter brown, and pretty soon you get over to high noon.... And you look
out there and it’s bright, bright, really, really bright. You look around - where
in the world are my sunglasses? And the damn things have floated off
somewhere.” Ron Evans
£200 - £300
683 Tsiolkovsky Crater’s central peak, Apollo 17, December 1972
Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17-
139-21304 in black in top margin
Tsiolkovsky is one of the most prominent features on the far side of the
moon, with high, terraced inner walls and a well-formed central peak which
rises over 3200 metres above the floor of the crater.
£200 - £300
684 Lunar landscapes at the terminator during Man’s last orbit around the Moon, Apollo 17, December 1972
Three vintage gelatin silver prints, 20.3 x 25.4cm (8 x 10in), numbered NASA
AS17-155-23759, AS17-155-23763, AS17-155-23771 in black in top margin (3)
£300 - £500
685 Harrison Schmitt Ronald Evans performs the last EVA in deep space, Apollo 17, December 1972 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-152-
23380 in red in top margin
Evans’ task was to recover film cassettes and conduct an inspection of
the spacecraft. The spacewalk took over an hour while the spacecraft was
approximately 180,000 miles from Earth. Evans holds the record for the
longest time spent in lunar orbit - six days, three hours and 48 minutes.
£300 - £500
685
683682681
684 (2 of 3)
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686 The Full Moon during the homeward journey to Earth, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-152-
23407 in red in top margin
“We spent most of the way home discussing what color the moon was.”
Eugene Cernan
£300 - £500
686 687
689
687 Crescent Earth, Home, Apollo 17, December 1972
Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8
x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-152-
23415 in red in top margin
“The Earth is surrounded by blackness though you’re looking through
sunlight. There is only light if the sunlight has something to shine on. When
the sun shines through space it’s black.” Eugene Cernan
£500 - £750
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LONDON
688 Eugene Cernan Telephoto panorama of the North Massif landscape, Station 2A, EVA 2, Apollo 17, December 1972 Mosaic of four vintage gelatin silver prints numbered NASA AS17-144-22017
to AS17-144-22024 in black in top margin, 28 x 66cm, image 25 x 59cm
£1,500 - £2,000
688
689 Eugene Cernan Telephoto panorama of the South Massif summit, EVA 2, Apollo 17, December 1972 Mosaic of thirteen vintage gelatin silver prints numbered NASA AS17-144-
22080 to AS17-144-22093 in black in top margin, 28 x 112cm, image 26 x 105cm
Cernan took the panorama at the LM after EVA 2.
£2,500 - £3,500
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691
691 Harrison Schmitt Panoramic view of the Taurus-Littrow landing site as seen from the LM right window before lifto�, Apollo 17, December 1972Mosaic of four vintage gelatin silver prints numbered NASA AS17-143-21942
to AS17-143-21959 in black in top margin, 30.5 x 44cm, image 27.5 x 36.5cm
£2,000 - £3,000
690
690 Harrison Schmitt Telephoto panorama of a boulder �eld on the south slope of the North Massif, Station 6, EVA 3, Apollo 17, December 1972Mosaic of five vintage gelatin silver prints numbered NASA AS17-139-21188
to AS17-139-21193 in black in top margin, 38.7 x54.4cm, image 36.5 x 47.5cm
Station 6 was located on the south slope of the North Massif. A house-
sized split boulder, also known as Tracy’s Rock, was the major geological
attraction of the stop.
£1,000 - £1,500
LONDON
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692 Eugene Cernan Panoramic view of the Taurus-Littrow landing site as seen from the LM left window before lifto�, Apollo 17, December 1972Mosaic of six vintage gelatin silver prints numbered NASA AS17-143-21963
to AS17-143-21981 in black in top margin, 30.5 x 49.5cm, image 28 x 42.3cm
£2,000 - £3,000
END OF SALE
692
“It’s human nature to stretch, to go, to see, to understand. Exploration is not a choice really, it’s an imperative.”
Michael Collins, Apollo 11
References:Earth Photographs from Gemini III, IV and V, NASA, 1967Earth Photographs from Gemini VI through XII, NASA, 1968Edgar Cortright, editor, Exploring Space with a Camera, NASA, 1968 Beaumont Newhall, Airborne Camera, The World from the Air and Outer Space, 1969Analysis of Apollo 8 photography and visual observations, NASA, 1969Analysis of Apollo 10 photography and visual observations, NASA, 1969 David Thomas, editor, Moon, Man’s greatest adventure, 1970Apollo 11 preliminary science report, NASA, 1970Oran W. Nicks, editor, This Island Earth, NASA, 1970Apollo 12 preliminary science report, NASA, 1970Lunar photographs from Apollo 8, 10, and 11, NASA, 1971Apollo 14 preliminary science report, NASA, 1971 Apollo 15 preliminary science report, NASA, 1971 Apollo 16 preliminary science report, NASA, 1972 Apollo 17 preliminary science report, NASA, 1972
Apollo over the Moon: a view from orbit, NASA, 1978 Ron Schick and Julia Van Haaften, The View from Space, American Astronaut Photography 1962-1972, 1988Michael Light, Full Moon, 1999Andrew Chaikin, A Man on the Moon, 3 vols, 1999Andrew Chaikin, Space, A History of Space Exploration in Photographs, 2002Terry Hope, Spacecam, Photographing the final frontier from Apollo to Hubble, 2005Robert Poole, Earthrise, how man first saw the Earth, 2008Robert Jacobs, editor, Apollo through the eyes of the astronauts, 2009Andrew Chaikin, Voices from the Moon, 2009
Online references :-Lunar and Planetary Institute-Apollo Lunar Surface Journal (ALSJ, edited by Eric Jones)-March to the Moon (scans of the original films of Mercury and Gemini missions newly made by the university of Arizona)
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A collection of 19th and 20th century PhotographyThursday 5th March 2015
London: Bloomsbury House, 24 Maddox Street, Mayfair W1S 1PP
For more information on bidding, how to consign to a future auction or for a free valuation, please contact us:
Alexander Hayter | [email protected] | +44 (0) 20 3291 2835
Alfred Stieglitz (1864–1946) The Steerage, 1907,
Large format photogravure, printed ca.1915, �ush mounted to vellum paper, 33 x 25.5cm (13 x 10in)
Estimate: £6,000 - 8,000
w w w . d r e w e a t t s . c o m | w w w. s t a n l e y g i b b o n s . c o m | www.bloomsburyauctions.com
Part of The Stanley Gibbons Group plc
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These Conditions of Sale and Business constitute the contract between Dreweatts and Bloomsbury Auctions (the “Auctioneer”) and the seller, on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.
INFORMATION FOR BUYERS1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.
2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.
3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.
4. Buyer’s Premium. The Buyer agrees to pay a buyer’s premium on the hammer price of each lot purchased. The buyer’s premium is 24% (28.8% including VAT) of the hammer price on each lot up to and including £150,000, plus 12% (14.40% including VAT) for any amount in excess of £150,000. VAT at the prevailing rate of 20% is added to all of these premiums and additional charges as defined below.
5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.
6. Descriptions and Conditions. Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional. We recommend that you always view a lot in person.
We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).
7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.
8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export= licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help.
9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.
10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.
11. Methods of Payment. The following methods of payment are acceptable.
Debit Card drawn on a UK bank and registered to a UK billing address. There is no additional charge for purchases made with these cards.
Bank transfer direct into our bank account, all transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges). Our bank details can be found on the front or your invoice or in the sale catalogue under ‘Important Notices’.
Sterling cash payments of up to £12,000 (subject to money laundering regulations). All major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit cards. Sterling personal cheques drawn on a UK bank account and made payable to ‘Bloomsbury Auctions’. It will be necessary to allow at least six working days for the cheque to clear before collecting your purchases.
12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.
13. Droit de suite royalty charges. From 1st January 2012 all UK art market professionals (which includes but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 – the UK sterling equivalent will fluctuate in line with prevailing exchange rates.
It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated.
All items in this catalogue that are marked with δ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling equivalent of EURO 1,000.The royalty charge will be added to all relevant buyers’ invoices,
and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with respect to these charges will be retained by the auctioneers.
The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk. There is no VAT payable on this royalty charge.
TERMS OF CONSIGNMENT FOR SELLERS1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.
2. Warranty. The Seller warrants that possession in the lots can be transferred to the Buyer with good and marketable title, free from any third party right and encumbrances, claims or potential claims. The Seller has provided all information concerning the items ownership, condition and provenance, attribution, authenticity, import or export history and of any concerns expressed by third parties concerning the same.
3. All commissions and fees are subject to VAT at the prevailing rate.
4. Commission is charged to sellers at the following rates:- please enquire at our salerooms.
5. Removal costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.
6. Loss and damage of goods.
(a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA to provide insurance to its clients, and does not do so. However Dreweatts for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, Dreweatts makes a charge of 1.5% of the hammer price plus VAT, subject to a minimum charge of £1.50, or if unsold 1.5% of our lower estimate. The liability assumed by Dreweatts shall be limited to the lower pre- sale estimate or the hammer price if the lot is sold.
(b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 6 (a) is inapplicable.
7. Illustrations. The cost of any illustrations is borne by you. If we consider that the Lot should be illustrated your permission will be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.
8. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 9. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve.
9. Reserves.
(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and loss and damage warranty charges stipulated in these Terms of Consignment).
(b) A reserve once set cannot be changed except with our consent.
(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.
(d) Reserves are not usually accepted for lots expected to realise below £100
10. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.
11. Soft furnishings. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.
The rights of disposal referred to in clause 10 and 11 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request
12. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.
13. Unsold. Unsold. If an item is unsold it may at our discretion be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.
14. Withdrawn and bought in items. These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees all of these charges being subject to VAT on being bought in or withdrawn after being catalogued.
15. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. We will also, at our discretion, and as far as practicable, confirm that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party.
16. Authority to deduct commission and expenses and retain premium and interest.
(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.
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(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.
17. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.
18. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 12 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.
CONDITIONS OF SALEBloomsbury Auctions carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. De�nitions
In these Conditions:
(a) “auctioneer” means the firm of Bloomsbury Auctions or its authorised auctioneer, as appropriate;
(b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;
(c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
(d) “terms of consignment” means the stipulated terms and rates of commission on which Bloomsbury accepts instructions from sellers or their agents;
(e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(f ) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.
(h) The singular includes the plural and vice versa as appropriate.
2. Bidding procedures and the Buyer
(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;
(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be | the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.
(c) Bidders shall be deemed to act as principals.
(2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments. Bidding increments shall be at the auctioneer’s sole discretion.
4. The purchase price. together with a premium thereon of 28.8% which shall include VAT on the premium at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as set out under Information for Buyers.
5. Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).
6. Payment
(1) Immediately a Lot is sold you will:
(a) give to us, if requested, proof of identity, and
(b) pay to us the total amount due or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.
(3) Buyers who utilise the services of ATG Live Auctions or any other live internet services are hereby informed that the payment method details that are provided to ATG Live Auctions or any other live internet services as part of the process of registration will, in the absence of compliance with paragraph (1) of this clause, be utilised by us to settle any amounts owing by such buyers to us.
7. Title and collection of purchases
(1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
(4) Bloomsbury Auctions can accommodate packing and shipping for certain items. For lots they are unable to provide this service for, successful buyers must make these arrangements independently, though the saleroom may be able to suggest specialist shipping companies who can advise buyers, this advice is not a recommendation and the saleroom is not liable for any aspect of the packaging and shipping process. Please note that the cost of packaging and shipping depends on the size/weight of the item(s) purchased, insurance requirements, and the shipping destination, not on the value of the item(s) purchased. Please note that any items not collected within one week of the sale date may be automatically removed to commercial storage and subject to a storage charge.
8. Remedies for non-payment or failure to collect purchases
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) to proceed against you for damages for breach of contract;
(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
(d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere;
(e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;
(f ) to retain that or any other Lot sold to you until you pay the total amount due;
(g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of ) any of your property in our possession for any purpose until the debt due is satisfied.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions
9. Third party liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission bids. Whilst prospective buyers are/\strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so.
Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of title and availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Terms of sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.
14. Descriptions and condition
(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf ) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.
(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or
(2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.
The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.
General
16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
17. (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.
(2) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.
18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail, email or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.
19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.
20. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.
21. English law applies to the interpretation of these Conditions.
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GROUP DEPARTMENTS
LONDON – MADDOX STREET
Bloomsbury House 24 Maddox Street London, W1S 1PP
Tel: +44 (0) 20 7495 9494 [email protected]
BOOKS AND MANUSCRIPTS Rupert Powell Deputy Chairman (Bloomsbury Auctions), Travel, Natural History & Science Dido Arthur Director, Art & Architecture, Private Press & Illustrated Justin Phillips Director, Continental & Early Printing Simon Luterbacher Director, Manuscripts & English Literature Clive Moss Director, Children’s Books Max Hasler Modern First Editions Emily Brad�eld Books Roxana Kashani Books Michael Heseltine Consultant Stephen Massey Senior International Consultant
PICTURES AND MAPS James Harvey International Head of Traditional Art Robert Hall Director Richard Carroll
MODERN AND CONTEMPORARY ART AND PRINTS Alexander Hayter International Head of Contemporary Art Angus Maguire Shane Xu
PHOTOGRAPHS Sarah Wheeler Associate Director John Cumming Consultant Justine Gruser Cataloguer
VINTAGE POSTERS Richard Barclay Consultant
MEDALS AND MILITARIA David Kirk
PHILATELICS Rick Warren Director, UK & World Stamps Tim Francis Director, UK & World Stamps Colin Avery UK & World Stamps Heather Babington Smith Mixtures Olivia Odell Autographs Peter Elwood Approvals
LONDON – 399 STRAND
399 Strand London WC2R 0LX
Tel: +44 (0) 20 7930 6879 [email protected]
NUMISMATICS Dimitri Loulakakis Director, European & Latin American Coins, Modern Greek Coins Edward Baldwin Chairman of Baldwin’s, European, Russian, Colonial and Oriental Coins Stephen Hill Director, English hammered and milled Coins Seth Freeman Director, Banknotes and Tokens Graham By�eld Indian & Islamic Coins & Commemorative Medals Paul Hill Ancient Greek, Roman and Byzantine Coins Andre de Clermont Islamic, Indian & South American Coins David Kirk Military Medals and English hammered and milled Coins Caroline Holmes Numismatic Books Julie Lecoindre World Coins Randy Weir Consultant, Canada Ma Tak Wo Consultant, Hong Kong Daniel Fearon Commemorative Medals, Consultant Peter Donald Byzantine Coins, Consultant Peter Brooks Consultant, Australia
NEWBURY – DONNINGTON PRIORY
Donnington Priory Newbury, Berkshire, RG14 2JE
Tel: +44 (0) 1635 553 553 [email protected]
ASIAN CERAMICS AND WORKS OF ART Benedetta Mottino Associate Director Mark Newstead Head of Asian and European Ceramics
CLOCKS AND SCIENTIFIC INSTRUMENTS Leighton Gillibrand Director
COUNTRY SPORTING Geo�rey Sta�ord Charles Director
DECORATIVE ARTS David Rees Director
ENGLISH AND CONTINENTAL CERAMICS Geo�rey Sta�ord Charles Director Mark Newstead Head of Asian and European Ceramics
FURNITURE AND CARPETS Will Richards Deputy Chairman (Dreweatts) Richard Madley Senior Director Cristian Beadman Associate Director Ben Millerchip-Brown Associate Director Emma Terry Associate Director Elaine Binning Consultant
JEWELLERY, SILVER, WATCHES AND OBJECTS OF VERTU James Nicholson Deputy Chairman (Dreweatts) David Rees Director, Silver & Objects of Vertu Ian Pickford Silver Consultant Nick Mann Patricia Law Alexandra Francis Tessa Parry
PICTURES James Harvey International Head of Traditional Art Richard Carroll Henry Bailey
STEAM MODEL ENGINEERING Michael Matthews Consultant
WINE Chris Hambleton Consultant
ROME / MILAN
For further information, please contact: Dott. Luciana Scarpa
Tel: +39 388 8813070 [email protected]
We are pleased to continue our joint venture in Italy. Together with Philobiblon Auctions, a subsidiary of the highly respected antiquarian books and manuscripts dealership, we are able to o�er a �rst class service throughout Italy from premises in both Rome and Milan. We have Italian speaking specialists in all major departments and o�er a regular calendar of both valuation events and sales in Rome and Milan.
WE ALSO OPERATE FROM THE FOLLOWING SALEROOMS:
BRISTOL: Dreweatts Baynton Road, Ashton, Bristol BS3 2EB. Tel: +44 (0) 117 953 1603 | [email protected]
GODALMING: Baverstock House, 93 High St., Godalming, Surrey GU7 1AL. Tel: +44 (0) 1483 423 567 | [email protected]
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Part of The Stanley Gibbons Group plc
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