Nasa photos at Bloomsbury by Stephen Brockelman

BLOOMSBURY AUCTIONS

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FROM THE EARTH TO THE MOON: VINTAGE NASA PHOTOGRAPHS OF THE FIRST VOYAGES BEYOND OUR HOME PLANET Thursday 26th February 2015

Part of The Stanley Gibbons Group plc

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BLOOMSBURY AUCTIONS

LONDON

FROM THE EARTH TO THE MOON: VINTAGE NASA PHOTOGRAPHS OF THE FIRST VOYAGES BEYOND OUR HOME PLANET Thursday 26th February 2015, 10.30am and 2.00pm Sale No. 36162 For bidding and more information: + 44 20 7495 9494 | info@bloomsburyauctions.com Specialist Sarah Wheeler swheeler@bloomsburyauctions.com Sale administrator Carolin Rodler crodler@bloomsburyauctions.com

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Illustrations – Front cover: lot 25 | Back cover: lot 353

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â&#x20AC;&#x153;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.â&#x20AC;? Michael Collins, Apollo 11

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THE FIRST VOYAGES BEYOND OUR HOME PLANET “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

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 identified. 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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In memory of Edward White (1930-1967), first American to walk in space on 3 June 1965; and Neil Armstrong (1930-2012), first man to walk on the Moon on 20 July 1969

The lots are in chronological order from 1945 to 1972, except for the large-format photographs (lots 288 to 357)

Clyde Holliday The first photograph from space, 24 October 1946

Vintage 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.

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.

£200 - £300

£800 - £1,000

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 1945

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Clyde Holliday The first 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

The largest area of Earth hitherto photographed at one time, from Nebraska to the Pacific, October 1954 Vintage 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

Sputnik, the world’s first artificial 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 4

The launch of Explorer 1, America’s first artificial 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 6 5

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Wernher von Braun’s science team celebrates the success of Explorer1 and the discovery of the Van Allen Radiation Belt, February 1958 A 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 7 (2 of 5)

US Army Early flight 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, 1959-1962 A 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

Tiros 1 transmits the first TV pictures from Space, May 1960 9

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

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 10 6

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Portraits of Alan Shepard in his Mercury spacesuit and aboard Freedom 7 during America’s first human spaceflight, MercuryRedstone 3, 5 May 1961 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-63-2078 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 11 kilometres).

£300 - £500

The Earth from space photographed by automatic cameras during the unmanned flights of Mercury-Redstone 2 and Mercury-Atlas 4, 1961-1962 Two 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

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

John Glenn inside the Friendship 7 capsule, Mercury Atlas 6, 20 February 1962 Vintage 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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John Glenn The first 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

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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 1962 Vintage 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

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

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£300 - £500

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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

Portrait of the first two-man crew of the programme, and Command pilot Virgil Grissom inside the spacecraft prior to launch, Gemini 3, March 1965 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 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

The Earth illuminated by the Sun during the first 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

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 21

£200 - £300 9

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Vintage 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

Vintage chromogenic print flush-mounted to original card, 27.6 x 35.5cm, image 18 x 24cm, [NASA negative number S-65-30428]

James McDivitt Ed White in the pilot’s seat of the capsule, the first in-flight portrait of an astronaut, Gemini 4, June 1965

£400 - £600

First US Spacewalk - Ed White floats 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.

James McDivitt First US Spacewalk - Ed White’s EVA (Extra Vehicular Activity), Gemini 4, 3 June 1965

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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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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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.

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.

Launch from Pad19 at Cape Kennedy, Gemini 5, 21 August 1965

Gulf of California from Space, Gemini 5, August 1965

£200 - £300 £200 - £300

Pacific 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

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

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 29

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Florida and Cape Kennedy seen during different 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

Gordon Cooper In-flight 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

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

Thomas Stafford First rendezvous in space, at 17,000 mph, 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

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

£200 - £300

£500 - £700

£400 - £600

Astronaut Walter Schirra during countdown, Gemini 6, December 1965

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Gemini 7 floating in space during station keeping manoeuvre, Gemini 6, December 1965 41

Thomas Stafford Gemini 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

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-6563205, 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

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)

£400 - £600

Reflections 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

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£200 - £300

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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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

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

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Artist’s concept of the rendezvous and recovery of the “twin” spacecraft Gemini 6 and Gemini 7, 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, 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)

£300 - £500

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-6563925, 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

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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Liftoff, 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

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-6625781, 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 inspace 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.

Vintage 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

£200 - £300

David Scott The Agena Target Docking Vehicle (ATDA) over the Earth, the first unmanned satellite photographed from Space just before docking, Gemini 8, March 1966

£400 - £600

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

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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

The “Angry Alligator”, Gemini 9, June 1966

Astronaut Eugene Cernan, Gemini 9, April 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

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

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

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-6637922 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

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Thomas Stafford 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

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

Michael Collins The Agena illuminated by sunrise, Gemini 10, July 1966 58

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

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 59 20

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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

China and Taiwan photographed from Space, Gemini 10, July 1966

“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

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.

£300 - £500

£200 - £300

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-66-53900 in red in top margin

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.

£200 - £300

£300 - £500

Liftoff, Gemini 11, September 1966

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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

Richard Gordon The 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

Richard Gordon The 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

Richard Gordon The 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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Richard Gordon India 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

Richard Gordon The 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

Richard Gordon Agena 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

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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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)

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.

Reflections of the Sun over the detached Agena Target Docking Vehicle, Gemini 11, September 1966

£300 - £500

The detached Agena orbiting the Earth, Gemini 11, September 1966

Rendezvous with the Agena over the Earth, Gemini 12, November 1966

£400 - £600

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)

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

£300 - £500

£200 - £300

Partial solar eclipse from space, Gemini 12, November 1966

Pete Conrad Unidentified 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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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 79

£300 - £500

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

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

£300 - £500

£600 - £800

Buzz Aldrin EVA photograph: Agena seen through the open hatch of the spacecraft, Gemini 12, November 1966

Buzz Aldrin First selfportrait in space, Gemini 12, November 1966

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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

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James Lovell 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, [NASA negative number S-66-62763]

£400 - £600

James Lovell 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-66-62782 in red in top margin Illustrated: Cortright p.183, The View from Space, p.59

£500 - £750

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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

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

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

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

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The floor 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. 88

£200 - £300

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

James Lovell Buzz 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

The final 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

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

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The first 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

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

The first view of the Earth from the Moon, Frame 101, High Resolution, Lunar Orbiter I, 23 August 1966 Vintage 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

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The first view of the Earth from the Moon, frame 101, Medium Resolution, Lunar Orbiter I, 23 August 1966 Vintage 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

The second “Earth Moon” view, frame 117, Medium Resolution, Lunar Orbiter I, 25 August 1966 98

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

The first 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

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”.

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The first 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

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Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA Goddard ATS stamps on verso (3)

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The Earth, ATS II, May 1967

£300 - £500

The first 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), 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.

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.

£400 - £600

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The first colour image of the Earth from outer space, Dodge Satellite, US Air Force / Johns Hopkins University, August 1967

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Copernicus Crater and its mountainous landscape, Lunar Orbiter II, November 1966

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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

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Views of the Moon: the lunar farside and Hortensius Crater, Lunar Orbiters 2, 3 and 4, November 1966 Three vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ captions on verso (3)

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Full Earth, ATS 3, 21 January 1968

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Mosaic of the lunar surface and the Moon’s horizon seen from the first American Moon lander, Surveyor I, June 1966

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

Two 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)

£400 - £600

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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)

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First images of Earth from the surface of the Moon, eclipsing the Sun and in Crescent, Surveyor 3, April 1967 Two vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ captions on verso (2)

£200 - £300

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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

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Mars seen by the first 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.

Mars encounter, Mariner 6 and 7, July 1969 £200 - £300

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.

Six vintage gelatin silver prints, each 20.3 x 25.4cm (8 x 10in), NASA HQ captions on verso (6)

£200 - £300

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Early space satellites Explorer, Sert and Alouette, 1961-64

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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. 115

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£200 - £300

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View of the giant Saturn V rocket on the pad at dawn with the Moon in background, 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-67-50531 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

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The first Saturn V rocket rises from Pad 39A at Kennedy Space Center, Apollo 4, 9 November 1967

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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

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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

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£400 - £600

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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

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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

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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

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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.

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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 122 (1 of 2)

£400 - £600

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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

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The window of the Command Module cabin, Apollo 7, October 1968 124

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

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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

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£300 - £500

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Walter 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

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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

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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

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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

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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

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Walter Cunningham Florida Peninsula looking East, Apollo 7, October 1968 132

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

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California from an altitude of 125 miles, Apollo 7, October 1968

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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

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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 AS7-112019 and AS7-11-2022 in red in top margin

£200 - £300

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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

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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

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Mission Control, Apollo 7, October 1968

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Portraits of the first lunar voyagers, 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 AS7-11-2038 in red in top margin

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.

£200 - £300

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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.

Five 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)

Portrait of the crew, Apollo 8, November 1968

£200 - £300

Artist’s concept views anticipating different phases of the first mission to the Moon, Apollo 8, December 1968

£300 - £500

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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

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Space food, Apollo 8, December 1968

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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

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Liftoff 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

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Liftoff 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

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William Anders The Earth seen from high-altitude orbit, south-eastern United States and the Caribbean Sea, 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 AS8-14-2581 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

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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.

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William Anders First photograph of the planet Earth taken by an astronaut, Apollo 8, December 1968

£300 - £500

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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

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 £300 - £500

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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

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, AS815-2562, 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.

William Anders Planet Earth seen during translunar coast, Apollo 8, December 1968

£400 - £600

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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

Receding Earth seen from the lunar sphere of gravitation, Apollo 8, December 1968

£800 - £1,200

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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.

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

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William Anders Crater Langrenus first seen by human eyes, Apollo 8, December 1968

William Anders Crater Goclenius first 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

William Anders Mountains on the lunar farside first seen by human eyes, Apollo 8, December 1968

James Lovell Keyhole-shaped crater on the lunar farside first 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

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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,

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

£1,000 - £1,500

£600 - £800

William Anders First Earthrise seen by human eyes, Apollo 8, December 1968

William Anders Second colour photograph of the first Earthrise seen by human eyes, Apollo 8, December 1968

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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.

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

The Sea of Tranquillity first seen by human eyes, Apollo 8, December 1968

The lunar farside horizon first seen by human eyes, Apollo 8, December 1968

£300 - £500 £300 - £500

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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

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The farside of the Moon through the window of the spacecraft heading back to Earth, Apollo 8, December 1968 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on verso, numbered NASA AS8-12-2187 in black in top margin

£300 - £500

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Lunar landscape near the Crater Giordano Bruno first 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

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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

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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

William Anders The eastern hemisphere of the Moon first 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

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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

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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.

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

David Scott Russell Schweickart photographs outside the LM during an EVA, Apollo 9, March 1969

£400 - £600

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David Scott Russell Schweickart’s EVA, Apollo 9, March 1969

Russell Schweickart David Scott stands in the open hatch of the CSM, standup EVA, Apollo 9, March 1969

£600 - £800

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

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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

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA JPL caption on verso

£600 - £800

David Scott The LM “Spider” in lunar landing configuration, Apollo 9, March 1969

Russell Schweickart David Scott looks at the Earth, standup EVA, Apollo 9, March 1969

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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

Onboard TV view of astronauts Russell Schweickart and James McDivitt inside the LM, Apollo 9, March 1969

£200 - £300

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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

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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.

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£400 - £600

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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

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£400 - £600

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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

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£200 - £300

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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

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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

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Fish-eye view of the launch, Apollo 10, May 1969 181

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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

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

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Liftoff, Apollo 10, May 1969

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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.

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Scientific photography, infrared photographs over the Gulf of California, Apollo 9, March 1969

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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)

Beyond Planet Earth, Apollo 10, May 1969

£200 - £300

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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

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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

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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.

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Eugene Cernan The CSM “Charlie Brown”, the first 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

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The CSM “Charlie Brown”, the first 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

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The CSM “Charlie Brown” in lunar orbit while the LM “Snoopy” approaches the Moon, Apollo 10, May 1969 Three 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

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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 1969 Five 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, AS10-294181 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

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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 1969 Two 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

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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 1969

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Five 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, AS10-294228 in black in top margin (5)

£400 - £600

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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 1969 Fifteen 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.”

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Two 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)

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1029-4296 in black in top margin

£300 - £500

£200 - £300

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 1969

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 1969

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Lunar landscapes in the Sea of Tranquillity during the closest approach to the Apollo 11 landing site, Apollo 10, May 1969 Nine 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

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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

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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

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John Young Ascent stage of the LM “Snoopy” flying towards the Command Module for rendezvous, 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 AS10-345105, 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”.

£600 - £800 £400 - £600

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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

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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

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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 AS10-345164, 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

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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 AS10-345171, 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

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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

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Orbital landscapes seen through the left window from the spacecraft flying over Mendeleev Basin from Crater 218 to Crater 216 on the lunar farside, Apollo 10, May 1969 Eight 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 - £600 203 (2 of 8)

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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, AS10-304483 in black in top margin (5)

£800 - £1,200

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Looking into darkness over Central Bay, Apollo 10, May 1969

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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

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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

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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

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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

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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

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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

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.

£800 - £1,200

£1,500 - £2,000

Panorama of the lunar horizon at the terminator over the Sea of Vapors, Apollo 10, May 1969.

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Panorama of the Earth rising over the lunar horizon, Apollo 10, May 1969

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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

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

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Telephoto panorama of Papaleksi Crater on the lunar farside, Apollo 10, May 1969

Telephoto panorama over the west rim of Smyth’s Sea, Apollo 10, May 1969

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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.

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.

Telephoto panorama of Langemak Crater on the lunar farside, Apollo 10, May 1969

Telephoto panorama of the lunar terminator over Oppolzer Crater, Apollo 10, May 1969

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Telephoto panorama of the floor 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.

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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

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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

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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

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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.

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 roughrimmed crater with massive central peak”.

Panorama of Erro Crater, Apollo 10, May 1969

Telephoto panorama of King Crater, Apollo 10, May 1969

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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.

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.

Telephoto panorama of an unnamed Crater on the lunar farside, Apollo 10, May 1969

Telephoto panorama of the lunar landscape adjacent to Love Crater, Apollo 10, May 1969

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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.

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

Panorama of Chaplygin Crater on the lunar farside, Apollo 10, May 1969

Telephoto panorama of the floor and western rim of Mendeleev Basin, Apollo 10, May 1969

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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.

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.

Panorama from the Sea of Fertility to the Sea of Tranquillity, Apollo 10, May 1969

Panorama from landing site 1 to the lunar terminator, Apollo 10, May 1969.

£4,000 - £6,000 £3,000 - £5,000

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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

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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

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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

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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

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Training for the Moon landing, Apollo 11, June 1969 231

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

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The Apollo 11 official crew portrait, Apollo 11, May 1969 Vintage 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

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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

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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

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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

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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

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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

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Neil Armstrong Diptych: inside the Lunar Module “Eagle” during the flight to the Moon, Apollo 11, July 1969

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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

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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

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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

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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

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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

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

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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

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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

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Neil Armstrong Buzz Aldrin climbs down the ladder of the LM “Eagle”, Apollo 11, July 1969 246

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

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Neil Armstrong Buzz Aldrin about to take his first 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

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£400 - £600

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Neil Armstrong descends the ladder before stepping onto the Moon; Armstrong and Aldrin at the foot of the ladder, Apollo 11, July 1969

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Two 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

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Neil Armstrong First 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

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Neil Armstrong Portrait of Buzz Aldrin on the Moon, Apollo 11, July 1969

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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

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The astronauts planting the US flag, 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

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Raising the flag, 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

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Neil Armstrong Buzz Aldrin salutes the US flag, 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

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Neil Armstrong Buzz Aldrin poses for a photograph beside the US flag, 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

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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

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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

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£500 - £750

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Buzz Aldrin The 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

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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

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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

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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

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Neil Armstrong Buzz Aldrin’s gold-plated sun visor reflects the photographer and the Lunar Module, 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

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 AS11-40-5903 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

£500 - £750

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Neil Armstrong Buzz Aldrin walks towards a LM footpad, Apollo 11, July 1969

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Buzz Aldrin The American flag 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

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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

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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

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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

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£300 - £500

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Neil Armstrong Triptych: Buzz Aldrin unpacking scientific 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 1969

268

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 AS11-40-5931 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 scientific 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

269

£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

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Neil Armstrong Buzz Aldrin standing next to the seismometer at Tranquillity Base, Apollo 11, July 1969

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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.

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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

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.

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 AS1137-5475 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

273

Neil Armstrong Armstrong’s shadow on the Moon, Apollo 11, July 1969

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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

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Buzz Aldrin Neil Armstrong smiling after the moonwalk, Apollo 11, July 1969

279

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

280

Michael Collins Diptych: the forbidding lunar farside, 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

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

£200 - £300

£400 - £600

279

Neil Armstrong View of the lunar surface before liftoff from the Moon, Apollo 11, July 1969

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Michael Collins Triptych: the Earth and the Lunar Module “Eagle” rising from the surface of the Moon, Apollo 11, July 1969 A 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

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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

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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.”

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£600 - £800

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Full Moon seen during the return flight 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

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-69-31395 in red in top margin

£400 - £600

£200 - £300

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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.

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)

TV transmission during the homeward journey, Apollo 11, July 1969

£200 - £300

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President Nixon visits the astronauts confined to the Mobile Quarantine Facility after recovery, Apollo 11, July 1969

Scientists examine lunar samples at the lunar receiving laboratory, Apollo 11, July 1969

£200 - £300

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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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The original Mercury Seven astronauts, January 1961

288

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

NASA Ranger VII Photographs of the Moon, July 1964 Parts I-3 (complete): Cameras A, B and P Series. Photographic Edition Complete 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.”

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£10,000 - £12,000

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290

Official 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

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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 - £5,000 291 87

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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

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293

James McDivitt First 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

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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, flushmounted 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

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295

Earth horizon over Central American coastline, Gemini 9, June 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-66-38271]

£600 - £800

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Eugene Cernan The angry alligator, Gemini 9, June 1966

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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

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297

Richard Gordon The curvature of the Earth seen from the highest orbiting spacecraft in history, 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-66-54547] 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 - £800 297

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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

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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

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£600 - £800

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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First high quality photograph of the farside of the Moon over Korolev Crater, Lunar Orbiter 1, August 1966 Large-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

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£500 - £750

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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.

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£1,000 - £1,500

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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.

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

£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

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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)

309 96

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£500 - £750

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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 unidentified 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

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The very first 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

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£1,000 - £1,500

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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

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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

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Ralph Morse Apollo 11 lifts off on its historic flight 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

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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

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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

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320

Neil Armstrong First 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

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Neil Armstrong Portrait 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

321

£2,000 - £3,000

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Neil Armstrong Buzz Aldrin and the American flag 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

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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

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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

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325

Neil Armstrong Portrait of Buzz Aldrin with the photographer and the Lunar Module reflected in his gold-plated visor, Apollo 11, July 1969 Large-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

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Neil Armstrong Buzz Aldrin at the Lunar Module “Eagle”, Apollo 11, July 1969 Large-format vintage chromogenic print on fibrebased 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

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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

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327 www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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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 Armstrong Buzz Aldrin sets up the Passive Seismic Experiment, Apollo 11, July 1969 Large 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

328

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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

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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

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Neil Armstrong Buzz 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 AS11-405963 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

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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

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Pete Conrad Alan Bean taking his first 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

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Alan Bean Pete Conrad and the American flag 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

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335 www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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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 flushmounted 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

Liftoff, 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

337

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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

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339

“Apollo 14 Landmarks. Enlargements of Apollo Photos. Crew Copy 2” [Apollo 14, before February 1971]

339 (1 of 8)

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

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Edgar Mitchell Alan Shepard and the American flag, 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

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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

341

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Reflections 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

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343

“Lunar Surface Exploration Photomap Package. Apollo 15. Hadley Rille”, Apollo 15, 5 June 1971 Set 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

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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 - £1,500 344

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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

345

£1,000 - £1,500

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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

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James Irwin Hadley 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 - £1,500 347

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James Irwin David Scott and the reflection 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

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£1,000 - £1,500

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349

David Scott James Irwin salutes the American flag, 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

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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

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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 Cernan Harrison Schmitt at Tracy’s Rock, Apollo 17, December 1972 Large 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

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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

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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 AS17149-22857] 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 Evans The crescent Earth rising from behind the Moon, Apollo 17, December 1972 Large format vintage chromogenic print, 27 x 34.5cm, flush-mounted on original NASA card, [NASA AS17-15223274]. Illustrated: A Man on the Moon, p.260

£3,000 - £5,000

354

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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 Schmitt The “Blue Marble”, the first 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

356

£3,000 - £5,000

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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

359

£200 - £300

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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

361

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

The lunar nearside illuminated by low-sun light, Apollo 12, November 1969

£400 - £600

£300 - £500

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

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The Command Module highlighted by the Sun in lunar orbit, Apollo 12, November 1969

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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

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Pete Conrad Astronaut Alan Bean taking his first 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 flag 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

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£400 - £600

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366

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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.

369

£300 - £500

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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

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Pete Conrad Alan Bean unpacking experiments at the LM, EVA 1, Apollo 12, November 1969

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Pete Conrad Sun glare over Alan Bean carrying scientific equipments out from 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

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 AS12-46-6806] 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

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Pete Conrad Alan Bean conducting scientific 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

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Alan Bean Pete Conrad at the ALSEP site, EVA 1, Apollo 12, November 1969 371

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

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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

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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.

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Pete Conrad Bluish 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

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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.

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Pete Conrad Alan Bean with the reflection 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

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Alan Bean Pete Conrad taking a picture of his photographer, EVA 2, Apollo 12, November 1969

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Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1248-7071 in black in top margin Illustrated: The View from Space pp 102-103

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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 AS1249-7318 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

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Alan 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.

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Alan Bean Surveyor 3 standing in the Ocean of Storms, EVA 2, Apollo 12, November 1969 383

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1248-7121 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.

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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 AS1248-7131 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.

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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 AS1248-7099 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.

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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 AS1248-7134 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

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Eclipse of the Sun by the Earth, Apollo 12, November 1969

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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

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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

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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

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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.

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The LM “Aquarius” stowed in the Saturn Rocket third stage during the transposition and docking manoeuvre, Apollo 13, April 1970 389

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS13-60-8581 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.

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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

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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

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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

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Slender Crescent Moon seen during translunar travel, Apollo 13, April 1970

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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

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

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The damaged Service Module, 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-70-34844 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.

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.

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TV broadcast by astronaut James Lovell inside the Lunar Module before the accident, Apollo 13, April 1970

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Views of the interior of the spacecraft during the transfer from the CSM to the “lifeboat” LM, Apollo 13, April 1970 397 (1 of 3)

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 AS13-62-8891, 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

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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

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The aborted flight 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

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The Earth seen from the farthest distance ever flown 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.

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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

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

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The spacecraft over the Moon, Apollo 13, April 1970

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, AS1360-8675 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

The crew leaves the Moon to return to Earth, Apollo 13, April 1970

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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

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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.

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 AS13-618758, AS13-61-8771, AS13-61-8788, AS13-61-8795 in red in top margin (4)

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The Moon behind the astronauts, Apollo 13, April 1970

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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

Full Moon, Apollo 13, April 1970

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

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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

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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.

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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

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View of one of the astronauts sleeping in the dark and cold LM “Aquarius” during the return to Earth, 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 AS13-628944 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

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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

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The astronauts inside the LM “Aquarius” before the final transfer to the Command Module, Apollo 13, April 1970 Three 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

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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

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1359-8494 in black in top margin The exhausted astronauts near home.

The Crescent Earth getting closer, Apollo 13, April 1970

The Earth seen in a crescent waiting for the return of the astronauts, Apollo 13, April 1970

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Views of the exterior of the spacecraft heading back to Earth, Apollo 13, April 1970

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Jettison of the damaged Service Module with the now very distant Moon in the background, 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

Twelve 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, AS13-598513, AS13-59-8517, AS13-59-8520, AS13-59-8525, AS13-59-8529, AS13-598538, 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.

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Jettison of the Lunar Module after the final transfer to the Command Module for re-entry into the Earth’s atmosphere, Apollo 13, April 1970

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Five 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, AS13-598574 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

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Safe landing of the Command Module and recovery of the astronauts in the Pacific Ocean, Apollo 13, April 1970 Vintage 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.

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Liftoff 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

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Alan Shepard training for one sixth G lunar gravity on a KC-135 aircraft, Apollo 14, November 1970

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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), NASA MSC caption and “A Kodak Paper” watermark on verso, numbered NASA S-70-53479 in red in top margin

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.

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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 AS1472-9924, 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

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Stuart Roosa Crescent Moon with reflections 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

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Stuart Roosa The slender crescent of the Moon seen during translunar coast, Apollo 14, February 1971

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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

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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

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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

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

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Stuart Roosa The LM separating from the CSM in preparation for landing, Apollo 14, February 1971

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

The Earth emerging from behind the rim of the Moon, Apollo 14, February 1971

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

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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 AS14-7210031, 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

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Edgar Mitchell Alan Shepard on the lunar surface, EVA 1, Apollo 14, February 1971 433

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

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Edgar Mitchell Alan Shepard and the American flag, 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

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Alan Shepard Edgar Mitchell and the American flag, 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

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Edgar Mitchell sets up the TV camera for a panorama, Cone Crater beyond, Apollo 14, February 1971 Vintage 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

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Alan Shepard Lunar landscape at Fra Mauro, EVA 1, Apollo 14, February 1971

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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 AS1466-9250] “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

Alan Shepard Details of the LM “Antares” on the lunar surface, EVA 1, Apollo 14, February 1971

£300 - £500

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

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Alan Shepard The LM and the American flag, 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

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Alan Shepard The LM reflects a circular flare, 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

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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

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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

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£200 - £300

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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.

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), NASA MSC caption on verso, numbered 448 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

Edgar Mitchell Looking down on the landing site from the LM after EVA 1, Apollo 14, February 1971

£200 - £300

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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 AS1468-9405 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

Alan Shepard Lunar valley, EVA 2, Apollo 14, February 1971

£300 - £500

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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

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Edgar Mitchell Field of boulders near Cone Crater, EVA 2, Apollo 14, February 1971

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1464-9094 in black in top margin

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.

£200 - £300

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Alan Shepard The 16-mm sequence camera recording the scene during the traverse, EVA 2, Apollo 14, February 1971

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Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1468-9452 in black in top margin Illustrated: Full Moon, plate 68

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

Edgar Mitchell The hammer and Saddle Rock, EVA 2, Apollo 14, February 1971

£300 - £500

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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

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Edgar Mitchell Distant view of Alan Shepard and the Lunar Module, EVA 2, Apollo 14, February 1971

An onboard movie camera records the liftoff of the LM ascent stage, Apollo 14, February 1971

£200 - £300

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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

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

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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

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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), “A Kodak Paper” watermark on verso, numbered NASA AS14-73-10169 in red in top margin

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

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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

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, AS14-7410220, 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.

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Stuart Roosa Lunar horizon over the Sea of Fecundity, Apollo 14, February 1971

Stuart Roosa The LM ascending from the Moon, Apollo 14, February 1971

Lunar Module jettison, Apollo 14, February 1971

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Half Moon seen during the return flight 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

Official 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

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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 neardisastrous 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

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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

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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 AS15-9112353, AS15-91-12366 in red in top margin (2)

£200 - £300

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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

468

Triptych: the Sea of Ingenuity seen with reflections of the low sunlight in the spacecraft’s window, 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 AS15-9112375, AS15-91-12377, AS15-91-12376 in red in top margin (3)

£400 - £600

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The giant, dark-floored Crater Tsiolkovsky and its central peak on the lunar farside, 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 AS15-9112383, AS15-87-11727 in red in top margin (2)

£400 - £600

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Orbital landscape seen from the window of the LM descending to 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 AS15-87-11704 in red in top margin

£200 - £300

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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

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Alfred Worden Tsiolkovsky Crater’s floor and Humboldt Crater photographed with the Fairchild camera, Apollo 15, August 1971 Two 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.

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

£300 - £500

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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

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

£200 - £300

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Alfred Worden Archimedes Crater in the twilight of the nearside lunar terminator, Apollo 15, August 1971

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Alfred Worden UV photographs of the Earth from lunar orbit, Apollo 15, August 1971

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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 AS15-9412811 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

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478 James Irwin Station 1 at Elbow Crater, EVA 1, Apollo 15, August 1971

£200 - £300

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.

476

£200 - £300

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1594-12848 in black in top margin

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 AS1584-11250 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

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)

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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-Reflector and the lunar magnetometer at the ALSEP (Apollo Lunar Surface Experiments Package) site, EVA 1, Apollo 15, August 1971 A 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)

482

£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 AS1585-11470 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

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£400 - £600

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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

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

David Scott Portrait of James Irwin and the Rover in front of Mount Hadley, EVA 1, Apollo 15, August 1971

£400 - £600

484

David Scott The North flank of Mount Hadley and a hill in the nearby area of the Swann range, EVA 2, Apollo 15, August 1971

David Scott The LM “Falcon” in the desolate lunar landscape of Hadley Apennine, EVA 2, Apollo 15, August 1971

£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

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

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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”.

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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 AS1590-12233 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

£200 - £300

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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 AS1590-12224 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

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David Scott The long-handled lunar tongs set against the Station 4 boulder at Dune Crater, EVA 2, 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 AS15-87-11776 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

£300 - £500

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James Irwin Mount Hadley, EVA 2, Apollo 15, August 1971

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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 “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

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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.

James Irwin David Scott salutes the American flag, EVA 3, Apollo 15, August 1971

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 AS15-88-11863 in red in top margin

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

£600 - £800

£200 - £300

496

David Scott James Irwin salutes the American flag, 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

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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.

500

James Irwin The LM “Falcon” and the American flag at Hadley Apennine from the ALSEP site, EVA 3, Apollo 15, August 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1582-11056 in black in top margin

£200 - £300 £300 - £500

498

Human traces in the lunar surface: footprints and patterns made by the lunar rake, EVA 3, Apollo 15, August 1971 A 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 AS1588-11876 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

501

David Scott Lunar landscape on the way to Hadley Rille lunar canyon and arrival at Station 9, EVA 3, Apollo 15, August 1971 Three 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

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

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James Irwin David Scott and the Rover on the edge of Hadley Rille lunar canyon at station 9A, EVA 3, Apollo 15, August 1971 Two 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.

506 (2 of 4)

£200 - £300

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James Irwin David Scott using his hammer in a field of boulders on the edge of Hadley Rille at station 9A, EVA 3, Apollo 15, August 1971 Three 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

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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 AS1582-11147 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 £300 - £500

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James Irwin David Scott prospecting for samples on the edge of Hadley Rille lunar canyon, EVA 3, Apollo 15, August 1971

506

David Scott James Irwin prospecting for samples on the edge of Hadley Rille lunar canyon, EVA 3, Apollo 15, August 1971

Three 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)

Four 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

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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, AS1589-12178 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.

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 £300 - £500

508

James Irwin Return to the LM, EVA 3, Apollo 15, August 1971

511

David Scott The battery mirrors of the Lunar Rover, EVA 3, Apollo 15, August 1971

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS1582-11195 in black in top margin.

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

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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 AS15-8811926, 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

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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 AS15-88-11896 in red in top margin

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

£200 - £300

£300 - £500

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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.

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-7155816, 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

David Scott The LM, the flag and James Irwin in the barren lunar landscape, EVA 3, Apollo 15, August 1971

David Scott The Lunar Rover at its final parking place, EVA 3, Apollo 15, August 1971

Launch from the Moon, Apollo 15, August 1971

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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 AS15-9613034, AS15-96-13035, AS15-96-13036 in red in top margin (3)

£300 - £500

518 518

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 AS15-8110894 in black in top margin

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£200 - £300

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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521

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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 1971 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-8110894 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.

524

£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 AS15-8811979, 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 AS15-9813360 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

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 AS15-8110992 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 £200 - £300 161

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Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS15-8111022 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.

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

£300 - £500

£600 - £800

Spitsbergen Mountains, Apollo 15, August 1971

Crescent Earth rising beyond the Moon’s barren horizon, Apollo 15, August 1971

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

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529

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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

532

533

The Moon vanishing in the spacecraft’s window just after transearth injection, Apollo 15, August 1971

£200 - £300

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS15-96-13083 in red in top margin

531

£300 - £500

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

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

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534

The Southern Sea of the Moon with reflections of the sun in the spacecraft’s window, 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 AS15-88-12007 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”.

535

£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 AS1594-12865 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)

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£300 - £500

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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538

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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 AS15-9513000 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.

540

£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

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542

Al Worden Oblique telephoto panorama of the North Rim of Crater Pasteur on the farside of the Moon, Revolution 37, Apollo 15, August 1971 Mosaic 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

543

Al Worden Telephoto panorama of Rimae Aristarchus, Revolution 61, Apollo 15, august 1971 543

Mosaic of two vintage chromogenic prints on fibre-based Kodak paper, each with the “A Kodak Paper” watermark on verso, numbered AS15-9613046 to AS15-96-13049 in red in top margin, 38.4 x 31cm, image 35.7 x 23.5cm

£1,000 - £1,500

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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

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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-toground transmission

£2,000 - £3,000 546 Al Worden Orbital panorama of Aristarchus Plateau in the Ocean of Storms, Revolution 70, Apollo 15, August 1971 Mosaic 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

546

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547

548

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548

Mosaic of four vintage chromogenic prints on fibre-based Kodak paper, each with the “A Kodak Paper” watermark on verso, numbered AS15-9312623 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.

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

Al Worden Orbital panorama of Schröter’s Valley, Revolution 70, Apollo 15, August 1971

Al Worden Orbital panorama of Humboldt Crater, Revolution 71, Apollo 15, august 1971

£3,000 - £5,000

£2,000 - £3,000

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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

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Al Worden Telephoto panorama of the lunar horizon over Sinus Iridum (the Bay of Rainbows), Revolution 71, Apollo 15, August 1971 Mosaic 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

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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 AS15-9312702 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.

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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.

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Mosaic 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

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

David Scott 360° panorama of the Hadley-Apennine landing site from the top hatch of the LM, Standup EVA, Apollo 15, August 1971

£4,000 - £6,000

David Scott Telephoto panorama of Chain Crater in the North Complex, Standup EVA, Apollo 15, August 1971

£2,000 - £3,000

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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

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Mosaic 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

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

David Scott Panorama of the landing site looking towards Hadley Rille canyon, Standup EVA, Apollo 15, August 1971

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David Scott and James Irwin 180° panorama of the landing site taken from the LM windows before EVA 1, Apollo 15, August 1971

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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

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James Irwin Panoramic view with David Scott on the edge of Hadley Rille canyon, Station 2, EVA 1, Apollo 15, August 1971 Mosaic 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

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James Irwin Panoramic view of David Scott photographing a geologic find, 300 feet up the flank of 11,500-foot-high Hadley Delta mountain, Station 6, EVA 2, Apollo 15, august 1971 Mosaic 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

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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

Mosaic 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

James Irwin Panorama above the green boulder, Station 6A, EVA 2, Apollo 15, August 1971

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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 1971

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James Irwin 360° panorama at Spur Crater, Station 7, EVA 2, Apollo 15, August 1971 Mosaic of eleven vintage gelatin silver prints numbered NASA AS15-9012201 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

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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

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James Irwin Panoramic view with David Scott at the ALSEP site near the LM, Station 8, EVA-2, Apollo 15, August 1971 Mosaic 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.

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Mosaic 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.

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.

James Irwin 360° panoramic view with David Scott and the rover beside Hadley Rille, Station 9A, Apollo 15, EVA 3, August 1971

David Scott Telephoto panorama of Hadley Rille canyon’s Far Wall, Station 9A, EVA 3, Apollo 15, August 1971

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David Scott Telephoto panorama of boulders on the West Wall of Hadley Rille lunar canyon, Station 9A, EVA 3, Apollo 15, August 1971 Mosaic 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

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James Irwin Panorama of Hadley Rille lunar canyon and the Apennine mountains, Station 10, EVA 3, Apollo 15, August 1971

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David Scott Telephoto panorama of Trophy point on Hadley Rille’s West Wall, Station 9A, EVA 3, Apollo 15, August 1971 Mosaic 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.

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David Scott Telephoto panorama of Hadley Rille’s East Wall below Mount Hadley Delta, Station 9A, EVA 3, Apollo 15, August 1971

Mosaic of seven vintage gelatin silver prints numbered NASA AS15-8511171 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

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David Scott Telephoto panorama of Hadley Rille lunar canyon’s upper wall seen from Station 10, EVA 3, Apollo 15, August 1971

Mosaic 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

Mosaic 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

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Mosaic of seventeen vintage gelatin silver prints numbered NASA AS15-8912122 to AS15-89-12148 in black in top margin, 45 x 114cm, image 43 x 107cm

Mosaic 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.

David Scott Telephoto panorama of Hadley Rille lunar canyon below St George Crater, Station 10, EVA 3, Apollo 15, August 1971

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David Scott Telephoto panorama of Big Rock Mountain and a foreground hill in the Swann Range, Apollo 15, August 1971

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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.

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The Earth seen just before and just after translunar insertion burn, Apollo 16, April 1972

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Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-11818865, 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

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The LM before extraction from the Saturn Rocket SIVB third stage, firefly phenomenon, 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 AS16-118-18875 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

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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

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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 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.

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 harddocked 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

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Liftoff, Apollo 16, April 1972

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The lunar horizon seen during the first 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 AS16-12019186, 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

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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

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Charles Duke Rendezvous with the CSM “Orion”, Apollo 16, April 1972

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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

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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 AS16-11318335, AS16-113-18337 in red in top margin (2)

£300 - £500

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Charles Duke John Young jumps and salutes the flag, 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

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John Young Charles Duke salutes the American flag, 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

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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

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Scientific 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 AS16-11318372, 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

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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

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Charles Duke John Young working at Plum Crater’s Station 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 AS16-11318382, AS16-114-18383 in red in top margin (2)

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.

£200 - £300

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Sunstruck phenomenon on the lunar surface, Apollo 16, EVA 1, April 1972

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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

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

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John Young Charles Duke at the rim of Plum Crater, Apollo 16, EVA 1, April 1972

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Charles Duke John Young beyond the rover parked next to the LM “Orion”, EVA 1, Apollo 16, April 1972

Charles Duke South Ray Crater and Baby Ray Crater, Apollo 16, April 1972

Charles Duke John Young and the rover in the barren lunar landscape of Stone Mountain at station 4, 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, 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.

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS16110-17960 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

£300 - £500

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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)

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£300 - £500

John Young Charles Duke and the lunar rover at the base of Stone Mountain at Station 6, EVA 2, Apollo 16, April 1972

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Vintage 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.

Three vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-10717561, AS16-107-17568, AS16-107-17573 in red in top margin (3) John Young collects lunar samples from an overturned boulder.

John Young Lunar rock sampling at Station 9, Apollo 16, EVA 2, April 1972

£200 - £300 £200 - £300

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Charles Duke John Young kneeling to get a rock at Station 6, EVA 2, Apollo 16, April 1972

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Charles Duke John Young changing a film 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 AS16-107-17503 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

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

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Charles Duke The Descartes landing site of the LM “Orion” seen from the lunar rover, 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 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

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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

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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

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Charles Duke Lunar landscapes seen from the Rover during the traverse from the LM “Orion” to North Ray Crater, EVA 3, Apollo 16, April 1972 Fifteen 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.

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£800 - £1,200

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Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-11618629, 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.

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.

£200 - £300

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Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark, numbered NASA AS16-11618647, 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

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

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£200 - £300

John Young Collecting lunar samples at North Ray Crater, EVA 3, Apollo 16, April 1972

John Young Charles Duke with the Hasselblad camera mounted on his chest examines House Rock, EVA 3, Apollo 16, April 1972

Charles Duke John Young walking on the lunar surface, EVA 3, Apollo 16, April 1972

John Young Charles Duke hammering a lunar rock at the ALSEP site, EVA 3, Apollo 16, April 1972

John Young The Lunar Rover antenna and the barren lunar landscape during return to the landing 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 AS16-116-18673 in red in top margin

£200 - £300

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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 AS16-11618696, AS16-116-18697 in red in top margin (2)

£400 - £600

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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

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Charles Duke Lunar Grand Prix at Descartes, 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

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

John Young Charles Duke at the front of the Lunar Rover, EVA 3, Apollo 16, April 1972

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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

Two vintage chromogenic prints on fibre-based Kodak paper, each 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermarks, numbered NASA AS16-11818942, AS16-118-18951 in red in top margin (2)

The LM ascent stage lifts off towards Earth, Apollo 16, April 1972

Ken Mattingly Lunar horizon over Nagaoka Crater, Apollo 16, April 1972

£200 - £300 £300 - £500

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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 AS16-11818911, 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

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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 AS16-11818956, AS16-118-18963 in red in top margin (2)

£200 - £300

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Ken Mattingly Craters on Mendeleev floor, 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 AS16-11818977, AS16-118-18986 in red in top margin (2)

£200 - £300

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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

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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 AS16-12019233, AS16-120-19234, AS16-120-19236 in red in top margin (3)

£300 - £500 £200 - £300

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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 AS16-12019223, AS16-120-19224 in red in top margin (2)

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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 £200 - £300

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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 AS16-12019233, AS16-120-19234, AS16-120-19236 in red in top margin (4)

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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

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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

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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

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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 AS16-12019341 to AS16-120-19344 in red in top margin, 41 x 29.2cm, image 39 x 22cm

£1,500 - £2,000

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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 AS16113-18325 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

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Last liftoff 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.

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£200 - £300

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Official 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.

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£200 - £300

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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

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-14822725 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.

£200 - £300

£600 - £800

Harrison Schmitt Southern Africa, Madagascar and Antarctica seen after translunar injection, Apollo 17, December 1972

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Harrison Schmitt The very first “Blue Marble” view of the full Earth, Apollo 17, December 1972

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Harrison Schmitt The “Blue Marble”, Apollo 17, December 1972

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 AS17-14822737 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

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

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)

£750 - £1,000

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Lunar horizon over the farside terminator during the first orbit, Apollo 17, December 1972

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Orbital landscape over Crater Racan during the first 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 AS17-15123124 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

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The setting Earth over the dark side of the Moon, Apollo 17, December 1972

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Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-15123173 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

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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 AS17-15123180 in red in top margin

£200 - £300

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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 AS17-15123180 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.

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£600 - £800

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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 AS17-14722461 in red in top margin Taken from the window of the LM “Challenger”, after separation and prior to landing.

£300 - £500

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Ronald Evans North East wall of Tsiolkovsky and the lunar horizon over Buisson Crater from the orbiting CSM, 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 AS17-151-23213, 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

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Harrison Schmitt Eugene Cernan tests the unloaded Lunar Rover, EVA 1, Apollo 17, December 1972

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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

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Harrison Schmitt Eugene Cernan parks the Lunar Rover by the LM “Challenger”, the South Massif beyond, EVA 1, 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 AS17-147-22527]

£400 - £600

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Harrison Schmitt Eugene Cernan salutes the US flag, 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 - £600 644

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Eugene Cernan Harrison Schmitt with the Earth above the US flag, 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 AS17-13420384 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

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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 AS17-14722534 in red in top margin

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£200 - £300

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Eugene Cernan Harrison Schmitt collecting lunar rock samples at Steno Crater’s station 1, 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, 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

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Geological discoveries: Geophone Rock at the ALSEP site and orange soil at Shorty Crater, Apollo 17, EVA 1 and 2, December 1972

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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 AS17-13520548 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

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

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Eugene Cernan The LM “Challenger” at Taurus-Littrow landing site, EVA 2, Apollo 17, December 1972

Harrison Schmitt Lunar rock sampling at station 2, 2A and 3, 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 AS17-13720873 in red in top margin

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, AS17138-21149 in black in top margin (5) Station 2 and 2A were located near Nansen Crater, station 3 was located at Lara Crater.

£300 - £500

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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 AS17-13720979 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

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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 AS17-13720980 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 field 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]

654 206

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£300 - £500

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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656

657

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 AS17-14021358 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

658

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-14021372 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 1972 Vintage 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 Cernan Tracy’s Rock, Bear Mountain, Apollo 17, December 1972 Vintage 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

659 207

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662

660

661

663 (1 of 2)

664 (1 of 3)

660

662

Vintage 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

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.

Eugene Cernan Harrison Schmitt photographs Station 6 leaning on a boulder for stability, Apollo 17, December 1972

Eugene Cernan The Lunar Rover parked at the base of the North Massif, EVA 3, Apollo 17, December 1972

£400 - £600

661

£300 - £500

Harrison Schmitt Eugene Cernan with the hammer at Station 7, EVA 3, Apollo 17, December 1972

663

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-14622338 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

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

Harrison Schmitt The Lunar Rover’s seats and floor, EVA 3, Apollo 17, December 1972

£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, AS17142-21709, 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 - £600 208

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665 (4 of 45)

666

667

668

665

667

45 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.

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-13420454 in red in top margin Illustrated: The View from Space p.65, A Man on the Moon p.244

£2,000 - £3,000

668

Harrison Schmitt Lunar landscapes seen during the traverse from Station 8 to Station 9, EVA 3, Apollo 17, December 1972

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 AS17-14321838 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.

Eugene Cernan Harrison Schmitt driving the Lunar Rover at Station 9, EVA 3, Apollo 17, December 1972

£300 - £500

Eugene Cernan The LM “Challenger” seen from the Lunar Rover during the return to the landing site, 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 AS17-13420459 in red in top margin

£400 - £600

£200 - £300 209

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672 669

669

Eugene Cernan The Lunar Rover at its final parking place, EVA 3, Apollo 17, December 1972 Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered AS17-14321931 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 AS17-13420461 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 - £750 670

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 AS17-13420466 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 AS17-13420470 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

671 210

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£300 - £500

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673

674

676

675

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 AS17-13420473 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

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 AS17-14522254 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 £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 AS17-13420474 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

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

£600 - £800

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678

679

680

677

679

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17139-21278 in black in top margin

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17139-21293 in black in top margin

£200 - £300

678

680

Vintage gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17139-21286 in black in top margin

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

Taurus-Littrow landing site seen from orbit, Apollo 17, December 1972

Eratosthenes Crater, Apollo 17, December 1972

£200 - £300

The Sea of Rains in the twilight at the terminator, Apollo 17, December 1972

Crescent Earthrise, Apollo 17, December 1972

£750 - £1,000

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681

682

683

684 (2 of 3)

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

685

£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 AS17-14822767 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

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 gelatin silver print, 20.3 x 25.4cm (8 x 10in), numbered NASA AS17139-21304 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.

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-15223380 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.

£200 - £300

£300 - £500

Tsiolkovsky Crater’s central peak, Apollo 17, December 1972

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689

686

687

686

687

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-15223407 in red in top margin “We spent most of the way home discussing what color the moon was.” Eugene Cernan

Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), “A Kodak Paper” watermark on verso, numbered NASA AS17-15223415 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

£300 - £500

£500 - £750

The Full Moon during the homeward journey to Earth, Apollo 17, December 1972

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Crescent Earth, Home, Apollo 17, December 1972

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

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688

689

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

Mosaic of thirteen vintage gelatin silver prints numbered NASA AS17-14422080 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.

Eugene Cernan Telephoto panorama of the North Massif landscape, Station 2A, EVA 2, Apollo 17, December 1972

Eugene Cernan Telephoto panorama of the South Massif summit, EVA 2, Apollo 17, December 1972

£1,500 - £2,000 £2,500 - £3,500

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690

691

690

691

Mosaic 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 housesized split boulder, also known as Tracy’s Rock, was the major geological attraction of the stop.

Mosaic 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

Harrison Schmitt Telephoto panorama of a boulder field on the south slope of the North Massif, Station 6, EVA 3, Apollo 17, December 1972

Harrison Schmitt Panoramic view of the Taurus-Littrow landing site as seen from the LM right window before liftoff, Apollo 17, December 1972

£2,000 - £3,000

£1,000 - £1,500

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692

Eugene Cernan Panoramic view of the Taurus-Littrow landing site as seen from the LM left window before liftoff, Apollo 17, December 1972 Mosaic 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

“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, 1967 Earth Photographs from Gemini VI through XII, NASA, 1968 Edgar Cortright, editor, Exploring Space with a Camera, NASA, 1968 Beaumont Newhall, Airborne Camera, The World from the Air and Outer Space, 1969 Analysis of Apollo 8 photography and visual observations, NASA, 1969 Analysis of Apollo 10 photography and visual observations, NASA, 1969 David Thomas, editor, Moon, Man’s greatest adventure, 1970 Apollo 11 preliminary science report, NASA, 1970 Oran W. Nicks, editor, This Island Earth, NASA, 1970 Apollo 12 preliminary science report, NASA, 1970 Lunar photographs from Apollo 8, 10, and 11, NASA, 1971 Apollo 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, 1988 Michael Light, Full Moon, 1999 Andrew Chaikin, A Man on the Moon, 3 vols, 1999 Andrew Chaikin, Space, A History of Space Exploration in Photographs, 2002 Terry Hope, Spacecam, Photographing the final frontier from Apollo to Hubble, 2005 Robert Poole, Earthrise, how man first saw the Earth, 2008 Robert Jacobs, editor, Apollo through the eyes of the astronauts, 2009 Andrew 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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Alfred Stieglitz (1864–1946) The Steerage, 1907, Large format photogravure, printed ca.1915, flush mounted to vellum paper, 33 x 25.5cm (13 x 10in) Estimate: £6,000 - 8,000

A collection of 19th and 20th century Photography Thursday 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 | info@dnfa.com | +44 (0) 20 3291 2835

Part of The Stanley Gibbons Group plc

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

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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 BUYERS 1. 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 SELLERS 1. 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 presale 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 SALE Bloomsbury 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. Definitions In these Conditions: (a) “auctioneer” means the firm of Bloomsbury Auctions or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an authorship, origin, date, age, described in the catalogue as date of the sale had a value accordance with the description;

imitation made with the intention of deceiving as to period, culture or source but which is unequivocally being the work of a particular creator and which at the materially less than it would have had if it had been in

(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 info@bloomsburyauctions.com

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 Bradfield 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

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

MODERN AND CONTEMPORARY ART AND PRINTS Alexander Hayter International Head of Contemporary Art Angus Maguire Shane Xu

LONDON – 399 STRAND 399 Strand London WC2R 0LX Tel: +44 (0) 20 7930 6879 info@baldwin.co.uk

NEWBURY – DONNINGTON PRIORY Donnington Priory Newbury, Berkshire, RG14 2JE Tel: +44 (0) 1635 553 553 donnington@dnfa.com

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 Byfield 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

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 Geoffrey Stafford Charles Director DECORATIVE ARTS David Rees Director ENGLISH AND CONTINENTAL CERAMICS Geoffrey Stafford 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

ROME / MILAN For further information, please contact: Dott. Luciana Scarpa Tel: +39 388 8813070 roma@bloomsburyauctions.com

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

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 offer a first class service throughout Italy from premises in both Rome and Milan. We have Italian speaking specialists in all major departments and offer a regular calendar of both valuation events and sales in Rome and Milan.

WE ALSO OPERATE FROM THE FOLLOWING SALEROOMS:

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BRISTOL:

Dreweatts Baynton Road, Ashton, Bristol BS3 2EB. Tel: +44 (0) 117 953 1603 | bristol@dnfa.com

GODALMING:

Baverstock House, 93 High St., Godalming, Surrey GU7 1AL. Tel: +44 (0) 1483 423 567 | godalming@dnfa.com

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Part of The Stanley Gibbons Group plc

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