The Beauty of Space: Vintage NASA Photographs | Skinner Auction 3048M by Bonhams Skinner

The Beauty of Space: Vintage NASA Photographs Sale 3048M | November 2, 2017 | Marlborough

The Beauty of Space: Vintage NASA Photographs

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Michelle LamuniĂ¨re 508.970.3264

Auction Information Auction 3048M

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Tuesday, October 31 12 to 5PM

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Lot 440: Ronald Evans (American, 1933-1990) Crescent Earthrise, Apollo 17, December 1972

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Table of Contents 1

Auction & Specialist Information

Online Bidding

Event Announcement

Additional Notes

Introduction

455 References 456

Conditions of Sale

457

Absentee Bid Form

458

Company Directors & Specialty Departments

459

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460

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461

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Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 456 of this catalog for the full terms and conditions governing your purchase.

“The Sputnik Years” A Lecture by Kelly Beatty November 1, 2017 | 274 Cedar Hill Street, Marlborough, MA Reception 5PM, Lecture 6PM When a Russian rocket lofted Sputnik 1 into orbit on October 4, 1957, the worldwide reaction was a mixture of awe and apprehension. The Space Age—and the Space Race—had begun. Kelly Beatty has been explaining the science and wonder of astronomy to the public since 1974. An awardwinning writer and communicator, he specializes in planetary science and space exploration as Senior Contributing Editor for Sky & Telescope magazine. He holds a Bachelor’s degree from the California Institute of Technology and a Master’s degree in science journalism from Boston University. During the 1980s he was among the first Western journalists to gain firsthand access to the Soviet space program. Asteroid 2925 Beatty was named on the occasion of his marriage in 1983, and in 1986 he was chosen one of the 100 semifinalists for NASA’s Journalist in Space program.

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Manned Missions Mercury–Redstone 3: May 1961.......p. 12

Gemini 11: September 1966............p. 77

Mercury–Redstone 4: July 1961.......p. 17

Gemini 12: November 1966.............p. 87

Mercury–Atlas 6: February 1962.......p. 19

Apollo 1: January 1967.....................p. 95

Mercury–Atlas 7: May 1962..............p. 24

Apollo 7: October 1968..................p. 109

Mercury–Atlas 8: October 1962........p. 26

Apollo 8: December 1968...............p. 120

Mercury–Atlas 9: May 1963..............p. 28

Apollo 9: March 1969.....................p. 148

Gemini 3: March 1965......................p. 33

Apollo 10: May 1969......................p. 159

Gemini 4: June 1965........................p. 35

Apollo 11: July 1969......................p. 188

Gemini 5: August 1965.....................p. 52

Apollo 12: November 1969.............p. 243

Gemini 6: December 1965...............p. 56

Apollo 13: April 1970......................p. 275

Gemini 7: December 1965...............p. 61

Apollo 14: February 1971...............p. 300

Gemini 8: March 1966......................p. 64

Apollo 15: July–August 1971..........p. 324

Gemini 9-A: June 1966....................p. 70

Apollo 16: April 1972......................p. 375

Gemini 10: July 1966.......................p. 73

Apollo 17: December 1972.............p. 406

Please Note All photographs are vintage, i.e. printed shortly after they were taken. Of particular note are large-format prints (Lots 16, 40–42, 55, 77, 78, 88–90, 92, 139, 227–234, 266, 291, 314, 315, 348, 366, 397, 443-445) produced by NASA for presentation and original Apollo panoramic mosaics (Lots 93, 99, 100, 155, 170, 176, 324, 325, 327, 333, 344, 347, 349–351, 354, 360, 414, 416, 421, 429) used by scientists. The auction is organized chronologically by mission so the reader can follow the progress of space and lunar exploration. Where noted on the print, the NASA center 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), Marshall Space Flight Center (NASA MSFC), Huntsville, Alabama, Langley Research Center (NASA Langley), Hampton, Virginia, and Lewis Research Center (NASA Lewis), Ohio. Frequently cited references are listed at the end of the catalog. Full sheet and verso images can be viewed on our website, and secondary condition reports are available upon request. The majority of the sheets measure 8 x 10 inches. All photographs are sold unmatted and unframed. Literature citations refer to published versions of the image in that lot.

The Beauty of Space: Vintage NASA Photographs A tribute to astronauts John Glenn (1921-2016), the first American to orbit the Earth, and Eugene Cernan (1934-2017), the last man on the Moon The Beauty of Space is the first auction in the United States to focus solely on vintage photographs produced from 1961 to 1972 by NASA. The 446 lot single-owner collection showcases both iconic and rare gelatin silver and chromogenic prints presenting an extraordinary and comprehensive photographic journey to the Moon and back as seen through the eyes of the Mercury, Gemini, and Apollo astronauts. The auction, organized by mission, is conceived as a “space and lunar” photographic journal of the astronauts: from Alan Shepard, the first American in space in May 1961; to Eugene Cernan, the last man on the Moon in December 1972. The broad range of imagery includes astronaut portraits and training exercises, documents of complex mission activities and equipment, images of remarkable spacewalks and lunar excursions, surreal landscapes of the Moon’s surface, and mesmerizing views of the Earth and Moon. Of particular note are large-format prints produced by NASA for presentation and fascinating original Apollo panoramic mosaics used by scientists. While the astronaut’s primary goal was to record their activities, they were inspired by what they witnessed, creating images that transcend documentation, allowing viewers to share in the magic and excitement of space travel and to experience the beauty of another world. The photographs are now appreciated for their artistic value as well as their historical and scientific significance. The images are the aesthetic artifacts produced by these space explorers turned photographers—the treasures they brought back along with samples of the lunar surface. Images of the Moon have been made since the early years of photography’s invention in 1839. English scientist, chemist, and historian John William Draper made the first detailed photograph of the full Moon in 1840, and in 1849 American editor, publisher, and photographer Samuel Dwight Humphrey produced two daguerreotypes, each plate revealing nine distinct impressions of the Moon taken at different exposures. These early images mark the beginning of celestial and astronomical photography. More than 100 years later, on February 20, 1962, John Glenn became the first human to photograph the Earth from space as he orbited the planet on board his Mercury spacecraft Friendship 7. Every astronaut from then on would carry a camera into space. NASA was at the forefront of photographic technology, and its Photographic Division was founded in close partnership with Kodak, Hasselblad, and Zeiss. Cameras and film were adapted for use in the harsh conditions of space and processed in the most advanced photographic laboratory available at the time. After each mission, NASA selected a limited number of the astronauts’ photographs for release to the public.

The rest were accessible only to accredited researchers in the archives of the Manned Spacecraft Center, Houston, from which most of this collection is sourced. Many of the images remained unknown to the general public until they began to be archived online in the early 2000s. Photography proved to be a vital tool in reaching and exploring the Moon, but NASA also realized the image-building value of photographs in the space program, which generated tremendous public interest. Made in 1965 from Gemini 4, images like Jim McDivitt’s stunning color photographs of his partner Ed White floating freely above the Earth represented the first pictures of man in space. Few sights in human history have been as exhilarating as the first Earthrise over the lunar horizon captured from Apollo 8 in 1968. Seven months later Neil Armstrong and Buzz Aldrin spent only 150 minutes on the Moon, watched live on television by half a billion people, but brought back to Earth on Apollo 11 astonishing images seen by many more. Six manned Apollo missions to the lunar surface from Apollo 11 in July 1969 to Apollo 17 in December 1972 represented the pinnacle of human exploration. The astronauts observed a pristine, alien world that was airless, silent, colorless, and void. In this disorienting and dangerous environment, they explored lunar canyons and towering mountains on foot and via rover. With their cameras, the astronauts conveyed to the rest of humanity their perceptions of the surreal beauty and profundity of their experience in space. Changing the way we see ourselves and our place in the universe, their photographs created a new visual vocabulary and are now part of our collective memory. The current excitement surrounding private spaceflight companies like SpaceX and Blue Origin show that the dream of manned space exploration lives on. In today’s digital era, it is often difficult to remember that the golden age of space exploration and its extraordinary technical achievements corresponded to a time when photography was still analog, requiring light-sensitive chemistry, film, and photographic papers. For example, the panoramic mosaics in the auction had to be printed and then hand-assembled to form the final, unique image. Produced for study by scientists and for release to the news media, the majority of the photographs were working documents that over time were lost, damaged, or forgotten. Now, over five decades later, the growing interest in vernacular photographs like the NASA photographs, which weren’t made specifically for the purposes of artistic expression, demonstrates that the definition of “art” remains fluid. As such, the works on offer appeal to space enthusiasts, as well as photography collectors, providing an exciting opportunity to acquire original photographic artifacts taken by the pioneers of space and lunar exploration.

1 Ralph Morse (American, 1917-2014) The original seven Mercury astronauts, Langley Air Force Base, July 1960. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 x 6 3/4 in. (22.8 x 17.0 cm), unmatted. Condition: Minor wear at corners of sheet. N.B. On April 9, 1959, NASA introduced its first astronaut class, the Mercury 7. This famous photograph of the astronauts wearing their new Mercury spacesuits was made by long-time Life photographer Ralph Morse, a man who spent so much time with the

Mercury Seven (and with the Gemini and Apollo crews as well) that John Glenn himself fondly dubbed him “the eighth astronaut” (Ben Cosgrove, Time magazine, http://time. com/3879356/mercury-seven-photos-ofnasa-astronauts-in-training/). Front row, left to right: Walter M. Schirra, Jr., Donald K. “Deke” Slayton, John H. Glenn, Jr., and M. Scott Carpenter; back row, left to right: Alan B. Shepard, Jr., Virgil I. “Gus” Grissom, and L. Gordon Cooper, Jr. Literature: Reynolds, pp. 38-39. $400-600

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2 Unidentified Photographer Mission Control at Cape Canaveral, Mercury Program, 1960. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Minor wear at corners and minor rippling of sheet. N.B. The facility monitors Mercury capsule location and attitude, the functioning of its systems, and the astronautâ&#x20AC;&#x2122;s condition on suborbital and orbital flights of NASAâ&#x20AC;&#x2122;s manned orbital flight program (NASA caption). $300-500

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Mercury–Atlas 2: February 1961

3 Unidentified Photographer Test flight of the Mercury spacecraft, MercuryAtlas 2, February 1961. NASA-USAF caption and RCA stamp on the verso l.r. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Good.

N.B. “The trajectory was designed to provide the most severe reentry heating conditions which could be encountered during an emergency abort during an orbital flight attempt. The flight closely matched the desired trajectory, attaining a maximum velocity of just over 21,000 km/hour and an altitude of about 185 kilometers. The spacecraft came down in the Atlantic Ocean some 2,300 kilometers down range. Total flight time was 17 minutes 56 seconds.

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Inspection of the spacecraft aboard the recovery ship indicated that the test objectives had been met and the structure and heat protection elements were in excellent condition. Further evaluation found that the spacecraft afterbody temperatures were somewhat lower than originally anticipated” (https://nssdc.gsfc.nasa.gov/nmc/ spacecraftDisplay.do?id=MERCA2). $300-500

4 Unidentified Photographer Dr. Wernher Von Braun, chief architect of the Saturn project, NASA Marshall Space Flight Center, February 1961. NASA stamp and caption on the verso. Vintage gelatin silver print, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Creases at all corners of sheet.

N.B. Following World War II, Dr. Wernher Von Braun, inventor of the V2 rocket, had worked for the United States Army on an intermediate-range ballistic missile (IRBM) program, and his group was directly involved in the successful launch of Explorer 1, the first American satellite, in January 1958. Following the creation of NASA in July 1958, Von Braun predicted manned circumlunar flight within ten years, and a manned lunar landing and return mission a few years thereafter.

Under NASA, he served as director of the newly formed Marshall Space Flight Center and as the chief architect of the Saturn V launch vehicle, the superbooster that propelled the Apollo spacecraft to the Moon. $300-500

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Mercuryâ&#x20AC;&#x201C;Redstone 3: May 1961

5 Unidentified Photographer Alan Shepard, the first American in space, just before liftoff, Mercury-Redstone 3, May 5, 1961. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/8 x 7 1/8 in. (23.0 x 18.0 cm), unmatted. Condition: Good.

N.B. Alan Shepard lies in the tiny cabin of his Mercury spacecraft Freedom 7 on the morning of May 5, 1961, as technicians prepare to install the craftâ&#x20AC;&#x2122;s side hatch. After hours of delay, Shepard lifted off on top of a Redstone booster to become the first American in space (Chaikin, Space, p. 40). His 15-minute suborbital hop took him to a height of 116 miles before splashdown near Bermuda. $400-600

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6 Unidentified Photographer Launch of Freedom 7, the first spacecraft carrying an American in space, MercuryRedstone 3, May 5, 1961. Stamped “D4C 13620” on the verso u.r., McDonnell stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 10 1/2 x 8 in. (26.5 x 20.3 cm), unmatted. Condition: Minor crease to l.r. corner of sheet.

N.B. 500,000 people gathered in 1961 to watch a Redstone rocket lift astronaut Alan Shepard in his Mercury capsule, Freedom 7, into space. They had a long wait. Technical problems delayed the launch for four hours. Shepard’s patience eventually wore out and he famously snapped, “Why don’t you fix your little problem and light this candle?” The launch was a success, and Shepard soared into space at more than 2km (1.5 miles)/ second. Literature: Chaikin, Space, p. 40; National Geographic, September 1961, p. 425. $400-600

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7 Taken by a 70mm Earth Sky Automatic Camera Mounted on the Freedom 7 Spacecraft View of the Earth and space, MercuryRedstone 3, May 5, 1961. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Subtle silvering at image edges, wear at corners of sheet.

N.B. Alan Shepard, the first American man in space, saw this view at about peak altitude down the Atlantic Missile Range. The original film from the automatic camera was in color (NASA caption). “What a beautiful view!” he said during the flight, adding later that “the sky itself is a very deep blue, almost black, because of the absolute lack of light-reflecting particles” (National Geographic, September 1961, p. 441). $400-600

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8 Dean Conger (American, b. 1927) Alan Shepard back from space with his Freedom 7 capsule aboard the carrier USS Lake Champlain, Mercury-Redstone 3, May 1961. Stamped “D4C 6493” on the verso u.r., 1967 McDonnell Douglas stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 10 1/2 in. (20.3 x 26.5 cm), unmatted. Condition: Subtle yellowing to sheet.

N.B. Alan Shepard’s first words after the mission were “Man, what a ride!” A half hour after liftoff, the space pioneer came triumphantly aboard the carrier Lake Champlain after the pickup helicopter had deposited his capsule on deck. Dean Conger was one of the National Geographic Society’s most famous photographers. He was named Newspaper Photographer of the Year three times during the 1950s and Magazine Photographer of the Year in the 1962 Pictures of the Year competition. Literature: National Geographic, September 1961, pp. 440-41; Life, May 12, 1961, pp. 17-18. $400-600

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9 Attributed to Dean Conger (American, b. 1927) President Kennedy congratulates astronaut Alan Shepard, the first American in space, and decides to go to the Moon, May 8, 1961. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Minor wear at corners of sheet.

N.B. President Kennedy presents Shepard with the NASA Distinguished Service Medal in a ceremony on the White House lawn. Shepard’s wife and mother were in attendance, as well as the other six Mercury astronauts and NASA officials. Two weeks later, Kennedy would deliver the celebrated speech describing his goals for the nation’s space effort in front of Congress: “I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the Earth.” $300-500

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Mercury–Redstone 4: July 1961

10 Unidentified Photographer Two photographs depicting the unsuccessful recovery of the Liberty Bell 7 spacecraft piloted by Virgil “Gus” Grissom during the second American suborbital flight, MercuryRedstone 4, July 1961. NASA caption on the verso of one print. Two vintage gelatin silver prints, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Handling creases. N.B. Mercury capsule #11 was named Liberty Bell 7 and piloted by Virgil “Gus” Grissom, who is helped into the capsule by fellow astronaut John Glenn (first image).

“From lift-off to re-entry, operational sequences were similar to those of the first manned suborbital flight and Grissom’s flight experience was similar to Shepard’s in that there was a five minute period of weightlessness. The main configuration differences from the MR-3 spacecraft was the addition of a large viewing window and an explosively actuated side hatch. During the flight, the spacecraft attained a maximum velocity of 8,270 km/hour and an altitude of 189 kilometers. The capsule landed 483 kilometers down range from Cape Canaveral. The duration of flight was 15 minutes and 37 seconds” (https://nssdc.gsfc.nasa.gov/nmc/ spacecraftDisplay.do?id=MERCR4).

“Flight successful but the spacecraft was lost during the post landing recovery period as a result of premature actuation of the explosively actuated side egress hatch. The capsule sank in 15,000 feet of water shortly after splashdown. The astronaut egressed from the spacecraft immediately after hatch actuation and was retrieved after being in the water for about 3 to 4 minutes” (https://www.nasa.gov/ mission_pages/mercury/missions/libertybell7. html). As a result, no photographs of the flight survived. $400-600

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Mercury–Atlas 4: September 1961

11 Unidentified Photographer Two photographs depicting the launch of the first successful American unmanned orbital flight, Mercury-Atlas 4, September 13, 1961, and the chimp Enos prior to his successful orbital flight, MercuryAtlas 5, November 29, 1961. The first numbered “NASA S-61-3570” in black on the recto u.r. margin, NASA HQ and Patrick AFB captions on the verso. Vintage gelatin silver prints, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Handling crimps and wear to corners of sheet in the second print.

N.B. The Mercury-Atlas 4 mission successfully achieved all its flight objectives, demonstrating the ability of the Atlas rocket to lift the Mercury capsule into orbit and of the capsule and its systems to operate completely autonomously (https://nssdc.gsfc.nasa.gov/ nmc/spacecraftDisplay.do?id=1961-025A). Nonetheless, to be on the safe side and test out a few more design changes, NASA still planned for one more unmanned test, Mercury-Atlas 5 with the chimp Enos on board, before committing the Mercury-Atlas combo to a manned flight. The spacecraft and Enos survived the mission in good condition, qualifying the Mercury spacecraft to carry a human into orbit. $300-500

Mercury–Atlas 5: November 1961 18

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Mercury–Atlas 6: February 1962

12 Unidentified Photographer Two photographs of John Glenn training before America’s first orbital spaceflight, Mercury-Atlas 6, 1962. Vintage chromogenic prints on fiber-based Kodak paper with “EKC” watermark, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Several matte areas at top and bottom and subtle emulsion cracks in l.r. corner of second image. N.B. These rare color views show John Glenn, fully suited up, strapped into the prototype net couch during weight and balance tests. During the high G loads on the astronaut at liftoff and reentry, the couch supported his body, and a perfect fit was very important. $400-600

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13 Unidentified Photographer Portrait of John Glenn, the first American to orbit the Earth, beside his Friendship 7 spacecraft, Mercury-Atlas 6, February 1962. Numbered “NASA S-62-223” in black on the recto u.r. margin, NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/8 x 7 in. (23.0 x 17.5 cm), unmatted. Condition: Minor wear at corners of sheet.

N.B. John Glenn’s success was a blaze of glory for the American public, whose adulation approached that given to Charles Lindbergh following his solo transatlantic flight in 1927 (Chaikin, Space, p. 29). $300-500

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14 John Glenn (American, 1921-2016) The first photograph from space taken by man: the Sun illuminating the Earth, MercuryAtlas 6, February 20, 1962. NASA caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “EKC” watermark, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Subtle chemical inconsistencies or similar at center, minor handling crimp u.c. N.B. “The suborbital missions of Alan Shepard and Gus Grissom prepared the way for the first orbital flight. John Glenn became the first American to circle the Earth making three orbits in his Friendship 7 Mercury spacecraft. He also became the first human being to photograph Earth from space using a hand-held camera. NASA officials initially vetoed Glenn’s idea of taking a camera aboard his spacecraft for fear it would distract him from the mission’s primary goals. After an appeal to NASA Director Robert Gilruth, Glenn ultimately received permission to use a camera during his space flight.

However, the lack of a space photography department in NASA’s infant manned space program required Glenn to obtain his own camera. He needed to locate a model he could operate in zero gravity while wearing the bulky gloves of his spacesuit. Glenn discovered such a camera, a 35mm Minolta Hi-Matic, in a drug store in Cocoa Beach, just outside of Cape Canaveral, Florida. One of the first models that automatically advanced the film roll between shots, NASA technicians rigged the camera with a trigger mechanism Glenn could operate while in space. The malfunction of his spacecraft’s automatic control system during the second orbit limited Glenn’s opportunities to make use of his camera. Nevertheless, he did manage to document his time in space with this never before seen image of Earth as he passed over the east coast of Africa and the Indian Ocean on his first orbit” (https://library.osu.edu/ projects/friendship-7/photo_earth.html). The NASA negative number is MA-6-40452-049. $800-1,200

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15 Recorded by an Automatic Movie Camera Aboard the Friendship 7 Capsule John Glenn weightless inside the Friendship 7 capsule during Americaâ&#x20AC;&#x2122;s first orbital spaceflight, Mercury-Atlas 6, February 20, 1962. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 5/8 x 9 3/4 in. (19.2 x 24.5 cm), unmatted. Condition: Subtle creases to u.l. corner and minor wear at corners of sheet. N.B. The first American to orbit the Earth photographed in space by an automatic movie camera as he traveled, weightless, at 17,500 mph (NASA caption). $500-700

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16 Unidentified Photographer Launch of Friendship 7, the first spacecraft carrying an American astronaut in Earth orbit, Mercury-Atlas 6, February 20, 1962. Largeformat vintage chromogenic print on fiberbased Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image/sheet size 14 x 11 in. (35.5 x 27.7 cm), unmatted. Condition: Minor cracks in the emulsion u.l., minor wear at corners of sheet.

N.B. Following the trail blazed by Yuri Gagarin, John Glenn rode an Atlas booster into Earth orbit on February 20, 1962 (Chaikin, Space, p. 43). Literature: Chaikin, Space, p. 42. $800-1,200

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Mercury–Atlas 7: May 1962

17 Unidentified Photographer Astronaut Scott Carpenter standing in front of a Project Mercury tracking antenna, MercuryAtlas 7, May 1962. Vintage chromogenic print on fiber-based Kodak paper with an “EKC” watermark on the verso, image size 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Good.

N.B. Astronaut Scott Carpenter, wearing a Mercury pressure suit, was the pilot of the Mercury-Atlas 7 (MA-7) mission. Carpenter made America’s second manned Earth-orbital spaceflight on May 24, 1962. This photograph was taken at Cape Canaveral, Florida, during MA-7 preflight training activities. $300-500

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18 Unidentified Photographer Two photographs of the Aurora 7 spacecraft on top of its Atlas Booster and its recovery in the Atlantic Ocean after three orbits, MercuryAtlas 7, May 1962. Stamped “D4C 9290” and “D4C 9016,” respectively, on the verso u.r., each with 1967 McDonnell Douglas stamps on the verso u.l. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 10 1/2 x 8 in. (26.5 x 20.3 cm), unmatted. Condition: Minor crease to u.r. corner of first print. N.B. Aurora 7 Mercury Spacecraft No. 18 is seen after mating to the Atlas Booster at Launch Complex 14 at the Cape (first image). Due to lack of fuel, Carpenter overshot his planned reentry mark and Aurora 7 splashed down 250 miles from target near Puerto Rico (second image). $400-600

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Mercury–Atlas 8: October 1962 19 Unidentified Photographer and Walter Schirra (American, 1923-2007) Four contact sheets depicting the Sigma 7 space mission of Walter Schirra, MercuryAtlas 8, October 3, 1962. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Slightly yellowed paper with numbered labels affixed to the sheet rectos. N.B. These rare contact sheets (used at NASA headquarters in Washington to consult available photographs of the mission) depict different aspects of Schirra’s successful sixorbits flight on Sigma 7 from liftoff to recovery with three rare views of Schirra recorded by the onboard automatic camera during the flight. Specially included are five views of the Earth from space that Schirra took during the flight. He was the first astronaut to carry a Hasselblad camera into space. Prior to the introduction of the Hasselblad, NASA lacked a defined photography program. It was not until Schirra, a known camera enthusiast, sought a precision instrument to accompany him on his MA-8 mission that NASA’s photographic identity began to take shape. After extensive research and discussion with photographers (Ralph Morse and Carl Mydans of Life, and Ken Weaver, Otis Imboden, and Luis Marden of National Geographic), Schirra identified the Hasselblad as his equipment of choice, purchased a Hasselblad 500C camera at a Houston photo supply shop in 1962, and brought it back to NASA for mission use preparation. NASA photographic specialist Richard Underwood recalled, “the potential of the Hasselblad was there, even with overexposed film” (Schick and Van Haaften, p. 22). $800-1,200

19, details right

Mercury–Atlas 9: May 1963

20 Unidentified Photographer Four photographs depicting Gordon Cooper’s rendezvous with the Atlas rocket for his ride through space, Mercury-Atlas 9, May 15, 1963. NASA HQ and MSC captions on the verso, one numbered “NASA S-63-6336” in black on the recto u.r. Vintage gelatin silver prints, image sizes to 8 x 10 in. (20.3 x 25.4 cm), unmatted. Condition: Scattered minor handling crimps. N.B. Gordon Cooper set out from his living quarters at Hangar “S” and walked pass the waiting press to the elevator which was to take him for a rendezvous with a rocket and a flight around the world 22 times through space (NASA captions). $400-600

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21 Recorded by a Television Camera Aboard the Faith 7 Capsule Two photographs representing the first TV pictures transmitted from space, including Gordon Cooper inside the Faith 7 capsule and the cloud cover over Florida, Mercury-Atlas 9, May 15, 1963. The first numbered “NASA S-63-7876” in black on the recto u.l. margin, NASA MSC caption on the verso; the second with NASA number “63-MA9-152” in a NASA HQ caption on the verso. Vintage gelatin silver prints, image sizes to 7 1/2 x 9 5/8 in. (18.9 x 24.3 cm), unmatted. Condition: Minor wear at corners of sheet. 21

N.B. The first picture shows a ghostly image of the astronaut. It was the first time an American astronaut had sent back television images from space. The camera’s twosecond scan rate required special equipment which was set up at Cape Canaveral (NASA captions). $400-600

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22 Gordon Cooper (American, 1927-2004) Earth taken with the first Hasselblad camera used in space, Mercury-Atlas 9, May 15, 1963. NASA-USAF caption and RCA stamp on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 1/2 in. (18.9 x 18.9 cm), unmatted. Condition: Slight yellowing to sheet.

N.B. Walter Schirra’s experiments on Mercury-Atlas 8 paved the way for Gordon Cooper’s use of the NASA-modified Hasselblad camera in space. His longer flight (22 orbits) allowed him to carefully frame his photographs. “I was the first pilot to go off stabilization systems and go where I wanted,” stated Cooper, “so I made lots of pictures.” His film was the first by an astronaut to be analyzed and described frame by frame by NASA, in effect launching the agency’s photographic technology department in Houston.

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He recalled a NASA memo stating that: “‘If an astronaut desires, he may carry a camera.’ That’s the importance they gave to photography... It was great to be able to bring home some of those images to people who couldn’t be up there in orbit and see those kind of things. I think NASA finally swung around to realizing the importance of photography; even the diehards finally came around, admitting it had about the greatest impact of anything going” (Schick and Van Haaften, pp. 26-30). $600-800

Gemini 1: April 1964

23 Unidentified Photographer First test flight of the Gemini spacecraft, Gemini 1, April 1964. NASA KSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Minor handling crimp c.l. N.B. “The main objectives of Gemini 1 were to test the structural integrity of the new spacecraft and the Titan-2-GLV launch vehicle… The planned mission of this capsule lasted only three orbits. The spacecraft itself remained intentionally attached to the second stage of the rocket and there were no plans for recovery.

The Gemini 1 capsule was built specifically for this mission and differed significantly from the later operational capsules (Gemini 2 to 12). It lacked life support systems and had ballast instead. A heat shield was mounted, but four large holes drilled in it to make sure that the spacecraft was destroyed during reentry” (http://space.skyrocket.de/doc_sdat/gemini-1. htm). $300-500

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Ranger 7: July 1964

24 Recorded by a P-3 Camera Aboard the Ranger 7 Spacecraft The final photograph transmitted before impact by the first probe to send closeup pictures of the Moon, Ranger 7, July 31, 1964. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Scattered minor handling creases.

N.B. NASA’s lunar assault began with a spectacular breakthrough: the “crashlander” 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. The spacecraft was destroyed while transmitting, resulting in the receiver noise pattern. Astronomers were delighted at the clarity of the images which confirmed that there were lunar areas topographically suitable for manned landing sites (Cortright, p. 46). $400-600

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Gemini 3: March 1965

25 Ralph Morse (American, 1917-2014) John Young and Virgil “Gus” Grissom, the first two-man crew of the space program, inside the Molly Brown spacecraft before liftoff, Gemini 3, March 23, 1965. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Fingerprints l.c.

N.B. This view was taken through the window of the open hatch on Young’s side of the Gemini spacecraft just before the hatches were closed. The Gemini capsule was tiny, astronauts had less space than a driver and passenger in a sports car. Literature: Life, April 2, 1965, p. 34; Mason, p. 88. $300-500

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26 John Young (American, b. 1930) Sunset from space, Gemini 3, March 1965. Numbered “ NASA S-65-18753“ (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Minor crease to l.l. corner.

N.B. There was no plan for photography during the Gemini 3 mission. Overwhelmed by the beauty of the Earth, Gus Grissom and John Young took pictures of their own during the three orbits. “There is a clarity, a brilliance to space that simply doesn’t exist on Earth, even on a cloudless summer’s day in the Rockies, and from nowhere else can you realize so fully the majesty of our earth and be so awed at the thought that it’s only one of untold thousands of planets,” wrote Grissom in his book Gemini: A Personal Account of Man’s Venture Into Space (p. 108). $400-600

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Gemini 4: June 1965 27 Unidentified Photographer Four photographs depicting training and simulation exercises, and equipment for the first EVA (Extravehicular Activity) in space, Gemini 4, May 1965. One with NASA KSC caption and RCA stamp on the verso; one numbered â&#x20AC;&#x153;NASA S-65-27329â&#x20AC;? in black on the recto u.l. margin, NASA MSC caption on the verso. Vintage gelatin silver prints, image sizes to 7 5/8 x 10 in. (19.2 x 25.3 cm), unmatted. Condition: Scattered minor creases and wear to corners of sheets. N.B. Prime crew for the Gemini-Titan 4 spaceflight, James A. McDivitt (right), command pilot, and Edward H. White II, pilot, are shown inside a Gemini crew simulator during a training exercise; extravehicular activity training in the high altitude pressure chamber at McDonnell Aircraft in St Louis; Edward H. White II during the simulation of extravehicular activity (EVA) at an altitude of 150,000 feet; and the Hand-Held-SelfManeuvering-Unit (HHSMU) which allows the astronaut to control his movements in the vacuum of space. The 35mm camera is loaded with space-qualified color film to take photographs from outside the spaceship. $500-700

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28 Unidentified Photographer Two photographs depicting the departure for space, Gemini 4, June 3, 1965. One numbered “NASA S-65-29660” in red on the recto u.l. margin, NASA MSC caption on the verso; the other stamped “D4C 29046” on the verso u.r., 1967 McDonnell Douglas stamp on the verso u.l. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 10 1/2 x 8 in. (26.5 x 20.3 cm), unmatted. Condition: Good. N.B. The crew members walk up the ramp toward the elevator leading to their spacecraft atop the Titan launch vehicle which lifted off on June 3, 1965 (NASA caption). $500-700

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29 Recorded by a 16mm Camera Mounted to the Exterior of the Gemini 4 Spacecraft First U.S. spacewalk, Ed White floats away from the spacecraft, Gemini 4, June 3, 1965. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on verso, image size 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), unmatted. Condition: Subtle matte areas at left side.

This view was captured by the 16mm camera (whose shadow appears on the open hatch door at lower right) that White had mounted outside the spacecraft just before his EVA. The NASA negative number is S-65-29766. Literature: National Geographic, September 1965, pp. 442-43. $600-800

N.B. Describing his experience as the first spacewalker, Soviet/Russian cosmonaut Alexei Leonov exclaimed that he “felt absolutely free, soaring like a bird... as though I had wings, as though I was flying by my own efforts” (Chaikin, Space, pp. 54-55). Three months after Leonov’s spacewalk, 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 the planet for 20 minutes.

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30 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA (Extravehicular Activity) over the Pacific Ocean, Gemini 4, June 1965. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 7 1/4 in. (19.5 x 18.3 cm), unmatted. Condition: Good. N.B. James McDivitt photographed Ed White’s first American EVA with a Hasselblad model 500 C (NASA modified) and 70mm Eastman Kodak Ektachrome MS film. His pictures represented the first still photographs showing man in space. Before that, only a few low resolution images recorded by onboard movie cameras had shown American astronauts or Russian cosmonauts in the space environment.

According to Ed White, “This was a picture taken by my teammate, James A. McDivitt, on the third revolution of Gemini IV. I had a specially designed spacesuit which had 21 layers of thermal and micrometeoroid protection. My face was protected by a double gold-plated visor which provided protection from the unfiltered rays of the Sun. In my hand I held a small self-maneuvering unit which gave me control of my movements in space. On my chest was an oxygen chestpack that regulated the flow of oxygen to my suit and provided an 8-minute supply of emergency oxygen. I was secured to the spacecraft by a 25-foot umbilical line and a 23-foot tether line, which were secured together and wrapped with a golden tape for thermal insulation. On the top of the hand-held self-maneuvering unit was mounted a 35mm camera to record the event from outside the spacecraft” (Cortright, p. 151).

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Astronaut White died two years later, with Astronauts Virgil “Gus” Grissom and Roger B. Chaffee, when fire swept the interior of an Apollo spacecraft at Cape Kennedy. The NASA negative number is S-65-30427. Literature: Schick and Van Haaften, p. 33; Chaikin, Space, p. 58; Reynolds, p. 49. $800-1,200

31 James A. McDivitt (American, b. 1929) First U.S. Spacewalk, Ed White’s EVA over Texas, Gemini 4, June 3, 1965. Numbered “NASA S-65-30428” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on verso, image size 7 1/8 x 7 1/2 in. (18.0 x 18.9 cm), unmatted. Condition: Minor crease to l.l. corner of sheet.

N.B. “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 program and in the popular conception of manned space exploration” (Schick and Van Haaften, p. 13). “I wasn’t the only one who felt the power of those images from space,” noted space historian Andrew Chaikin. “Countless people saw them and understood their basic message: this was the edge of human experience” (Chaikin, Space, p. 12). $800-1,200

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32 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA over the Gulf of Mexico, Gemini 4, June 1965. Numbered “NASA S-65-30429” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Minor creases l.r.

N.B. Note the reflection in Ed White’s visor of the black sky of space and the capsule’s window through which McDivitt took the photograph. “It’s fun,” White reported, “I’m not coming in” (Gemini 4 air-to-ground transmission). Literature: Schick and Van Haaften, cover and p. 35; Chaikin, Space, p. 59; Light, plate 13. $800-1,200

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33 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA over southern California, Gemini 4, June 1965. RCA stamp (NASA KSC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 1/2 in. (18.9 x 18.9 cm), unmatted. Condition: Minor crease to l.r. corner of sheet. N.B. “I can sit out here,” White noted midway through the 20-minute EVA, “and see the whole California coast” (Gemini 4 air-to-ground transmission). The NASA negative number is S-65-30430. $800-1,200

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34 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA over Hawaii, Gemini 4, June 3, 1965. Numbered “NASA S-65-30431” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Minor wear at corners of sheet. N.B. McDivitt: “You’re right in front, Ed. You look beautiful.” White: “I feel like a million dollars” (Gemini 4 air-to-ground transmission). Literature: Hope, p. 46. $800-1,200

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35 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA over the Gulf of Mexico, Gemini 4, June 3, 1965. Numbered “NASA S-65-30432“ (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good. N.B. “I took most of these photographs without being able to see what I was shooting at,” stated McDivitt. “I was really crunched up in there so I’d take the camera down and look to see where Ed was, and then put the camera up, point in that direction and take the picture” (Schick and Van Haaften, p. 33). Literature: Hope, p. 52; Reynolds, p. 50. $800-1,200

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36 James A. McDivitt (American, b. 1929) First U.S. spacewalk, Ed White’s EVA over New Mexico, Gemini 4, June 1965. RCA stamp (NASA KSC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 5/8 in. (19.8 x 19.2 cm), unmatted. Condition: Minor wear at upper corners of sheet.

N.B. “I was taking some big steps,” said White. From the moment he stepped outside to his reclosing of the hatch, White’s sevenleague boots covered some 6,000 miles (National Geographic, September 1965, p. 443). The NASA negative number is S-6530433. Literature: Schick and Van Haaften, p. 34; Hope, p. 45; Reynolds, p. 48. $800-1,200

37 Edward White (American, 1930-1967) First photograph taken during an Extravehicular Activity (EVA), Gemini 4, June 1965. RCA stamp (NASA KSC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Subtle scratches u.c. N.B. “In addition to the Hasselblads, on the second Gemini mission, history was made when the first picture of a spacecraft in orbit was taken by astronaut Ed White as he floated outside his spacecraft. He used a Zeiss Contarex 35mm camera mounted atop his gas-powered maneuvering gun” (https:// history.nasa.gov/apollo_photo.html). The NASA negative number is S-65-30550. $600-800

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38 Edward White (American, 1930-1967) or James A. McDivitt (American, b. 1929) The limb of the Earth, Gemini 4, June 1965. Numbered “NASA S-65-34771“ (NASA MSC) in black on the recto l.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 in. (17.5 x 17.5 cm), unmatted. Condition: Scattered fingerprints on image surface.

N.B. This view of the limb (Earth’s outer edge of brightness) was taken as the spacecraft approached the daylight side of the Earth (NASA caption). Les Gaver, former photography director, Public Affairs, NASA, described the view: “Here you can see the 50mile depth of the atmosphere. It shows you where the air ends; above that is a vacuum. That is beautiful. You can see how fragile the Earth is, with that thin layer around us to protect us from ultraviolet light” (Schick and Van Haaften, p. 56). $600-800

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39 James A. McDivitt (American, b. 1929) Ed White in the pilot’s seat of the capsule, the first in-flight portrait of an astronaut, Gemini 4, June 1965. Numbered “NASA S-65-30549“ (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/8 x 9 5/8 in. (18.5 x 24.3 cm), unmatted. Condition: Good. N.B. “I was the happiest man in the world that day,” said McDivitt, “except possibly for Ed.” White admitted, “I felt so good I didn’t know whether to hop, skip, jump, or walk on my hands” (National Geographic, September 1965, p. 447). $600-800

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40 James A. McDivitt (American, b. 1929) First U.S. Spacewalk, Ed White’s EVA over the Gulf of Mexico, Gemini 4, June 3, 1965. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Vertical handling crack/crease along right side. N.B. Tethered by a looping, golden umbilical cord, Ed White moved freely 100 miles above Earth for 21 minutes. Using the guidance gun in his right hand, he maneuvered at will until its compressed oxygen ran out. He thus became the world’s first propelled space man.

Though orbiting at 17,500 miles an hour, the space walker “had little sensation of speed and no sensation of falling, only a feeling of accomplishment” (National Geographic, September 1965, p. 440). Completely entranced by the experience, he resisted repeated calls from Houston to get back to the spacecraft. “This is the saddest moment of my life” was his response on reluctantly returning. The NASA negative number is S-6530429. Literature: Schick and Van Haaften, cover and p. 35; Chaikin, Space, p. 59; Light, plate 13. Provenance: The personal collection of Ed White, Heritage Auctions, Space Exploration Signature Auction, Dallas, November 2, 2012, Sale 6082, Lot 40031. $3,000-5,000

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41 James A. McDivitt (American, b. 1929) First U.S. Spacewalk, Ed White’s EVA over Southern California, Gemini 4, June 3, 1965. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Good. N.B. 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). The NASA negative number is S-65-30430. Provenance: The personal collection of Ed White, Heritage Auctions, Space Exploration Signature Auction, Dallas, November 2, 2012, Sale 6082, Lot 40031. $3,000-5,000

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42 James A. McDivitt (American, b. 1929) First U.S. Spacewalk, Ed White’s EVA Over Texas, Gemini 4, June 3, 1965. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Minor wear at corners.

N.B. “Ed...was floating away from the spacecraft and as he moved around I could look out the hatch and see him against the background of the Earth. That was rather impressive,” recalled McDivitt (Schick and Van Haaften, p. 35). “When I saw these photographs for the first time I couldn’t believe it...It was scary to look at that stuff in the dark room with the lights out.

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When you saw those pictures gleaming up from a light table it gave you goose bumps,” recalled Les Gaver, former photography director, Public Affairs, NASA (Schick and Van Haaften, p. 34). The NASA negative number is S-65-30428. $3,000-5,000

Mariner 4: July 1965

43 Recorded by a Camera Aboard Mariner 4 The planet Mars photographed for the first time, Mariner 4, July 1965. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Handling crease u.l.

N.B. Mariner 4 took only 22 photographs of Mars. Re-enhanced and released again in January 1967, this view was the best one taken by the probe and covers the Atlantis Basin between Mare Sirenum and Mare Cimmerium, and was transmitted from 167 million miles, a distance which took the spacecraft over seven months to reach at the speed of 7 miles/second.

The 96-mile diameter crater in the center was later named Mariner to honor the spacecraft. Literature: Cortright, p. 132; Chaikin, Space, p. 63. $400-600

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Gemini 5: August 1965

44 Unidentified Photographer Charles Conrad and Gordon Cooper await the closing of the spacecraft’s hatches before launch, Gemini 5, August 1965. Stamped “D4C 71489” on the verso u.r., 1967 McDonnell Douglas stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 1/8 x 10 1/2 in. (20.5 x 26.5 cm), unmatted. Condition: Good. N.B. Each man lies in an ejection seat designed to be used in case of an emergency during the ascent to orbit, a situation every astronaut hoped to avoid (Chaikin, Space, p. 67). $300-500

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45 Charles Conrad (American, 1930-1999) or Gordon Cooper (American, 1927-2004) Four photographic studies of the Earth from space seen during different orbits, Gemini 5, August 1965. Numbered “NASA S-6545737,” “NASA S-65-45747,” “NASA S-6545579,” and “NASA S-65-45585” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 3/8 x 8 in. (18.5 x 20.3 cm), unmatted. Condition: Good. N.B. Straits of Gibraltar, orbit 14; Southern California centered on the Salton Sea, orbit 17; Namibia centered on Walvis Bay, orbit 92; Baja, California, orbit 93. 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 color photographs of the surface of the Earth. The astronauts reported a new awareness of the fragility of the planet and its atmosphere. They made photographs of prominent features for research use in geology, geophysics, geography, and oceanography, providing inspiration for the growing environmental movement (https://history.nasa.gov/SP-168/ section3a.htm#138). “Everybody is interested in the Earth we live on. The astronauts’ photography just brought it home visually. Nobody could ever draw or paint it. I think their missions will live forever through photography,” believed Les Gaver, former photography director, Public Affairs, NASA (Schick and Van Haaften, p. 13). $600-800 45

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46 Charles Conrad (American, 1930-1999) Earth horizon and space over China’s Pacific Coast, Gemini 5, August 1965. Handnumbered “NASA S-65-45768” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 3/4 in. (18.3 x 19.5 cm), unmatted. Condition: Handling crimp c.l.

That was back in the days when people didn’t realize the extent of what happened to silt when it came down those rivers” (Schick and Van Haaften, p. 46). Literature: Schick and Van Haaften, p. 46. $300-500

N.B. Charles Conrad captured this rare view over China’s Yangtze River during the 23rd revolution of the spacecraft, noting that “We got some pretty good shots of the Yangtze River dumping tons of mud in the Pacific Ocean.

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47 Charles Conrad (American, 1930-1999) or Gordon Cooper (American, 1927-2004) Earth horizon and space over Florida and the Atlantic Coast, Gemini 5, August 1965. Numbered “NASA S-65-45783” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 3/8 in. (18.3 x 18.5 cm), unmatted. Condition: Good. N.B. A stunning view of the entire state of Florida captured from space during the 33rd orbit. $300-500

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Gemini 6: December 1965

48 Unidentified Photographer Astronauts Walter Schirra and Thomas Stafford at Launch Pad 19, Gemini 6, October 1965. Numbered “NASA S-65-56178” (NASA MSC) in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Good. $300-500

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49 Thomas Stafford (American, b. 1930) The Gemini 7 spacecraft maneuvers over the Earth at dawn, Gemini 6, December 1965. Numbered “NASA S-65-63111” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/2 in. (18.3 x 18.9 cm), unmatted. Condition: Good.

N.B. The Gemini 6 crew of Walter Schirra and Thomas Stafford approached the orbiting Gemini 7 with Frank Borman and James Lovell less than six hours after launch. “There seems to be a lot of traffic up here,” Schirra radioed to Mission Control. “Call a policeman,” Borman replied (https://www. nasa.gov/50th/50th_magazine/humanFactor. html). Below Gemini 7, dawn in space touches the Earth, a scene repeated every 96 minutes throughout the rendezvous. $400-600

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50 Thomas Stafford (American, b. 1930) First rendezvous in space, at 17,000 mph, Gemini 6, December 15, 1965. Stamped “D4C 32558” on the verso u.r., McDonnell Aircraft Corporation stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 10 1/2 x 8 in. (26.5 x 20.3 cm), unmatted. Condition: Subtle handling crimp l.r. N.B. History’s first space rendezvous, a crucial milestone for the planned lunar missions of Project Apollo, was accomplished by Walter Schirra and Tom Stafford in Gemini 6, which chased down the orbiting Gemini 7. They flew to within inches of the Gemini 7 spacecraft housing Jim Lovell and Frank Borman. “Our nose continually pointed at them, as we moved around their midriff,” Gemini 6 pilot Schirra reported later. “The thrill was fantastic” (Life, January 14, 1966, p. 67). The NASA negative number is S-65-63169. Literature: Thomas, p. 114; Cortright, p. 165. $500-700 51 Thomas Stafford (American, b. 1930) Two photographs showing close-ups of the Gemini 7 spacecraft over the Earth at low and high Sun elevation angles, Gemini 6, December 1965. One numbered “NASA S-6563196“ (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Minor yellowing to sheets, minor loss/possible repair at u.r. corner of second print. N.B. As Schirra piloted, Stafford photographed, creating the first pictures of another vehicle in space made with a handheld camera. “We reviewed the pictures after we got back,” noted Stafford. “When we saw their clarity—the lighting, the sun angle, and everything—we realized that they described it very well. The mission will be there in history forever” (Schick and Van Haaften, p. 50). The NASA negative number for the second image is S-65-63205. $600-800

left: 50 above: 51

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52 Thomas Stafford (American, b. 1930) Gemini 7 orbits the Earth, Gemini 6, December 1965. Numbered “NASA S-6563220“ (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 3/4 in. (18.3 x 19.5 cm), unmatted. Condition: Linen tape hinge remnants on the verso, minor wear to l.r. corner of sheet.

N.B. Gemini 7’s equipment section gleams in the Sun. The golden disk is a thermal blanket that protected machinery and instruments from damage by direct exposure to the Sun’s rays in space. The straps at the back are tapes ripped loose at launch (Mason, pp. 105-07).

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“The sight was utterly fantastic to fly in close formation as we have done for many years in fighter aircraft,” noted Stafford, “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” (Cortright, p. 165). Literature: Schick and Van Haaften, p. 51; Hope, p. 67; Thomas, p. 115. $500-700

Gemini 7: December 1965

53 James Lovell (American, b. 1928) Full Moon rising over the Earth, Gemini 7, December 1965. Numbered “NASA S-6563872“ (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 5/8 in. (18.3 x 19.3 cm), unmatted. Condition: Possible color shifting.

N.B. “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,” Lovell recalled. “When we got there on Apollo 8, we took the Earthrise photograph; they were like before-and-after pictures” (Schick and Van Haaften, p. 55). Literature: Thomas, pp. 118-19; Schick and Van Haaften, p. 55. $500-700

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54 Unidentified Photographer Three photographs depicting James Lovell and Frank Borman’s return to Earth after a record-breaking 14-day mission in space, Gemini 7, December 1965. Color image numbered “NASA S-66-15802” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso; gelatin silver prints with NASA KSC captions and RCA stamps on the verso. One vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso and two vintage gelatin silver prints, image sizes to 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor scattered handling crimps on the gelatin silver prints. N.B. Borman and Lovell in their Gemini 7 spacecraft safely landed in the Atlantic after 220 orbits, establishing an endurance record in space. They appear weary and a bit stooped in Earth’s gravity after 14 days of weightlessness, but the exultation is plain as they alight from the rescue helicopter on the deck of the carrier USS Wasp (Mason, p. 108). $400-600

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55 Thomas Stafford (American, b. 1930) Gemini 7 orbits the Earth, Gemini 6, December 1965. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 13 1/4 in. (27.7 x 33.5 cm), unmatted. Condition: Minor emulsion losses at corners and upper and lower edges.

N.B. Thomas Stafford and Walter Schirra aboard Gemini 6 spacecraft photographed Gemini 7 piloted by James Lovell and Frank Borman. Gemini 6 and 7 were maneuvered, as Schirra put it, “window to window and nose to nose,” close enough to wave to each other through the portholes (https://www.nasa. gov/50th/50th_magazine/humanFactor.html). In the nose of the spacecraft, two circular radar receivers and a larger, round parachute installation are visible. The NASA negative number is S-65-63188. $1,500-2,500

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Gemini 8: March 1966

56 Unidentified Photographer Astronauts Neil Armstrong and David Scott, the prime crew of Gemini 8, March 1966. Stamped “D4C 71471” on the verso u.r., 1967 McDonnell Douglas stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 10 1/2 in. (20.3 x 26.5 cm), unmatted. Condition: Minor wear to u.l. corner of sheet. N.B. Gemini 8 was the first mission for both astronauts; they were later to land on the Moon with Apollo 11 and Apollo 15. $300-500

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57 Unidentified Photographer Two photographs showing the double launch of the Gemini Titan 8 spacecraft and the Agena 8 target docking vehicle, Gemini 8, March 18, 1966. Numbered “NASA S-6624465” and “NASA S-66-24482,” respectively, in red on the recto u.r. margin, the former with NASA MSC caption on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Minor chemical inconsistency u.r. of second print. $400-600

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58 David Scott (American, b. 1932) The Agena Target Docking Vehicle (ATDA) over the Earth, the first unmanned satellite photographed from Space, Gemini 8, March 1966. Stamped “D4C 71474” on the verso u.r., 1967 McDonnell Douglas stamp on the verso u.l. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 3/4 x 8 in. (24.6 x 20.3 cm), unmatted. Condition: Minor handling crimp u.c.

N.B. “This Agena target vehicle,” Armstrong noted, “was the first unmanned satellite successfully photographed from space. It clearly indicates the detail in which one satellite can be observed from another. This photograph is a particularly good replica of the actual view seen with the eye, with the exception of the brilliance of the white and metallic parts of the Agena, never yet captured on film” (Cortright, p. 172). The NASA negative number is S-66-25780. $400-600

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59 David Scott (American, b. 1932) Two photographs depicting the rendezvous and first docking of two spacecrafts before the first in-space system failure in the U.S. program, Gemini 8, March 1966. The first numbered “NASA S-66-25781” in red on the recto u.l. margin, NASA MSC caption on the verso; the second stamped “D4C 34895” on the verso u.r., McDonnell Aircraft stamp on the verso u.l. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: The first print with subtle circular matte areas at center, minor cracks at lower sheet corners of the second.

N.B. Highlighted by the Sun, the unmanned Agena target vehicle seems to hang motionless above the clouds of Earth just before docking (first image). An eight-foot radar antenna rises just aft of the docking cone, which is fitted to receive Gemini 8’s nose (second image) (Mason, p. 111). “Flight, we are docked! Yes, it’s really a smoothie,” Scott radioed to Mission Control prematurely, before the mission suffered the first critical in-space system failure of a U.S. spacecraft that threatened the lives of the astronauts and required immediate undocking and abort of the mission. The crew was returned to Earth safely. Literature: Hope, p. 68 (first image). $400-600

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60 Andrew Patnesky (American, 20th Century) Mission Control, “We have serious problems here,” Gemini 8, March 1966. Numbered “NASA S-66-24572” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor wear to corners of sheet.

N.B. Andrew Patnesky was a trusted NASA photographer and a fixture in Mission Control at Houston MSC. “The flight of Gemini 8 was nearly flawless, the docking maneuver a triumph. Then the venture unraveled. Joined together, the two craft began simultaneously rolling and tumbling end over end at a rapidly increasing rate. Armstrong tried to stabilize them by using his maneuvering thrusters, failed, and undocked. But once free of Agena, Gemini 8 gyrated faster. ‘We have serious problems here,’ Scott radioed Mission Control. In a final effort, Armstrong deactivated the maneuvering system and fired the reentry maneuvering rockets. The spinning stopped. But the premature firing of the reentry rockets required an immediate splashdown to ensure that the craft would have enough fuel for reentry” (Mason, p. 110). $300-500

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Surveyor 1: June 1966

61 Recorded by a Television Camera Aboard the Surveyor 1 Spacecraft The lunar surface seen by the first American Moon lander, Surveyor 1, June 1966. NASA JPL caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 7 1/2 in. (18.9 x 18.9 cm), unmatted. Condition: Good.

N.B. The Soviet Luna 9 was the first space probe to soft-land on the Moon in February 1966. A few months later, Surveyor 1 joined it and transmitted this picture showing its landing foot resting on the lunar surface, proving the lunar surface was strong enough to support astronauts. Literature: Thomas, p. 120. $400-600

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Gemini 9-A: June 1966

62 Unidentified Photographer Fish-eye view of the astronauts entering the spacecraft, Gemini 9-A, June 1966. RCA stamp and NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 5/8 in. (18.9 x 24.3 cm), unmatted. Condition: Good. N.B. The fish-eye camera lens records Thomas Stafford and Eugene Cernan moments before insertion in the Gemini 9-A spacecraft in the White Room at Complex 19, which will carry them on the National Aeronautics and Space Administrationâ&#x20AC;&#x2122;s three day rendezvous and docking mission (NASA caption). $300-500

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63 Unidentified Photographer The “Angry Alligator” over the Earth, Gemini 9-A, June 1966. Numbered “NASA S-6637923” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Good.

N.B. The protective cover of the docking adapter on the Agena Vehicle failed to detach after launch and prevented the docking of the two spacecrafts, creating jaws that looked, in Tom Stafford’s words, “like an angry alligator.” Eugene Cernan noted that “As we approached it we could see something glisten in the sunshine many miles away. We didn’t know what we were going to find; we were hoping not to see that shroud at all. 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” (Schick and Van Haaften, p. 61). Literature: Hope, p. 69. $500-700

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64 Unidentified Photographer The “Angry Alligator,” Gemini 9-A, June 1966. Numbered “NASA S-66-37966” (NASA MSC) in red on the recto l.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Good.

N.B. “There was a full Moon out and I saw the ATDA [Augmented Target Docking Adapter] right there in the moonlight. It just came to my mind that it looked like an angry alligator,” Thomas Stafford explained. “I called it a few other things too when I saw what it was. They wanted Cernan to go extravehicular and take a pair of snippers and try to unsnap it, but the more we looked at it we decided it was not a wise idea. The lines were loaded with some pretty heavy springs and some sharp edges” (Schick and Van Haaften, p. 52). Literature: Mason, p. 114. $500-700

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Gemini 10: July 1966

65 Unidentified Photographer Two photographs of Extravehicular Activity training under weightless conditions, Gemini 10, June 1966. NASA KSC captions and Technicolor and RCA stamps on the verso. Vintage gelatin silver prints, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Good. N.B. The prime crew and back-up crew of Gemini 10 practice leaving and re-entering a mock-up spacecraft under weightless conditions in preparation for Michael Collinsâ&#x20AC;&#x2122;s spacewalk. During the mission, Collins became the first astronaut to perform an EVA twice in one mission, but unfortunately lost his camera in space (another first), and no photograph of the EVA was taken. $300-500

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66 Michael Collins (American, b. 1930) Rendezvous with the Agena 10 over the Earth, Gemini 10, July 1966. NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Subtle cracks to u.l corner of sheet.

N.B. Not only did Michael Collins and John Young successfully meet their Agena 10 target docking vehicle, but they also managed to meet with the dormant, drifting Agena from the aborted Gemini 8 flight, thus executing the program’s first double rendezvous. After rendezvous with the Gemini 8 Agena, Collins walked through space to the vehicle at the end of a 15.24 meter tether, the first person to meet another spacecraft in orbit. The NASA negative number is S-66-46123. $400-600

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67 Michael Collins (American, b. 1930) The Gemini spacecraft docked with the Agena 10 over the Earth, Gemini 10, July 1966. Numbered “NASA S-66-46137” (NASA MSC) in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 1/2 x 7 1/4 in. (21.4 x 18.3 cm), unmatted. Condition: Good.

N.B. Gemini 10 was the first mission to fire the Agena’s own rocket, allowing them to reach higher orbits. After docking with the Agena 10 target vehicle, John Young and Michael Collins boosted the combined vehicles into an orbit with an apogee of 413 nautical miles to set a new altitude record for manned spaceflight (NASA caption). “The Agena is controlling our attitude, a convenient way of keeping us level, but one which doesn’t allow a very good look at the world below,” observed Young. “That little piece of blue and white in the lower corner was all the scenery we saw for a day and a half” (Cortright, p. 174). $400-600

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Lunar Orbiter 1: August 1966

68 Recorded by a Camera Aboard the Lunar Orbiter 1 Spacecraft The first view of the Earth from the Moon, Frame 101, High Resolution, Lunar Orbiter 1, August 23, 1966. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Minor wear at corners of sheet. N.B. 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. “By this reversal of viewpoint, we here on the Earth have been provided a sobering glimpse of the spectacle of our own planet as it will be seen by a few of our generation in their pursuit of the manned exploration of space,” said Floyd Thomson, former director, NASA Langley Center. “We have achieved the ability to contemplate

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ourselves from afar and thus, in a measure, accomplish the wish expressed by Robert Burns: ‘To see ourselves as others see us!’” (Cortright, pp. 84-85). Literature: Cortright, pp. 84-85; Chaikin, Space, pp. 72-73; Newhall, pp. 118-19; Hope, p. 16; Thomas, p. 128. $800-1,200

Gemini 11: September 1966

69 Richard Gordon (American, b. 1929) The Sun illuminating the Earth at a record-high altitude of 850 miles, Gemini 11, September 1966. Identified as “NW Coast of Australia” on a label affixed to the recto lower margin, stamped “G-107 669” on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 1/4 x 7 5/8 in. (20.9 x 19.2 cm), unmatted. Condition: Possible color shifting.

N.B. Once docked with the Agena vehicle, the astronauts used its propulsion system to increase the apogee of their orbit to 850 miles (1,370 kilometers), the highest Earth orbit ever reached by a manned spacecraft. To the tracking station at Carnavon, Australia, Conrad later exclaimed, “I’ve got India in the left window, Borneo under our noses, you’re in the right window, and the world is round!” The NASA negative number is S-66-54706. Literature: Mason, pp. 118-19. $500-700

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70 Richard Gordon (American, b. 1929) The Arabian Peninsula and the Red Sea photographed from the high-altitude orbiting spacecraft, Gemini 11, September 1966. Numbered “NASA S-66-54536” (NASA MSC) in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 7 1/4 in. (20.3 x 18.3 cm), unmatted. Condition: Pinpoint hole on the recto c.l. margin, minor wear at l.l. corner of sheet.

N.B. Sudan, Ethiopia, Somalia, Saudi Arabia, Yemen, and South Arabia from 470 nautical miles above the Earth’s surface. Literature: Cortright, p. 192; Newhall, front dust jacket. $400-600

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71 Richard Gordon (American, b. 1929) India photographed from the high-altitude orbiting spacecraft, Gemini 11, September 1966. Numbered “NASA S-66-54677” (NASA MSC) in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 7 3/8 in. (20.3 x 18.5 cm), unmatted. Condition: Subtle crease u.r.

N.B. A stunning view of the entire subcontinent of India captured from an altitude of 410 miles during the 26th orbit. “The photographs I remember best from Gemini 11,” noted Gordon, “were those taken during the high-altitude portion of the flight,” especially “...that very famous one of the subcontinent of India in its entirety” (Schick and Van Haaften, p. 80). Literature: Thomas, p. 136. $400-600

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72 Richard Gordon (American, b. 1929) Two photographs depicting the tethering of the spacecraft to the Agena over the Earth, Gemini 11, September 1966. The first numbered “NASA S-66-54807” (NASA MSC) in red on the recto u.l. margin; the second stamped “D4C 41054” on the verso u.r., McDonnell Aircraft stamp on the verso u.l. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 8 1/4 x 8 in. (20.9 x 20.3 cm), unmatted. Condition: Minor wear at the corners of the first print. N.B. After tethering of the two docked spacecrafts by Richard Gordon during his EVA, Conrad undocked from the Agena and backed away slowly, stretching the tether taut. At first, the vehicles wobbled and the tether swung like a skip rope (first image). Firing a burst from his thrusters, Conrad stabilized the gently rotating spaceships, generating a mild centrifugal force that simulated a gravitational pull (Mason, p. 118). The two spacecrafts were tethered for about three hours until the crew fired a small pyrotechnic charge to blow off the docking bar. The tether was cut loose from Gemini 11 and wrapped around the ATV, here less than seventy feet away (second image). The NASA negative number for the second image is S-66-54579. $400-600

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73 Richard Gordon (American, b. 1929) Orbital sunset with reflections of the photographer in the spacecraft’s window, Gemini 11, September 1966. Numbered “NASA S-66-54078” (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 3/8 x 7 1/4 in. (21.0 x 18.3 cm), unmatted. Condition: Possible water damage or similar l.l., minor crease in margin l.c.

N.B. Gordon’s Hasselblad camera lens and his left hand are visible in reflections in the spacecraft’s window. “I was very lucky with my Gemini flight,” said Gordon. “I was at the right place at the right time to get a lot of startling photographs” (Schick and Van Haaften, p. 79). Literature: Schick and Van Haaften, p. 79. $600-800

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74 Unidentified Photographer Astronauts Richard Gordon and Charles Conrad back to Earth after their recordbreaking flight, Gemini 11, September 1966. Numbered “NASA S-66-53297” (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Small tear at u.c. edge.

N.B. The Gemini 11 prime crew, astronauts Charles Conrad (right) and Richard Gordon, stand on the deck of the USS Guam after being recovered by helicopter from the splashdown area. The Gemini 11 crewmen flew to the highest Earth orbit ever reached by a manned spacecraft even though Apollo astronauts achieved greater distances from Earth by flying to the Moon. $200-400

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75 Richard Gordon (American, b. 1929) The Nile River and the Red Sea from Space, Gemini 11, September 1966. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Minor wear at corners of sheet.

N.B. “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,” observed NASA administrator George M. Low. “From orbital altitudes the eye and lens do not see the emotions and passions that daily concern mankind on the surface. Economic, political, and sociological tensions are invisible. 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” (NASA SP-250, p. IV.V). The NASA negative number is S-6654531. $800-1,200

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Lunar Orbiter 2: November 1966

76 Recorded by a Camera Aboard the Lunar Orbiter 2 Spacecraft “The Picture of the Century,” Lunar Orbiter 2, November 1966. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor wear at corners of sheet. N.B. The iconic image featuring a dramatic view looking into the heart of Copernicus Crater from 28 miles above the lunar surface, hailed at the time by Life magazine as “The Picture of the Century.” The central mountains rise some 1.2 kilometers above the crater floor and are 10 miles long. The remarkable clarity is attributable to the absence of atmosphere. Until this moment, the few images of the lunar surface were taken from perpendicular to the surface; this was the first time that an image was taken at an oblique angle, providing the first ever glimpse of the rugged and foreboding lunar surface.

Truly an astonishing image, a direct parallel can be drawn to the images produced by Galileo after viewing the surface of the moon through his telescope. “On first seeing this oblique view of the crater Copernicus,” noted Oran W. Nicks from the NASA Office of Space Science and Applications, “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” (Cortright, p. 88). Literature: Cortright, p. 89; Thomas, pp. 13435; Reynolds, pp. 56-57. $500-700

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77 Taken by a Dual-Lens Camera Aboard Lunar Orbiter 2 View of the Moon’s horizon over the Ocean of Storms, frame 215, medium resolution view, Lunar Orbiter 2, November 1966. NASA Langley printed caption affixed to the verso. Two large-format vintage gelatin silver prints mounted together on board, image size 14 5/8 x 12 7/8 in. (37.0 x 32.4 cm), unmatted. Condition: Subtle creases in lower image from mounting process, slight wear to mount corners. N.B. The Lunar Orbiters had an ingenious imaging system, which consisted of a duallens camera, a film processing unit, a readout scanner, and a film handling apparatus. Both lenses, a 610mm narrow angle high-resolution (HR) lens and an 80mm wide-angle medium resolution (MR) lens, placed their frame exposures on a single roll of 70mm film.

The axes of the two cameras were coincident so the area imaged in the high resolution frames was centered within the medium resolution frame areas. The film was moved during exposure to compensate for the spacecraft velocity, which was estimated by an electric-optical sensor. The film was then processed, scanned, and the images transmitted back to Earth as “framelets” and then reassembled. A complete medium resolution frame usually required reassembly of 26 framelets while a complete high resolution frame required 86 framelets (National Space Science Data Center, NASA Goddard (https:// nssdc.gsfc.nasa.gov/planetary/lunar/lunarorb. html and http://www.lpi.usra.edu/resources/ lunarorbiter/documents/LO_DUNOTES.pdf). Lunar Orbiter 2 took the photographs from an altitude of about 28 miles above the lunar surface near Crater Reiner. $600-800

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78 Taken by a Dual-Lens Camera Aboard Lunar Orbiter 2 View of the backside of the Moon taken during two successive orbits, medium resolution frames 33 and 34, Lunar Orbiter 2, November 1966. NASA Langley printed captions affixed to the verso. Two large-format vintage gelatin silver prints mounted together on board, images sizes 14 5/8 x 12 7/8 in. (37.0 x 32.4 cm), unmatted. Condition: Subtle creases from mounting process. N.B. Lunar Orbiter 2 took these two overlapping photographs from an altitude of about 900 miles during its ninth and tenth orbits around the Moon. Launched on November 6, 1966, Lunar Orbiter 2 was tasked with completing a photographic survey program for Apollo landing sites. It produced 211 photographs during 40 orbits. $800-1,200

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Gemini 12: November 1966

79 Unidentified Photographer Buzz Aldrin during zero-gravity experiments, Gemini 12, October 1966. Numbered “NASA S-66-57387” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Scattered minor handling creases or similar.

N.B. Aldrin developed an effective approach to spacewalking that used technique rather than force to deal with the weightless environment. The zero-gravity training took place aboard an Air Force KC-135 jet aircraft; Aldrin practices EVA work tasks, secured to a mock-up of the Agena Target Docking Vehicle by special tethers (NASA caption). “One thing I know about Buzz, he’s one of these guys that’s a lot smarter than most of us,” said Alan Bean. “He had a nickname, Dr. Rendezvous” (from the movie In the Shadow of the Moon). $300-500

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80 Buzz Aldrin (American, b. 1930) or James Lovell (American, b. 1928) Rendezvous with the Agena over the Earth, Gemini 12, November 1966. Numbered “NASA S-66-62765” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 8 3/4 in. (18.3 x 22.0 cm), unmatted. Condition: Good. N.B. The American flag is clearly visible on the Agena Docking Target Vehicle. $500-700

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81 Taken by a Maurer 16mm Movie Camera Mounted to the Spacecraft; Buzz Aldrin (American, b. 1930) Two photographs: Buzz Aldrin emerging from the spacecraft and an EVA photograph taken by the spacewalker over the Earth, Gemini 12, November 1966. The first numbered “NASA S-66-63537” in red on the recto u.l. margin, “89” inscribed in pencil on the recto l.c., NASA MSC caption on the verso. Two vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Good. N.B. The view of Aldrin was captured by a Maurer 16mm movie camera which he had installed on the outside of the spacecraft to record his activities. Aldrin then photographed the Agena tethered to the Gemini spacecraft over the Earth during his stand-up EVA. “When you were outside of the spacecraft… you had the whole world in front of you to photograph,” noted Gemini 9 astronaut Eugene Cernan (Schick and Van Haaften, p. 62). The NASA negative number for the second photograph is S-66-62889 (NASA MSC). $700-900 81

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82 Taken by a Maurer 16mm Movie Camera Mounted to the Spacecraft Buzz Aldrin’s stand-up EVA over the Earth, Gemini 12, November 1966. Numbered “NASA S-66-63536” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Subtle water or chemical residue on the recto.

N.B. “The whole purpose of Buzz Aldrin’s extravehicular activity,” said James Lovell, “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” (Schick and Van Haaften, p. 59). $600-800

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83 Taken by a Maurer 16mm Movie Camera Mounted to the Spacecraft Buzz Aldrin’s EVA at the Agena work station, Gemini 12, November 1966. Numbered “NASA S-66-62939” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor emulsion loss to u.l. margin.

N.B. Aldrin made three spacewalks during the mission and logged a total of five and a half hours outside, proving that astronauts could perform useful work in the vacuum of space without becoming exhausted (Chaikin, Space, p. 70). $500-700

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84 James Lovell (American, b. 1928) Buzz Aldrin’s Extravehicular Activity, Gemini 12, November 1966. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good. N.B. During the spacewalk, Aldrin attached a tether to Agena 12 for a two-vehicle rotation maneuver. In his right hand is one of the Velcro handholds that allowed him to move like a human fly around the outside of both craft (Mason, p. 120). “Working hard at the Agena work station, ‘Buzz’ Aldrin did not know when I took this picture of him through the left-hand window of Gemini XII,” reported James Lovell.

“It occurred during his second trip outside and Buzz was already establishing new milestones in man’s ability to complete useful tasks in the void of space. The successful completion of the 5 1/2 hours of extravehicular activity during the Gemini XII mission helped to pave the way for future space missions” (Cortright, p. 183). The NASA negative is number S-66-62782. Literature: Cortright, p. 183; Schick and Van Haaften, p. 59; Mason, pp. 120-21; Reynolds, p. 51. $800-1,200

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85 Buzz Aldrin (American, b. 1930) or James Lovell (American, b. 1928) The Agena Target Vehicle tethered to the spacecraft above the Gulf of California, Gemini 12, November 1966. Numbered “NASA S-66-63519” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 8 in. (18.3 x 20.3 cm), unmatted. Condition: Minor handling crease u.l. N.B. The photograph was taken after Aldrin had tethered the two spacecrafts during his EVA. $500-700

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Applications Technology Satellite 1: December 1966

86 Taken by a Camera Aboard the Applications Technology Satellite Early view of the whole Earth, taken from geostationary orbit, Applications Technology Satellite (ATS 1), December 13, 1966. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Minor discoloration on the verso.

N.B. The first Applications Technology Satellite (ATS 1) was launched in 1966 with a revolutionary camera on board, the “spinscan 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 for the first time the Earth waxing and waning. The camera was pronounced “a roaring success, with performance beyond my wildest dreams” by Dr. Suomi after its transmission of the first detailed black and white photographs of the whole Earth (Poole, p. 85). $400-600

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Apollo 1: January 1967

87 Unidentified Photographer Official portrait of the first and ill-fated crew of the Apollo program, Apollo 1, April 1966. Numbered “NASA S-66-30236” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Subtle stain in u.r. margin.

N.B. Apollo 1 was the first manned mission of the United States Apollo program. “On Jan. 27, 1967, tragedy struck on the launch pad at Cape Kennedy during a preflight test for Apollo 204 (AS-204). The mission was to be the first crewed flight of Apollo, and was scheduled to launch Feb. 21, 1967. Astronauts Virgil Grissom, Edward White and Roger Chaffee lost their lives when a fire swept through the command module, or CM” (https://www.nasa.gov/mission_pages/apollo/ missions/apollo1.html). “If we die, we want people to accept it. We’re in a risky business, and we hope that if anything happens to us it will not delay the program. The conquest of space is worth the risk of life,” believed Gus Grissom (http://www.nmspacemuseum.org/ halloffame/detail.php?id=54). $400-600

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Lunar Orbiter 4: May 1967

88 Taken by a Camera Aboard the Lunar Orbiter 4 Spacecraft Lunar landscape near Aristoteles Crater, high resolution view, Lunar Orbiter 4, May 1967. Numbered â&#x20AC;&#x153;IV-103 H3 NASA-LRCâ&#x20AC;? (NASA Langley) in black on the recto lower margin. Large-format vintage gelatin silver print on glossy paper, 20 3/8 x 16 1/8 in. (51.5 x 40.8 cm), unmatted. Condition: Scattered minor handling creases, rippling to sheet and subtle horizontal creases at bottom.

N.B. The Lunar Orbiter 4 spacecraft took this photograph from an altitude of about 2,900 kilometers. Aristoteles is 87 kilometers in diameter. The objective of Lunar Orbiter 4 (LO4) was to provide an expanded photographic survey of the lunar surface, offering far higher resolution imagery than was available from ground based telescopes. Launched on May 4, 1967, Lunar Orbiter 4 completed 30 successive orbits and took 199 exposures which covered 99% of the lunar surface. $500-700

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89 Taken by a Camera Aboard the Lunar Orbiter 4 Spacecraft View of rilles on the Moon, high resolution view, Lunar Orbiter 4, May 1967. Numbered â&#x20AC;&#x153;IV-161 H2 NASA-LRCâ&#x20AC;? (NASA Langley) in black on the recto lower margin. Large-format vintage gelatin silver print on matte paper, image size 21 1/8 x 16 in. (53.5 x 40.5 cm), unmatted. Condition: Paper repair along bottom edge of sheet.

N.B. Rilles (rimae in Latin) are long channels or valleys on the lunar surface. The photograph shows Rilles Darwin and Sirsalis near Crater Sirsalis, Southwest of the Ocean of Storms near the western lunar limb. It has a sharp edge and a low central peak. The crater overlaps the slightly larger and older Sirsalis A, and the two form a distinctive feature (top right of picture). $400-600

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90 Taken by a Camera Aboard the Lunar Orbiter 4 Spacecraft Near Whole Moon in a perspective not visible from Earth, medium resolution view, Lunar Orbiter 4, August 1967. Numbered â&#x20AC;&#x153;IV-143M NASA-LRCâ&#x20AC;? (NASA Langley) in black on the recto lower margin. Large-format vintage gelatin silver print on matte paper, image size 19 1/8 x 16 1/4 in. (48.5 x 41.1 cm), unmatted. Condition: Scotch tape remnants on the verso.

N.B. The moon always shows the same face to Earth observers, and the Lunar Orbiter robotic spacecrafts recorded the first views of the whole Moon in a different perspective showing parts of its far side. The Ocean of Storms and the Sea of Moisture are visible in this photograph of a near whole Moon centered on Crater Gassendi. Gassendi Crater was photographed multiple times for several Apollo missions due to its proximity to a possible location for an Apollo 17 landing site. $600-800

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Lunar Orbiter 5: August 1967

91 Taken by a Camera Aboard the Lunar Orbiter 5 Spacecraft The first photograph of the nearly full Earth from Moon orbit, Lunar Orbiter 5, August 1967. NASA HQ caption on the verso. Vintage gelatin silver print, image size 9 1/4 x 7 5/8 in. (23.3 x 19.2 cm), unmatted. Condition: Minor handling creases.

N.B. As most Americans slept in the predawn hours of August 8, 1967, NASA’s Lunar Orbiter 5 spacecraft trained its telephoto lens on the sunlit side of the Earth and made this first photograph of the nearly full planet from 214,806 miles away. Lunar Orbiter 5 was about 3,640 miles above the surface of the Moon (NASA caption).

“To the philosopher, this picture is close to man’s soul, since it allows him to look back upon his own world,” observed Lunar Orbiter program manager Lee Scherer, “and thus fosters the feeling of man’s emancipation from the bounds of Earth. Perhaps to most of us the interest is due to human vanity, which dictates that self-portraits are always the best portraits” (Cortright, p. 114). Literature: Thomas, p. 143; Cortright, p. 115. $500-700

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92 Taken by a Camera Aboard the Lunar Orbiter 5 Spacecraft Two views of the lunar surface depicting a telephoto panorama of Copernicus Crater’s wall and floor, Lunar Orbiter 5, August 1967. Numbered “V-153 H3 NASA-LRC” and “V-154 H3 NASA-LRC” (NASA Langley), respectively, in black on the recto lower margin. Largeformat vintage gelatin silver prints on semiglossy paper, image sizes to 20 1/4 x 17 1/4 in. (51.3 x 43.6 cm), unmatted. Condition: Minor handling creases and cracks at corners of sheets.

100

N.B. The two overlapping photographs provide a detailed view of the terraced inner wall of the crater Copernicus, 93 kilometers in diameter, which is one of the most prominent features on the Moon’s near side. It is a relatively fresh crater, believed to have formed less than 1 billion years ago. Its system of bright rays is quite prominent at full Moon (http://www.lpi.usra.edu/lunar/missions/ orbiter/lunar_orbiter/impact_crater/). $700-900

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93 Taken by a Camera Aboard the Lunar Orbiter 5 Spacecraft Telephoto panorama of adjoining high resolution views over the Ocean of Storms, Lunar Orbiter 5, August 1967. Numbered “V H-173” in the margin lower edge, stamped “October 18 1967” on the verso. Mosaic of ten vintage gelatin silver prints on Kodak paper, each with “A Kodak Paper” watermark on the verso, overall size 19 1/2 x 66 1/2 in. (49.5 x 168.9 cm), unmatted. Condition: Minor handling creases, cellophane tape and minor adhesive residue at the majority of the sheet corners where prints were joined. N.B. The photograph was taken from an altitude of about 100 miles near Wichmann Crater in the Ocean of Storms. Lunar Orbiter 5, the last of the series sent to the Moon over twelve months, took 174 photographs during 69 orbits between August 6 and 18. The aim of the mission was to provide additional photographs of possible Apollo landing sites and other scientific sites on the lunar near and farside. Provenance: Lunar and Planetary Laboratory, University of Arizona. $1,000-1,500

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Apollo 4: November 1967

94 Unidentified Photographer The first Saturn V rocket rises from Pad 39A at Kennedy Space Center, Apollo 4, November 9, 1967. Numbered “NASA S-67-49969” in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Minor wear to u.l. corner of sheet. N.B. Apollo 4 was the first of the “big shots,” the test launch of the colossal three-stage Saturn V rocket that would take men to the Moon. 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 (Poole, p. 85).

Literature: Chaikin, Space, pp. 76-77. $400-600

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95 Taken by a Maurer 70mm Camera Aboard the Apollo 4 Spacecraft The Earth photographed in color as a planet in space by the unmanned spacecraft, Apollo 4, November 9, 1967. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. The photographic mission of Apollo 4 was the acquisition and return of the highest altitude color imagery ever made of the Earth. Located in the capsule of the spacecraft, looking out of the window, was not an astronaut but an automatic 70mm Maurer camera which took this beautiful view of the Earth from a distance of about 9,000 miles. Every picture of the whole Earth so far had been electronically transmitted; this time the negative was taken back to Earth and was recovered in the Pacific after reentry of the capsule (Poole, p. 86). The NASA negative number is AS4-1-200. Literature: Cortright, p. 198. $600-800

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96 Taken by a Maurer 70mm Camera Aboard the Apollo 4 Spacecraft First color photograph of the Crescent Earth, Apollo 4, November 9, 1967. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Minor handling creases to l.l. corner of sheet.

N.B. The photograph was taken from an altitude of 9,745 nautical miles. The Saturn V rocket made two orbits of the Earth before the third stage booster fired to send the capsule out in a vast ellipse peaking at over 11,000 miles, offering the fantastic view of a full crescent Earth, a sight the Apollo astronauts would see on the way to the Moon. “Today, 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” (Poole, pp. 86-87). The NASA negative number is AS4-1-410. Literature: Cortright, p. 199. $700-900

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Applications Technology Satellite 3: November 1966

97 Taken by a Camera Aboard the Satellite ATS 3 The first color photograph of the full planet Earth, Satellite ATS 3, November 10, 1967. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 8 5/8 in. (19.5 x 21.8 cm), unmatted. Condition: Subtle crack or similar u.c., minor wear at u.l. and l.l. corners of sheet.

N.B. After the roaring success of the satellite ATS 1 which transmitted the first black and white detailed photographs of the whole Earth with its “spin-scan cloud camera,” Dr. Verner Suomi developed a color camera for ATS 3, launched in November 1967 and sent into an equatorial geostationary orbit (22,236 miles above the Earth) which was to take one of the most iconic photographs in the history of space exploration.

This unprecedented photograph showed North and South America, part of Africa and Europe, as well as the southern part of the Greenland ice cap, and Antarctica covered with clouds. The original NASA caption for the photograph was uncharacteristically poetic: “The photo shows the entire disk of the Earth, a cloud-covered globe in the blackness of space.” The photograph was to become a symbol of the counterculture movement as the cover illustration of the 1968 Whole Earth Catalog. Twenty-four Apollo astronauts from 1968 to 1972 were the only men to witness their planet as a sphere in space. $1,000-1,500

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98 Taken by a Camera Aboard the Satellite ATS 3 The full disk of planet Earth, Satellite ATS 3, January 21, 1968. Stamped “RCA AstroElectronics Div. 68-9-504C” on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 7/8 in. (18.9 x 19.8 cm), unmatted. Condition: Good.

N.B. In 1948, astronomer Sir Fred Hoyle prophesized that “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” (https://climate.nasa. gov/making-a-difference/). The entire disk of the Earth, beautifully photographed by the ATS 3 satellite and its revolutionary Multicolor SpinScan Cloudcover Camera on board 22,300 miles above the Earth at 95° W longitude.

“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 as well as storms both north and south of the equator, and you can glimpse the Great Lakes through the clouds over Canada” (Cortright, p. 2). Literature: Cortright, p. 2. $800-1,200

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Apollo 6: April 1968

99 Taken by a Camera Aboard the Apollo 6 Spacecraft Orbital panorama taken 150 miles above the Earth over Central Africa, Apollo 6, April 1968. Numbered “MSC AS6-2-1007” (NASA MSC) in red on the recto right margin. Mosaic of eight vintage chromogenic prints on fiberbased Kodak paper, each with “A Kodak Paper” watermark on the verso, overall size 45 x 8 in. (114.1 x 20.1 cm), unmatted. Condition: Good.

N.B. Apollo 6 was the final unmanned Apollo test mission of the Saturn V rocket that would take astronauts to the Moon. An automated 70mm still camera was mounted in the Command Module of the Apollo 6 vehicle to take photographs of the Earth; the camera was recovered with the capsule in the Pacific Ocean. 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 150 miles above the Earth from Gabon to Congo. The additional NASA negative numbers (covered by the overlapping sheets) are between AS6-2-993 to AS6-2-1007. $2,000-3,000

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100 Taken by a Camera Aboard the Apollo 6 Spacecraft Orbital panorama taken 170 miles above Earth from Zambia to the coast of Mozambique, Apollo 6, April 1968. Numbered “MSC AS62-1049” (NASA MSC) in red on the recto right margin. Mosaic of six vintage chromogenic prints on fiber-based Kodak paper, each with “A Kodak Paper” watermark on the verso, overall size 30 x 8 in. (76.0 x 20.1 cm), unmatted. Condition: Several faint scratches u.r., minor handling crimps in fifth and sixth prints l.c.

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N.B. “They sent up an Apollo spacecraft and they had a camera, an inertial camera. The capsule was pointed with its pointed nose downward. I guess when they went into zero G and the capsule went like this, then the camera started and it just ran, just until it ran out of film. So we had an orbit and a half of vertical photos and they were taken quickly enough so they were stereo pairs. They overlapped, you see. So we had stereo photos all across the Atlantic after the launch, into Africa, and then when they hit a little bit in Africa, then it got dark. Then they begin to come out over on the other side of the Pacific, and then they ran them all the way across the U.S., and then they ran out of film just after they’d passed the coast of Georgia, going into the Atlantic Ocean. Well, those are fascinating, fascinating… I mean, we’d never seen them like that before,” stated Robert Stevenson of NASA’s Earth Resource Science Team (JSC oral history). The additional NASA negative numbers (covered by the overlapping sheets) are between AS6-2-1039 to AS6-2-1049. $2,000-3,000

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Apollo 7: October 1968

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101 Unidentified Photographer Two photographs of the first Apollo crew to go to space, posing in front of mock ups of their rocket and spacecraft, Apollo 7, October 1968. The second numbered “NASA S-66-45630” in red on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 7 1/4 in. (24.0 x 18.3 cm), unmatted. Condition: Good.

N.B. The flight of Apollo 7 signaled the resumption of manned U.S. space flights 21 months after the Apollo 1 tragedy. Walter Schirra, Walter Cunningham, and Donn Eisele, from left to right, were the first crew to fly aboard the new Apollo spacecraft for almost 11 days. The main objectives of the mission were to test the many systems of the vehicle’s Command and Service Module, including test firing the engines that would place the astronauts in lunar orbit (Jacobs, p. 21). $300-500

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102 Unidentified Photographer Two photographs of the Saturn IB rocket heading to Space, Apollo 7, October 1968. NASA HQ caption on the verso of the gelatin silver print. One vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso and one vintage gelatin silver print, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Vertical ripple in color image; scattered handling crimps at right side of black and white image. N.B. After completing a successful liftoff for NASA’s first manned flight in the Apollo program (first photograph), the Saturn IB space vehicle carrying the Apollo 7 astronauts is photographed more than 35,000 feet above the Atlantic Ocean by an airborne precision photographic system aboard a C-135 aircraft (second photograph). This Airborne Lightweight Optical Tracking System (ALOTS) provides “information on launch vehicle during the early launch, stage separation and reentry phases of the flight” (NASA caption). $300-500

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103 Walter Cunningham (American, b. 1932) The expended Saturn IVB stage, separation and transposition maneuvers in space, Apollo 7, October 1968. Numbered “NASA AS7-3-1528” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

N.B. The photograph was taken during the second revolution of the mission at an altitude of 125 nautical miles over Baja California. A major objective of the mission was to rendezvous, without benefit of radar, with the second stage of their Saturn booster. In the last mile, closing maneuvers were made by eyeballing the target. Here, the spacecraft launch adapter on the rocket’s second stage opens like a giant flower during Apollo 7’s simulated docking. “We just slid right up the pipe and onto the target,” said Donn Eisele. “It was a great feeling” (Mason, pp. 142-44). Literature: Schick and Van Haaften, p. 87 (variant); Jacobs, p. 23. $400-600

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104 Walter Cunningham (American, b. 1932) The Himalayas, highest mountains of the Earth (including Mount Everest), photographed from space, Apollo 7, October 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. Etched with remarkable clarity, the Himalayas pass beneath the high-flying Apollo 7 at an altitude of 130 nautical miles. The world’s dozen peaks which reach a height greater than five miles above sea level are visible with the 29,028 ft. high Mount Everest at lower center (https://spaceflight.nasa.gov/ gallery/images/apollo/apollo7/html/as7-071748.html). With at least one window in the spacecraft always facing such dazzling sights, Cunningham grew a bit blasé. On the eleventh or twelfth pass he found himself thinking, “Oh, it’s the Himalayas again” (Mason, p. 144). The NASA negative number is AS7-7-1748. Literature: Mason, p. 144; Thomas, p. 151; Reynolds, p. 77. $400-600

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105 Taken by a Camera Aboard the Apollo 7 Spacecraft Two photographs showing the first TV transmissions from an American-crewed spacecraft, Apollo 7, October 1968. NASA HQ captions on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 3/4 in. (19.5 x 24.6 cm), unmatted. Condition: Minor handling creases.

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N.B. Crewmembers Donn Eisele and Walter Schirra are depicted in the first image, and Walter Cunningham can be seen in the second image. Although Gordon Cooper had experimented with a â&#x20AC;&#x153;slow-scanâ&#x20AC;? TV camera during his 1963 Mercury flight, the picture quality was very poor, and the images were shown on a delayed basis. For Apollo, the RCA corporation had developed a 4.5 pound black and white camera that, while still a slow-scan unit, provided much better images (Bizony, p. 16). There were seven telecasts which lasted only a few minutes each, but gave millions on Earth their first view of living in space. Literature: Reynolds, p. 78 (first image). $300-500

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106 Walter Cunningham (American, b. 1932) The expended Saturn IVB stage, rendezvous over the Earth, Apollo 7, October 1968. Numbered “NASA AS7-3-1545” in red (scratched out with black pen) on the recto u.l. margin, numbered “68-HC-594” in black ink on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 6 7/8 in. (18.3 x 17.4 cm), unmatted. Condition: Minor crack in emulsion l.l.

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N.B. “Probably my favorite picture is of Cape Canaveral shown through the petals of the SIV-B,” said Walter Schirra. “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” (Schick and Van Haaften, p. 89). Literature: Schick and Van Haaften, p. 89; Reynolds, p. 78. $400-600

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107 Walter Cunningham (American, b. 1932) Astronaut Walter Schirra in weightlessness, Apollo 7, October 1968. NASA HQ caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 8 1/4 in. (19.5 x 20.8 cm), unmatted. Condition: Good.

N.B. 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,” said Richard Underwood, NASA chief of photography. “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” (Schick and Van Haaften, p. 90). Literature: Schick and Van Haaften, p. 91; Light, plate 17; Reynolds, pp. 74-75. $400-600

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108 Walter Cunningham (American, b. 1932) The morning Sun illuminates the Earth over the Florida Peninsula, Apollo 7, October 1968. Numbered “NASA G-69-2879” in black on the recto l.l. margin, NASA Goddard caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 1/2 in. (18.9 x 18.9 cm), unmatted. Condition: Good.

N.B. Apollo 7 captured some of the most beautiful images ever taken of the Earth, including this sunrise over Florida and the Gulf of Mexico. “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,” said Cunningham, “I perpetrated a photographic no-no, taking this picture looking into the sun” (Jacobs, p. 27). “One of my favorite pictures,” stated Schirra, “is one where the light reflects off the peninsula of Florida. I call it the ‘Victory at Sea’ effect” (Schick and Van Haaften, p. 85). The NASA negative number is AS7-81933. Literature: Schick and Van Haaften, p. 85; Light, plate 8; Jacobs, p. 26; Reynolds, p. 79. $600-800

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109 Walter Cunningham (American, b. 1932) The simulated docking target of the orbiting Saturn IVB stage, Apollo 7, October 1968. Numbered “NASA G-69-2601” (NASA Goddard) in black on the recto l.l. margin, NASA Goddard caption on a separate sheet. Vintage chromogenic print on fiber-based GAF paper, image size 7 5/8 x 8 in. (19.2 x 20.3 cm), unmatted. Condition: Minor cracks in emulsion at u.r. corner, possible color shifting.

N.B. The round, white disk inside the open panels of the S-IVB is a simulated docking target similar to that used on the Lunar Module for docking during lunar missions. The distance between the Apollo 7 spacecraft and the S-IVB is approximately 50 feet. Close-in maneuvering with the spacecraft, Donn Eisele said later, was “rather like one car overtaking another, but a car with very weak brakes and not much acceleration” (Mason, p. 144). $400-600

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110 Walter Cunningham (American, b. 1932) or Walter Schirra (American, 1923-2007) Astronaut Donn Eisele in weightlessness, Apollo 7, October 1968. NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 6 7/8 in. (18.3 x 17.4 cm), unmatted. Condition: Subtle impression, probably from a paperclip, u.c. N.B. “On Apollo 7, we had more film, and more time to kill,” said Walter Schirra. “So we started studying the spacecraft contents, where before we had been fascinated by the view outside” (Schick and Van Haaften, p. 21). The NASA negative number is AS7-4-1600. $400-600

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111 Walter Cunningham (American, b. 1932) Hurricane Gladys, Gulf of Mexico, seen from space, Apollo 7, October 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/4 in. (19.2 x 23.3 cm), unmatted. Condition: Good.

N.B. “It’s very difficult to do good photography from space... You have only 45 minutes of daylight, and the first and last portions are not all that useful for color matching,” said Cunningham. Because the spacecraft is drifting, “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” (Schick and Van Haaften, p. 84). The NASA negative number is AS7-7-1877. Literature: Schick and Van Haaften, p. 90; Light, plate 16; Newhall, p. 133; Jacobs, p. 25; Reynolds, pp. 76-77. $400-600

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Apollo 8: December 1968

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112 Unidentified Photographer The first lunar voyagers, William Anders, Frank Borman, and James Lovell, Apollo 8, November 1968. Numbered “NASA S-6852929,” “NASA S-68-52931,” and “NASA S-68-53014,” respectively, in red on the recto u.l. margin, NASA MSC captions on the verso. Three vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Good. N.B. Frank Borman, James Lovell, and William Anders would become the first humans to venture beyond Earth’s orbit. The astronauts were photographed during water survival training. $400-600

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113 Unidentified Photographer Two photographs depicting Apollo spacecraft 103, the first crewed lunar spacecraft, and Pressure Suit A7-L, the first lunar spacesuit, Apollo 8, October 1968. The first numbered “NASA S-68-52189” in red on the recto u.r. margin, NASA MSC caption on the verso; the second with a North American Rockwell caption dated “9-5-68” in white in the image l.c. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good. $300-500

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114 Unidentified Photographer Two views of the crew training for the first mission to another world, Apollo 8, November 1968. The first numbered “NASA S-68-50269” in red on the recto u.l. margin, NASA MSC caption on the verso; the second numbered “NASA S-68-53283” in black on the recto u.l. margin, NASA MSC caption on the verso. One vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso and one gelatin silver print, image sizes to 6 3/8 x 9 1/2 in. (16.0 x 24.0 cm), unmatted. Condition: Scattered minor handling crimps. N.B. The crew is training in the Apollo mission simulator (first image) and the centrifuge (second image). Apollo 8 had been scheduled to test the lunar module in Earth orbit, but it was not ready to fly. So the schedule was juggled and Frank Borman, James Lovell, and William Anders became the first astronauts to ride the gigantic Saturn V booster into space. Their mission was to break the grip of Earth gravity and to fly around the Moon and back. “We changed our plans on Apollo 8,” remembered Lovell. “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” (from the movie In The Shadow of the Moon, 2007). $400-600 114

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115 Ralph Morse (American, 1917-2014) Liftoff, crescent Moon in background, Apollo 8, December 1968. NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 6 5/8 in. (24.0 x 16.8 cm), unmatted. Condition: Good.

N.B. Apollo 8, the first manned spacecraft to orbit the Moon, lifts off at dawn on December 21, 1968, its destination artfully placed above the firestorm in this composite photograph. In reality, however, the new Moon had already slipped below the horizon when the towering Saturn V rocket boosted Apollo 8 skyward. “That was quite a startling moment there, right at liftoff,” recalled William Anders. “Everybody was quite startled because we had simulated the hell out of everything, aborts and everything, but nobody had ever been on a Saturn V...” (Chaikin, Voices, p. 20). $400-600

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116 Unidentified Photographer The Saturn V rocket heading for another world, Apollo 8, December 1968. Numbered “NASA S-68-56003” and with NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 6 3/4 in. (24.0 x 17.0 cm), unmatted. Condition: Good.

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N.B. Trailing an immense column of flame, the mighty Apollo 8 spacecraft and Saturn V rocket speed out of the atmosphere, next stop the Moon. “We had a lot of acceleration just prior to first stage cutoff. We were really being squashed back... We were up to four and a half Gs or whatever it was. And, you know, your chest compressed down. You’re panting,” remembered William Anders (Chaikin, Voices, p. 23). $300-500

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117 William Anders (American, b. 1933) The Earth seen from high-altitude orbit after the first trans-lunar injection in history, Apollo 8, December 1968. Numbered NASA AS8-14-2581 on the recto l.r. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 7/8 in. (18.9 x 19.8 cm), unmatted. Condition: Good.

N.B. After orbiting the Earth twice, Apollo 8 fired the Saturn V third stage and broke free of Earth’s gravitational pull on a trajectory for the Moon. One of the last views, showing the southeastern United States, the Caribbean Sea, and in particular the Bahamas (top of picture), taken from the Apollo 8 spacecraft before it left Earth orbit for the first time in history. “The other thing...was that this particular spot, the Bahamas lowland, was a turquoise jewel that you could see all the way to the Moon...,” observed William Anders. “It was like it was illuminated, like a piece of opal. And you could see that all the way. And I kept being amazed about that” (Chaikin, Voices, p. 26). Literature: Schick and Van Haaften, p. 93. $300-500

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118 William Anders (American, b. 1933) Two images showing the separation during translunar travel and jettison of the expanded Saturn rocket’s third stage, Apollo 8, December 1968. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good. N.B. After trans-lunar injection, the Command Module separated from the empty S-IVB third stage engine (first image). Attached to the S-IVB is the Lunar Module Test Article (LTA) which simulated the mass of a Lunar Module (LM) on the Apollo 8 lunar orbit mission. The 29-foot panels of the Spacecraft LM Adapter which enclosed the LTA during launch have already been jettisoned and are out of view. Sunlight reflected from small particles shows the “firefly” phenomenon which was first reported by astronaut John Glenn. While the third stage engine was drifting through space (second image), the crew still had to cross the vast trans-lunar gulf for 66 hours. “We were there. I mean, if things didn’t work going to the Moon, we were going to get a free ride home, on a freereturn trajectory,” noted William Anders. “Maybe the reentry wouldn’t be perfect, but at least we’d have a shot at it. Once that rocket worked and got us to lunar orbit, then it had to work again, or we were stuck” (Chaikin, Voices, p. 42). The NASA negative numbers are AS8-14-2583 and AS8-142584. $400-600

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119 William Anders (American, b. 1933) The Earth photographed from beyond Earth orbit for the first time in history, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good.

N.B. “The Earth is now passing through my window. It’s about as big as the end of my thumb,” observed James Lovell in an air-toground transmission. “Waters are all sort of a royal blue. Clouds of course are bright white.” The NASA negative number is AS8-16-2588. Literature: Schick and Van Haaften, p. 94; Newhall p. 123; Reynolds, p. 106. $400-600

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120 William Anders (American, b. 1933) First photograph of the planet Earth taken by man, Apollo 8, December 1968. Stamped “D4C 57779” on the verso u.r., McDonnell Aircraft stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 8 x 10 1/2 in. (20.3 x 26.5 cm), unmatted. Condition: Good.

N.B. William Anders and his crewmates James Lovell and Frank Borman became the first humans to see the Earth as a sphere hanging in space. Archibald McLeish wrote in the New York Times that “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” (December 25, 1968). The photograph was on the cover of Life magazine (January 10, 1969). The NASA negative number is AS8-16-2593. Literature: Chaikin, Space, p. 81; Schick and Van Haaften, p. 95; Jacobs, p. 35. $800-1,200

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121 Still from a TV Transmission William Anders, weightless, tries out his toothbrush, Apollo 8, December 1968. NASA KSC caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. The Apollo 8 crew was 120,653 miles from Earth traveling at a speed of 3,207 mph at the time the TV picture was transmitted from space (NASA caption). William Anders described one of the challenges of taking pictures: “Zero G is a blessing and a curse. I mean, for keeping track of your film, it’s a curse, because the goddamn stuff, you put it down, which is stupid to do. I always used to put it on the edge of the simulator, and it just stayed there, you know? And without thinking, I didn’t stick it to the Velcro. Put it down here, where is it? I’d always to go hunting for it, and that always puts you a few minutes behind” (Chaikin, Voices, p. 30). $300-500

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122 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Three views of the Earth seen from the lunar sphere of gravitation, Apollo 8, December 1968. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Tonal changes to two of the images. N.B. Being in the gravitational sphere of influence of another celestial body for the first time in human history, the Apollo 8 astronauts used both 80mm and 250mm telephoto lenses to photograph the Earth from the windows of their spacecraft. Part of the spacecraft’s window is visible at the left of the third image. “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?” queried William Anders (Schick and Van Haaften, p. 95). “The view of the Earth from the Moon fascinated me, a small disk, 240,000 miles away,” said Apollo 8 Commander Frank Borman. “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” (Life, January 17, 1969). The NASA negative numbers are AS8-152543, AS8-15-2559, and AS8-16-2640. $700-900 122

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123 William Anders (American, b. 1933) Two views showing a first look at another world: the lunar nearside, Crater Langrenus and Crater Goclenius, Apollo 8, December 1968. The second view numbered “NASA AS8-13-2225” (NASA MSC) in black on the recto u.l. margin. One vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso and one vintage gelatin silver print, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good.

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N.B. For three days the Apollo 8 astronauts journeyed outward toward a goal they could not see. The Moon would fill their view once they slipped into orbit around it. “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,” observed James Lovell in an air-to-ground transmission, after acquiring Earth communications for the first time after lunar orbit insertion (first image). Crater Goclenius lies on the southern edge of the Sea of Fecundity and is 45 miles wide. Numerous rilles scarring its floor can be seen; one rille extends across the entire crater floor, over the central peak, and across the rim into the smooth mare (second image). The NASA negative number for the color image is AS816-2615. $500-700

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124 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Two views of the rugged and mountainous lunar farside, Apollo 8, December 1968. NASA HQ caption on the verso of the first image. One vintage gelatin silver print and one vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: The corners of the gelatin silver print with pinholes, creases, and minor losses. N.B. On Apollo 8, men observed the rough hidden side of the Moon for the first time in history. Frank Borman called it a “foreboding horizon” (Apollo 8 air-to-ground transmission). “The back side is more mountainous than the front side,” observed James Lovell, “someone said it was like papier-mâché. Well, right, it’s all shades of grey. There is no color” (Chaikin, Voices, p. 41). “That was a real thrill. I mean, to suddenly see those mountains... Another world...” said William Anders (Chaikin, Voices, p. 39). The NASA negative numbers are AS813-2244 and AS8-14-2453. Literature: Thomas, p. 159 (second image). $500-700

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125 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Two views of craters on the lunar farside at low and high sun elevation angles, Apollo 8, December 1968. The first with a NASA HQ caption on the verso, the second numbered “AS8-13-2327” in blue ink within a NASA MSC caption on the verso. Vintage gelatin silver prints, image sizes to 8 x 7 1/2 in. (20.3 x 18.9 cm), unmatted. Condition: Minor creases at several corners of sheets. N.B. The photograph of the 20-miles-indiameter keyhole-shaped crater (first image) was taken as the crew orbited the far side of the Moon just before witnessing the famous earthrise for the first time. “We used two distinctive craters on the far side of the Moon for navigation. This one was just past the Ocean of Storms as you went around the left side as you look at the Moon, a keyholeshaped crater... one inside the other,” noted James Lovell. He appreciated this photograph “because the shadows were just right; the sun was at a very low angle” (Schick and Van Haaften, p. 57). Brightly rayed craters, numerous on the lunar near side, had not been previously observed in such detail on the far side (second image). The NASA negative number for the first image is AS8-12-2052. Literature: Chaikin, Space, p. 82; Schick and Van Haaften, p. 57 (first image). $500-700

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126 William Anders (American, b. 1933) First Earthrise seen by human eyes, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with a “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Subtle crack at l.l. corner of sheet. N.B. The Apollo 8 astronauts saw the first Earthrise ever witnessed by human eyes during the fourth revolution of the spacecraft around the Moon. William Anders took three photographs during the event. The first was black and white, followed by two color photographs, including this celebrated view of planet Earth appearing over the bleached lunar horizon.

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“There was nothing in the plan for an Earthrise photo,” explained Anders. “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” (Jacobs, p. 33). The NASA negative number is AS8-14-2383. Literature: Schick and Van Haaften, p. 98; Chaikin, Space, p. 83; Newhall pp. 136-37; Jacobs, p. 32; Reynolds, p. 111. $1,200-1,800

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127 William Anders (American, b. 1933) First Earthrise seen by human eyes, second color photograph, Apollo 8, December 1968. KSC caption numbered “AS8-14-2384” on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Slight yellowing of sheet, small loss in the margin l.l.

N.B. While the first Earthrise photograph was selected by picture editors around the world, this second image is very rare. “That was the most beautiful thing I’d ever seen...,” exclaimed Anders. “The Earthrise. Totally unanticipated. Because we were trained to go to the Moon... We were trained to get there. So, getting there was the big event... It wasn’t going to the Moon and looking back at the Earth. I never even thought about that!... In lunar orbit, it occurred to me that, here we are, all the way up there at the Moon, and we’re studying this thing, and it’s really the Earth as seen from the Moon that’s the most interesting aspect of this flight” (Chaikin, Voices, p. 45). $1,000-1,500

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128 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Four views showing details of the lunar surface seen from the spacecraft, Apollo 8, December 1968. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

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N.B. Borman, Lovell, and Anders looked back at this ancient and alien landscape, so pockmarked with meteorite craters that it could have been a battlefield. “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” explained William Anders (Chaikin, Voices, p. 39). The NASA negative numbers are AS8-14-2402, AS8-14-2421, AS8-14-2431, and AS8-14-2432. $600-800

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129 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Crater Tsiolkovsky, the most prominent feature of the lunar farside, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 1/2 in. (19.2 x 18.9 cm), unmatted. Condition: Good.

N.B. Tsiolkovsky, approximately 94 miles in diameter, was first discovered by the Soviet Moon probe Lunik 3 in 1959. The contrast between the peak (bottom left of image) and the surrounding crater floor is especially striking. “We flew to the Moon as pathfinders for future Apollo missions. The first view of the Moon was mesmerizing,” remembered Frank Borman, “as we were aware that no other humans had seen the far side of the moon directly” (Jacobs, p. 34). The NASA negative number is AS8-14-2447. $400-600

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130 William Anders (American, b. 1933) Earthrise seen through the spacecraft’s window, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

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N.B. A very rare photograph of Earthrise captured during the fifth revolution of the spacecraft around the Moon. “For the astronauts, the most electrifying sight was the Earth rising behind the Moon’s bleached and lifeless horizon; indeed, all three felt that they had come all the way to another world to discover the one they had left behind” (Chaikin, Space, p. 52). The NASA negative number is AS8-14-2385. $700-900

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131 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) The Sea of Tranquility first seen by human eyes, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 3/4 in. (19.2 x 19.5 cm), unmatted. Condition: Good.

N.B. To the left center is the crater Cauchy. The accompanying escarpment has been designated as Cauchy’s rille. Numerous small craters, peaks, and domes also prevail in this region (NASA SP-246). Frank Borman described what he observed in a live telecast from lunar orbit: “My own impression is that it’s a vast, lonely, forbidding…expanse of nothing rather like clouds and clouds of pumice stone. And it certainly does not appear to be a very inviting place to live or work.” The NASA negative number is AS8-13-2344. Literature: Reynolds, p. 107. $400-600

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132 Frank Borman (American, b. 1928) The Earth emerging from behind the rim of the Moon, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. “In the beginning God created the Heaven and the Earth. And the Earth was without form and void. And Darkness was upon the face of the deep… And God saw that it was good… And from the crew of Apollo 8, we close with good night, good luck, and a Merry Christmas. And God bless all of you, all of you on the good Earth” (telecast from orbit). The NASA negative number is AS8-14-2390. Literature: Thomas, pp. 156-57. $700-900

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133 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) The Moon photographed after trans-Earth injection, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. On December 25, 1968, on the far side of the Moon, Apollo 8’s SPS engine was ignited for trans-Earth insertion (TEI) to accelerate out of lunar orbit. An engine failure would have stranded the men in lunar orbit with no hope of rescue. “Please be informed, there is a Santa Claus,” radioed Lovell when the spacecraft regained contact with Earth. The NASA negative number is AS8-14-2474. $400-600

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134 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) The nearly full Moon filling the Command Module’s window, Apollo 8, December 1968. Numbered “NASA AS8-14-2505” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

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N.B. For 20 hours, the astronauts circled the desolate world. Through the command module’s windows, the Moon, centered on the Border Sea, appeared in an orientation that is not seen by terrestrial observers. Bright-rayed craters on the lunar farside (bottom of image), never observed prior to the Apollo 8 flight, can be studied in relation to other craters through the use of this photograph (NASA caption). $400-600

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135 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Earth seen from lunar distance, Apollo 8, December 1968. Numbered “NASA AS8-162622” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 7/8 in. (18.3 x 19.8 cm), unmatted. Condition: Good.

N.B. “The vast loneliness up here at the moon is awe-inspiring,” said Jim Lovell in a live telecast from lunar orbit, “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.” $500-700

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136 William Anders (American, b. 1933) First photograph taken by man of the whole Moon in a perspective not visible from Earth, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. As the crew began the homeward journey, Anders photographed the whole Moon from above its eastern limb in a perspective not visible by terrestrial observers: familiar frontside features such as the Sea of Tranquility, Fertility, Crises, and Nectar are easily identified. Features near the East Limb as viewed from Earth, such as the Southern Sea, Smyth’s Sea, Border Sea, and the Crater Humboldt, can be viewed without extreme foreshortening. Lunar farside features occupy most of the left half of the picture. The NASA negative number is AS8-14-2506. Literature: Schick and Van Haaften, p. 96. $400-600

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137 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Earth during the homeward journey, Apollo 8, December 1968. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. “We were fighter pilots and test pilots out to do a job,” said William Anders. “But all of us either transcended that or were jerked out of it by the view of the Earth as a sphere about the size of your fist at the end of your arm. When those views came back by television and in photographs, mankind could see for the first time that it existed on a very small, fragile, finite Earth” (Schick and Van Haaften, p. 95). The NASA negative number is AS8-15-2561. $500-700

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138 William Anders (American, b. 1933), Frank Borman (American, b. 1928), or James Lovell (American, b. 1928) Earth, the blue planet, Apollo 8, December 1968. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Minor imperfection in right side of Earth, probably bleedthrough from a mark on the verso.

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N.B. “At the time this picture was made, the Apollo 8 spacecraft was about 97,000 nautical miles from Earth, and was traveling at a speed of 6,084 feet per second. As the spacecraft continued its trans-Earth course, the Apollo 8 crew noted that ‘Earth was getting larger’ and that they were looking forward to being home” (https://spaceflight.nasa.gov/gallery/images/ apollo/apollo8/html/s68-56045.html). “It was the only object in the universe that we could see that had color,” said Borman. “It was beautiful, blue with white clouds, serene and majestic. It was home” (Jacobs, p. 34). The NASA negative number is AS8-15-2580. $500-700

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139 William Anders (American, b. 1933) Earthrise, Apollo 8, December 1968. NASA HQ caption on separate page. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 20 1/4 x 24 in. (51.3 x 60.8 cm), unmatted. Condition: Minor handling crimps u.c. and c.l., creases to l.r. corner of sheet, wear and discoloration along top edges, and possible repairs at corners of sheet. N.B. Prints of this size showing the celebrated view of planet Earth rising above the bleached lunar horizon are exceptionally rare and were very expensive to produce. The crew had completed three lunar orbits before emerging from the far side and witnessing this sight,

surely one of the most astounding ever photographed. Bill Anders has described it thus: “We’d spent all our time on Earth training about how to study the Moon, how to go to the Moon; it was very lunar orientated. And yet when I looked up and saw the Earth coming up on this very stark, beat-up lunar horizon, an Earth that was the only color that we could see, a very fragile-looking Earth, a very delicate looking Earth, I was immediately almost overcome by the thought that here we came all this way to the Moon, and yet the most significant thing we’re seeing is our own home planet, the Earth” (Poole, p. 2). The NASA negative number is AS8-14-2383. $7,000-9,000

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Apollo 9: March 1969

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140 Unidentified Photographer Three portraits of astronauts James McDivitt, David Scott, and Russell Schweickart in spacesuits, Apollo 9, March 1969. NASA KSC captions on the verso. Vintage gelatin silver prints, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Good. $300-500

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141 David Scott (American, b. 1932), Russell Schweickart (American, b. 1935), or James McDivitt (American, b. 1929) The Lunar Module Spider awaiting extraction from the Saturn V third stage, Apollo 9, March 1969. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good.

N.B. After liftoff on March 3, 1969, the crew performed for the first time the tricky maneuver of withdrawing the LM from the adapter on the Saturn booster’s third stage where it had been sheltered during launch (Mason, p. 152). The NASA negative number is AS9-19-2919. Literature: Reynolds, pp. 124-25. $300-500

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149

142

142 Russell Schweickart (American, b. 1935) or James McDivitt (American, b. 1929) The Command and Service Module Gumdrop seen from the Lunar Module Spider, Apollo 9, March 1969. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 3/4 x 7 5/8 in. (19.5 x 19.2 cm), unmatted. Condition: Good.

150

N.B. The CSM and the LM were tested in Earth orbit conditions before going to the Moon on later missions. Strong but light, the Command Module would protect the crew during their launch and journey and on their fiery return to Earth. The NASA negative number is AS9-24-3634. $500-700

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143

143 David Scott (American, b. 1932) The Lunar Module Spider with landing gear deployed, Apollo 9, March 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 7/8 in. (19.8 x 19.8 cm), unmatted. Condition: Fingerprints l.c.

N.B. Photographed from the Command Module, Spider is piloted by Schweickart and McDivitt. The Lunar Module, or the “ugly bug” as it was often called, was built of wafer-thin metal. A vehicle intended solely for use in space, it was so frail that its flanks would crumple if subjected to flight in Earth’s lower atmosphere. Apollo 9 was the only mission where the beauty of the Earth served as a backdrop for the Lunar Module and the Command Module in flight. The NASA negative number is AS9-21-3122. $500-700

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151

144

144 David Scott (American, b. 1932) Russell Schweickart’s EVA near the LM Spider, Apollo 9, March 1969. Numbered “NASA AS9-19-2994” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/2 in. (18.3 x 18.9 cm), unmatted. Condition: Good.

152

N.B. Apollo 9 was the only mission with a spacewalk conducted from the LM. “For the first time the EVA (Extravehicular Activity) mobility unit backpack was used to perform spacewalks. This unit provided communications and oxygen as well as circulating water through the suit to keep the astronaut cool, eliminating the need for an umbilical connection to the spacecraft. A 25-foot-long nylon rope was the only connection that kept the astronaut from drifting away. “Now you’re out there and there are no limits, there are no boundaries,” said Schweickart. “You’re really out there, going 17,000 miles an hour, ripping through space, a vacuum. And there’s not a sound” (Kelley, preface). $600-800

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145

145 Russell Schweickart (American, b. 1935) Astronaut James McDivitt in weightlessness in the Command Module Gumdrop, Apollo 9, March 1969. Numbered “NASA AS9-20-3154” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/8 x 7 1/2 in. (18.5 x 18.9 cm), unmatted. Condition: Good.

N.B. In zero gravity with no up and down, the pilots stood weightlessly at their station, held to the cockpit floor by cables clipped to their waists (Reynolds, p. 123). Literature: Jacobs, p. 41. $400-600

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153

146

146 David Scott (American, b. 1932) The Lunar Module Spider above the Earth horizon, Apollo 9, March 1969. Numbered “NASA AS9-21-3212” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/2 in. (18.3 x 18.9 cm), unmatted. Condition: Handling creases at u.l. and l.l. corners of sheet.

N.B. Free and upside-down in the black sky of space, the LM is put through its paces on the fifth day of the Apollo 9 mission by Russell Schweickart and James McDivitt. The cloud-covered Atlantic Ocean lies 145 miles below. “Spider was the first Lunar Module to fly with men onboard. It worked very well,” commented McDivitt, “got us safely back to the Command Module, and cleared the spacecrafts for the flights to the Moon” (Jacobs, p. 44). Literature: Hope, p. 62. $500-700

154

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147

147 David Scott (American, b. 1932) Russell Schweickart taking a photograph during his spacewalk, Apollo 9, March 1969. Vintage chromogenic print on fiber-based GAF paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 3/8 in. (18.9 x 18.5 cm), unmatted. Condition: Possible color shifting.

N.B. Schweickart holds the Hasselblad camera in his left hand. Scott captured this photograph of Schweickart’s spacewalk near the LM Spider as he was himself performing a stand-up EVA in the open hatch of the Command Module Gumdrop. The visor of Schweickart’s helmet reflects the Earth. The NASA negative number is AS9-19-2983. $500-700

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155

148

156

Additional information and photos at www.skinnerinc.com

149

148 Russell Schweickart (American, b. 1935) David Scott in the open hatch of the Command Module during stand-up EVA, Apollo 9, March 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: 1/8-inch area of emulsion loss in l.l. corner.

N.B. “I took this shot of Dave Scott taking a picture of me at the beginning of my EVA on Apollo 9,” said Schweickart. “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” (Jacobs, p. 42). The NASA negative number is AS9-20-3064. Literature: Chaikin, Space, p. 84; Hope, p. 40; Thomas, p. 160-61; Reynolds, p. 43. $800-1,200

149 Russell Schweickart (American, b. 1935) or James McDivitt (American, b. 1929) The Command Spaceship Gumdrop over the Earth, Apollo 9, March 1969. Numbered “NASA G 69 5072” (NASA Goddard) in black on the recto l.r. margin. Vintage chromogenic print on fiber-based GAF paper with “A Kodak Paper” watermark on the verso, image size 9 3/8 x 7 5/8 in. (23.8 x 19.2 cm), unmatted. Condition: Handling crease c.l., possible color shifting. N.B. Its propeller-like antenna jutting toward Earth, the Command and Service Module passes over Hawaii in a picture taken from the Lunar Module during its first manned test flight. Scott flew by himself in the Command Module for a six-hour period while the two crafts changed orbits and let as much as 100 miles separate them (Mason, p. 152-54). The NASA negative number is AS9-24-3657. $500-700

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157

150 David Scott (American, b. 1932) Two views of the Lunar Module Spider in lunar landing configuration over the Earth, Apollo 9, March 1969. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 8 in. (19.2 x 20.3 cm), unmatted. Condition: Scattered minor surface abrasions, minor staining in l.l. margin. N.B. The Lunar Module Spider is flying upside down in relation to the earth below, with its landing gear deployed (first image) and its descent stage jettisoned (second image) in simulations of lunar landing. The LM, which had no heat shield to protect it, was jettisoned before reentry. Despite its appearance, the gawky LM had proved itself ready for the lunar job ahead (Mason, p.152). McDivitt and Schweickart enthused that the LM was a “great flying machine. And when it’s just the ascent stage alone, it’s very quick. It snaps to the controls like a fighter plane, or a sports car. It was super to fly!” (Reynolds, p. 123). The NASA negative numbers are AS9-213201 and AS9-21-3236. $700-900 150

158

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Apollo 10: May 1969

151

151 Unidentified Photographer The prime crew of the space mission, Apollo 10, November 1968. Numbered “NASA S-68-42906” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based paper with “A Kodak Paper” watermark on the verso, image size 9 3/8 x 7 5/8 in. (23.8 x 19.2 cm), unmatted. Condition: Good.

N.B. Left to right are Eugene A. Cernan, Lunar Module pilot; John W. Young, Command Module pilot; and Thomas P. Stafford, Commander. 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. $300-500

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159

152 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Three images of the Earth after trans-lunar burn, including a transposition and docking maneuver with the Lunar Module and Earth after jettison of the expanded Saturn V third engine, Apollo 10, May 1969. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 8 1/4 x 7 5/8 in. (20.9 x 19.2 cm), unmatted. Condition: Good. N.B. In the second photograph, the LM is still stowed in the empty Saturn Rocket’s third stage after separation from the Command Module. “You know, in Earth orbit the horizon is barely curved,” said Eugene Cernan. “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 really see yourself leave the Earth at a tremendous rate of speed. You can see the horizon begin to close in upon itself. You can begin to see the continents. You begin to see things from the top down” (Chaikin, Voices, p. 25). The NASA negative numbers are AS10-34-5010, AS1034-5011, and AS10-34-5012. $700-900

152

160

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153

153 Thomas Stafford (American, b. 1930) Planet Earth, Apollo 10, May 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good.

N.B. “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” remembered Eugene Cernan (Chaikin, Voices, p. 25).

“Due to the time of year, trajectory, and weather, it is one of the best photos of the North American continent from the Apollo program... I could look at this great view for hours and try to capture the meaning of it all,” said Tom Stafford. “I thank God I had the opportunity to fly this incredible mission with my fellow crew members and see the sights that only few in the history of the planet have ever seen” (Jacobs, p. 53). The NASA negative number is AS10-34-5014. Literature: Schick and Van Haaften, p. 53; Thomas, p. 171; Jacobs, p. 52. $700-900

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161

154

154 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) The gibbous Earth during trans-lunar coast, Apollo 10, May 1969. Numbered “AS10-345026” (NASA MSFC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 5/8 x 7 5/8 in. (21.8 x 19.2 cm), unmatted. Condition: Good.

162

N.B. “You say, Hey, I’m out here 150 or 200 thousand miles away from home,” said Eugene Cernan. “It’s not like you’re on a trip from Houston to California. I mean you have really left society” (Chaikin, Voices, p. 19). $500-700

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155

155 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Panoramic view of the lunar farside horizon over crater Keeler, Apollo 10, May 1969. Numbered “NASA AS10-32-4790” (NASA MSC) in black on the recto u.l. Mosaic of three vintage gelatin silver prints, overall size 13 x 9 in. (32.9 x 22.7 cm), unmatted. Condition: Minor wear to corners of sheet, subtle chemical inconsistencies u.l. of first image.

N.B. The heavy shadows, caused by the low sun elevation, give an indication of the roughness of this far side region and accentuate its topographic features. Keeler’s central peak (left of picture) is easily visible—its terraces are distinctly step-like in appearance (NASA SP-246). The additional NASA negative numbers are AS10-32-4791 and AS10-324792. $1,500-2,500

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163

156

156 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Four views of the future Apollo 11 landing area photographed from orbit, Apollo 10, May 1969. Numbered “NASA AS10-28-4048,” “NASA AS10-28-4052,” “NASA AS10-284054,” and “NASA AS10-28-4056” (NASA MSC), respectively, in black on the recto u.r. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/2 in. (18.3 x 18.9 cm), unmatted. Condition: Good.

164

N.B. The crew of Apollo 10 located the future Apollo 11 landing zone (still named Apollo landing site 2 at the time) in the southwest part of the Sea of Tranquility and observed it disappearing in sun glare behind them in this sequence of photographs. $400-600

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157

157 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Four views of never seen before orbital landscapes of the lunar farside, Apollo 10, May 1969. Numbered “NASA AS10-304457,” “NASA AS10-30-4461,” “NASA AS1030-4465,” and “NASA AS10-30-4469” (NASA MSC), respectively, in black on the recto u.r. Vintage gelatin silver prints, image sizes to 7 1/2 x 7 1/4 in. (18.3 x 18.9 cm), unmatted. Condition: Minor wear at several corners of the sheets.

N.B. The crew of Apollo 10 photographed the lunar landscape over the huge far side crater Mendeleev from Crater Schuster to Crater Green in an oblique sequence looking North. At the time of the mission, Mendeleev was still named Crater IX and had never been observed by man. $400-600

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165

158

158 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Earthrise over Smyth’s Sea, Apollo 10, May 1969. Numbered “NASA AS10-30-4478” (NASA MSC) in black on the recto u.r. margin. Vintage gelatin silver print, image size 7 3/8 x 7 1/4 in. (18.5 x 18.3 cm), unmatted. Condition: Good.

166

N.B. As the crew was orbiting over Smyth’s Sea and photographing the lunar landscape in a long forward oblique sequence with the 80mm lens, they captured this image of the Earth rising over the Moon. This view is closer to the scene that the astronauts witnessed since more famous photographs of Earthrise were taken with the 250mm telephoto lens. “To see our home planet from this point of view was absolutely awesome,” exclaimed Thomas Stafford. “It was nearly breathtaking. I was reminded of Socrates’s saying in 399 B.C., before flight above the ground was theorized: ‘A man must rise above the Earth to the top of the atmosphere and beyond, and only thus will he fully understand the world in which he lives’” (Jacobs, p. 53). $600-800

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159

159 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Nine views of the southern part of the Sea of Tranquility (including the future Apollo 11 landing site) seen from the spacecraft flying from its east rim to its west rim, Apollo 10, May 1969. Numbered “NASA AS10-334925,” “NASA AS10-33-4928,” “NASA AS1033-4930,” “NASA AS10-33-4932,” “NASA AS10-33-4934,” “NASA AS10-33-4936,” “NASA AS10-33-4940,” “NASA AS10-334942,” and “NASA AS10-33-4944” (NASA MSC), respectively, in black on the recto u.r. margin. Vintage gelatin silver prints, image sizes to 7 3/8 x 7 3/8 in. (18.5 x 18.5 cm), unmatted. Condition: Minor wear at several corners of the sheets.

N.B. Flying over the south rim of the Sea of Tranquility from east to west, the crew of Apollo 10 photographed the moonscape in front of them in a long forward-looking oblique overlapping sequence which included the Apollo 11 future landing site. Apollo 11’s trajectory would be virtually identical to that flown by Apollo 10, and these photographs facilitated the identification of key landmarks that paved the way for Apollo 11’s moon landing. $700-900

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167

160

160 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Four color studies of the Moon’s surface from orbit, Apollo 10, May 1969. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 8 in. (19.2 x 20.3 cm), unmatted. Condition: Good.

168

N.B. Crater Censorinus in the Sea of Tranquility photographed with the 80mm telephoto lens; Crater Apollonius between the Foaming Sea and the Sea of Tranquility; Maskelyne G and Rima Maskelyne 1 in the Sea of Tranquility; and Crater Ritter in the Sea of Tranquility, photographed with the 250mm telephoto lens from Apollo 10 in lunar orbit. The NASA negative numbers are AS10-345120, AS10-34-5131, AS10-34-5153, and AS10-34-5160. $600-800

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161

161 Eugene Cernan (American, 1934-2017) The Command Spaceship Charlie Brown in lunar orbit, first spacecraft photographed over another world, Apollo 10, May 1969. Numbered “NASA AS10-27-3873” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Subtle ring-shaped matte area around image edge.

N.B. Parts of the LM’s window are visible in the photograph. The reflective nature of the outer layer of the Command Module can be seen in this view from the Lunar Module with the sun directly above. The lunar surface is reflected as light tones, and the dark portion mirrors the blackness of outer space. Literature: Schick and Van Haaften, p. 63; Light, plate 106; Thomas, p. 177. $500-700

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169

162

162 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Two close-ups of the Command Spaceship Charlie Brown during flyby with the Lunar Module over the Moon, Apollo 10, May 1969. The second numbered “NASA AS10-27-3880” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 3/4 x 7 3/4 in. (19.5 x 19.5 cm), unmatted. Condition: Minor wear at corners. N.B. The Command Module, about 12 feet in diameter and weighing 12,500 pounds “had about as much habitable volume as a walk-in closet” (Light, caption 106). Below the spacecraft (orbiting 69 miles above the lunar surface) is Smyth’s Sea, which is located on the lunar equator just beyond the eastern limb of the Moon as viewed from Earth (Thomas, p. 176). The NASA negative number for the first image is AS10-27-3874. Literature: Chaikin, Space, p. 86 (second image). $600-800

170

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163

163 John Young (American, b. 1930) The Lunar Module Snoopy heading to the lunar surface, Apollo 10, May 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 7 5/8 in. (19.5 x 19.2 cm), unmatted. Condition: Good.

N.B. The LM hovers near the CSM before its dress rehearsal of a lunar descent. At 65,000 feet the LM’s radar sensed the lunar surface and began gathering data on altitude and descent rate. The NASA negative number is AS10-34-5092. Literature: Mason, p. 164. $500-700

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171

164

164 Thomas Stafford (American, b. 1930) or Eugene Cernan (American, 1934-2017) Six lunar farside landscape views seen during the Lunar Module’s approach descent to the future Apollo 11 landing site, Apollo 10, May 1969. Numbered “NASA AS10-29-4182,” “NASA AS10-29-4201,” “NASA AS10-294203,” “NASA AS10-29-4211,” “NASA AS10-29-4215,” and “NASA AS10-29-4244,” (NASA MSC), respectively, in black on the recto u.r. margin. Vintage gelatin silver prints, image sizes to 7 1/2 x 7 3/8 in. (18.9 x 18.5 cm), unmatted. Condition: Good.

172

N.B. The primary mission of the crew was to fly the LM within 50,000 feet of the Moon’s surface in order to inspect landing site 2 on the Sea of Tranquility, tentatively selected as the landing spot for Apollo 11. The crew also took photographs of landmarks on the way to the landing site and sent back descriptions of a surface they described as “pretty smooth, like wet clay” (Thomas, p. 176). $600-800

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165

165 Thomas Stafford (American, b. 1930) or Eugene Cernan (American, 1934-2017) The Earth emerging from behind the rim of the Moon, Apollo 10, March 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 7 5/8 in. (19.5 x 19.2 cm), unmatted. Condition: Good.

N.B. This breathtaking view was photographed with the 250mm telephoto lens from the LM Snoopy during its descent to the lunar surface. Apollo 14 astronaut Edgar Mitchell described the experience: “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” (Kelley, plates 42-45). The NASA negative number is AS10-27-3888. $800-1,200

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173

166

166 Thomas Stafford (American, b. 1930) or Eugene Cernan (American, 1934-2017) Earthrise, Apollo 10, May 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 8 in. (19.5 x 20.3 cm), unmatted. Condition: Good.

174

N.B. Coming around the Moon, Stafford and Cernan aboard the LM Snoopy witnessed an extraordinary sight: “Oh, Charlie,” they radioed to Charles Duke at Mission Control, “we just saw an Earthrise, and it’s just to got to be magnificent” (Mason, p. 166). The NASA negative number is AS10-27-3896. $800-1,200

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167 Thomas Stafford (American, b. 1930) or Eugene Cernan (American, 1934-2017) Three views of lunar landscapes in the Sea of Tranquility during the Lunar Module’s closest approach to the future Apollo 11 landing site, Apollo 10, May 1969. Numbered “NASA AS10-29-4299,” “NASA AS10-29-4314,” and “NASA AS10-29-4324,” (NASA MSC), respectively, in black on the recto u.r. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 3/8 in. (18.3 x 18.5 cm), unmatted. Condition: Good. N.B. “‘Oh, we are low, We are close, babe,’ Gene Cernan radioed to Earth. The landscape’s finest details showed crystal clear in the Moon’s airless atmosphere and Cernan felt practically on top of the boulders he saw below. ‘We is down among ‘em, Charlie,’ he exulted to Charles Duke, the CapCom (Capsule Communicator) in Houston” (Reynolds, p. 128). The LM came to within 15.6 kilometers of the lunar surface. The large crater in the center of the last image is Moltke, located just before the Apollo 11 landing site which the LM couldn’t visit. In this low-altitude oblique photograph, considerable debris can be seen on the slopes of the outer crater walls. The area surrounding Moltke is mottled and rough compared to the mare background. Directly behind Moltke and running linearly across the area is a trough, Rille Hypathia II; behind the rille, the highlands regions mark the southwestern edge of the Sea of Tranquility (NASA SP-246). $400-600

167

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175

168 John Young (American, b. 1930) Three views of the ascent stage of the Lunar Module Snoopy returning from the Moon, Apollo 10, May 1969. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 7 7/8 in. (19.2 x 19.8 cm), unmatted. Condition: Good. N.B. “Tom Stafford and Gene Cernan flew Snoopy to within 9 miles of the Moon’s surface, testing systems and procedures before they jettisoned the LM’s descent stage. Snoopy’s descent radar performed superbly; but there was a moment of terror later, when Snoopy jettisoned its descent stage to simulate a lunar liftoff. A switch was in the wrong position, and suddenly Snoopy began gyrating violently until Stafford wrestled it back under control” (Mason, p. 162). Cernan and Stafford could then fire the ascent engine to bring them back into a higher orbit where they could rejoin Charlie Brown piloted by Young. The red/blue diagonal line is the spacecraft’s window. The NASA negative numbers are AS10-34-5107, AS10-34-5110, and AS1034-5112. Literature: Thomas, p. 176. $1,000-1,500

168

169

169 John Young (American, b. 1930) Close-up of the Lunar Module Snoopy just before docking with the Command Space Module Charlie Brown, Apollo 10, May 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 5/8 in. (19.8 x 19.2 cm), unmatted. Condition: Good.

N.B. The LM is pitching down to position itself correctly for the final docking maneuver by the CSM and crew transfer back to the CSM. Apollo 10’s rehearsal, which was planned to follow the schedule for 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. The NASA negative number is AS10-34-5117. $500-700

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177

170

170 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Orbital panorama over the center of the Moon’s far side at sunrise, Apollo 10, May 1969. Numbered “NASA AS10-28-4063,” “NASA AS10-28-4061,” “NASA AS10-284060,” “NASA AS10-28-4059,” “NASA AS1028-4058,” and “NASA AS10-28-4057” (NASA MSC) in black along upper margins. Mosaic of seven vintage gelatin silver prints, overall size 10 x 23 in. (25.3 x 58.3 cm), unmatted. Condition: Scattered minor abrasions, minor wear to corners. N.B. Flying over the center of the Moon’s far side in an equatorial orbit, the Apollo 10 crew photographed the ground track leading to the terminator (right of image), which is the boundary between day and night on the Moon. $2,000-3,000

178

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171

171 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Four abstract lunar landscapes near Central Bay at the terminator, Apollo 10, May 1969. Two numbered “NASA AS10-31-4650” and “NASA AS10-32-4855” (NASA MSC), respectively, in black on the recto in the margins; one numbered “NASA AS10-273906” in red on the recto upper margin. Two vintage gelatin silver prints and two vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 3/4 in. (18.3 x 19.5 cm), unmatted. Condition: Good. N.B. The lunar terminator is 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; undulations occurring in an apparently smooth mare area are emphasized and numerous small craters give the landscape a speckled appearance (NASA SP-246). The third image showing Hyginus Rille was photographed with the 250mm telephoto lens. The NASA negative number of the second color image is AS10-27-3905. $500-700

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179

172 Eugene Cernan (American, 1934-2017) Two views of the illuminated walls of craters Schmidt and Godin, Apollo 10, May 1969. Vintage chromogenic prints on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image sizes to 7 3/4 x 7 3/4 in. (19.5 x 19.5 cm), unmatted. Condition: Good. N.B. The photographs were taken with the 250mm telephoto lens. Schmidt (first image) lies near the landing site chosen for Apollo 11 and is approximately 10 miles in diameter. Its wall is dramatically lit by a low-sun angle. Numerous boulders, easily viewed on a photograph of this scale and quality, can be seen in the area surrounding the crater and on the crater floor. Most of these boulders range in size from 68 to 122 meters (NASA SP-246). One side of the mammoth lunar crater Godin (35 kilometers in diameter) glints starkly in the sunlight (second image). The NASA negative numbers are AS10-34-5162 and AS10-345165. Literature: Moon, pp. 174-75. $400-600

172

180

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173

173 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Four views of the lunar horizon, Apollo 10, May 1969. Numbered “NASA AS10-304422,” “NASA AS10-31-4598,” “NASA AS10-32-4809,” and “NASA AS10-33-4913” (NASA MSC), respectively, in black on the recto u.r. and u.l. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 3/8 in. (18.3 x 18.5 cm), unmatted. Condition: Good.

N.B. High obliques photographed with the 250mm telephoto lens (first two images) over Messier and Messier A in the Sea of Fertility; and over the north edge of the Sea of Tranquility. High obliques photographed with the 80mm lens (last two images) over Hyginus Rille; and over the area of Papaleski Crater on the lunar farside. $500-700

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181

174

174 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Six detail views of the lunar surface seen from the orbiting spacecraft, Apollo 10, May 1969. Numbered “NASA AS10-33-4858,” “NASA AS10-33-4865,” “NASA AS10-334883,” “NASA AS10-33-4891,” “NASA AS10-33-4895,” and “NASA AS10-33-4910” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

182

N.B. These “crew select target” views were taken with the 250mm telephoto lens except for the last one, showing Crater Theophilus, which was taken with the 80mm lens. $500-700

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175

175 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Nine telephoto orbital landscapes seen from the spacecraft flying over the Moon from the Sea of Fertility to the Sea of Tranquility, Apollo 10, May 1969. Numbered “NASA AS10-324685,” “NASA AS10-32-4691,” “NASA AS1032-4698,” “NASA AS10-32-4704,” “NASA AS10-32-4708,” “NASA AS10-32-4712,” “NASA AS10-32-4719,” “NASA AS10-324722,” and “NASA AS10-32-4727” (NASA MSC), respectively, in black on the recto u.r. and l.l. margins. Vintage gelatin silver prints, image sizes to 7 1/2 x 7 3/8 in. (18.9 x 18.5 cm), unmatted. Condition: Good.

N.B. The crew of Apollo 10 photographed the lunar landscape in front of their spacecraft with the 250mm telephoto lens in a long, forwardlooking oblique sequence that included the Apollo 11 landing site. $600-800

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183

176

176 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Telephoto panorama of King Crater, Apollo 10, May 1969. Numbered “NASA AS1030-4361,” “NASA AS10-30-4359,” “NASA AS10-30-4357,” and “NASA AS10-30-4353” (NASA MSC) in black along upper margins. Mosaic of four vintage gelatin silver prints, overall size 19 1/2 x 14 1/2 in. (49.4 x 36.7 cm), unmatted. Condition: Scattered minor scratches.

184

N.B. The astronauts used the 250mm telephoto lens to shoot the interior of King Crater. King Crater is located on the lunar farside and is 50 miles in diameter. In Apollo 10 “Visual Photography and Visual Observations,” the photo analysts describe it as a “large rough-rimmed crater with massive central peak.” The crater floor is heavily pockmarked and contains many hummocky protuberances near the top center. Terracing of the inner crater walls is evident (NASA SP-246). $1,500-2,500

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177 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) Two views of the badlands of the lunar farside, Apollo 10, May 1969. Vintage chromogenic prints on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image sizes to 7 7/8 x 7 5/8 in. (19.8 x 19.2 cm), unmatted. Condition: Good. N.B. A desolate expanse of lunar badlands on the far side of the Moon: The large crater in the first image is approximately 100 miles in diameter. Terracing and a prominent central peak are evident. The relief, contrasted against the black sky, shows the ruggedness of the surrounding terrain. The sharply defined, steep-walled crater in the second image is approximately 12 miles in diameter. Rubble, probably ejecta material, can be seen on the outer slopes surrounding the crater. A larger, more subdued crater is located above the steep-walled crater (NASA SP-246). The NASA negative numbers are AS10-34-5171 and AS10-34-5172. Literature: Thomas, pp. 172-73 (first image). $400-600 177

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185

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178 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) The receding Moon seen from the spacecraft returning to Earth, Apollo 10, May 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 5/8 in. (19.8 x 19.2 cm), unmatted. Condition: Good.

186

N.B. A view of the Moon recorded after trans-Earth injection as the spacecraft was on its free return trajectory. According to the 2002 Guinness Book of World Records, Apollo 10 set the record for the highest speed attained by a manned vehicle: 39,897 km/h (11.08 km/s or 24,791 mph) on May 26, 1969, during the return from the Moon. The NASA negative number is AS10-27-3948. $300-500

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179

179 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) The Earth seen in crescent during the homeward journey, Apollo 10, May 1969. Numbered “NASA G-69-6588” (NASA Goddard) in black on the recto l.l. margin. Vintage chromogenic print on fiber-based GAF paper, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Minor handling crimp l.l.

N.B. “The Apollo 10 crew flew farther from home (Houston, Texas, 254,110 miles) than any other human beings, though Apollo 13 owns the record distance from the Earth’s surface” (Lawrence Korb, Memories of the Apollo and Space Shuttle Programs, chapter 12). The NASA negative number is AS10-273976. $500-700

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187

Apollo 11: July 1969

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180 Unidentified Photographer The crew poses for a photograph before the historic mission, Apollo 11, May 1969. Numbered “NASA S-69-31740” in red on the recto u.l. margin (NASA MSC). Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Possible color shifting.

N.B. Left to right: Neil A. Armstrong, Commander; Michael Collins, Command Module pilot; and Edwin E. “Buzz” Aldrin, Jr., Lunar Module pilot. The mission of Apollo 11’s crew was the dramatic end to a massive effort. Though trained to be self-reliant, they had the support of a huge team. Altogether it took the work of some 350,000 people to launch their mission. Literature: Thomas, p. 180. $300-500

188

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181

181 Unidentified Photographer Neil Armstrong and Buzz Aldrin practicing lunar surface activities, Apollo 11, June 1969. CBS Television News caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 6 5/8 x 8 1/2 in. (16.8 x 21.4 cm), unmatted. Condition: Good.

N.B. “It was the simulation instructors’ job to make very difficult situations, and they were very successful in doing that,” noted Armstrong. “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” (Chaikin, Voices, p. 10). $300-500

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189

182

182 Unidentified Photographer Three portraits of astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins in lunar spacesuits at the Kennedy Space Center, Apollo 11, July 1969. NASA KSC captions on the verso. Vintage gelatin silver prints, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good. $400-600

190

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183

183 Unidentified Photographer The departure for the Moon, Apollo 11, July 16, 1969. Vintage chromogenic print on fiberbased GAF paper, image size 9 5/8 x 7 5/8 in. (24.3 x 19.2 cm), unmatted. Condition: Color shifting and yellowing to sheet.

N.B. The crew of Apollo 11, led by Commander Neil Armstrong, leave the Kennedy Space Centerâ&#x20AC;&#x2122;s Manned Spacecraft Operations Building during the prelaunch countdown and before the drive to their Saturn V rocket at Launch Complex 39A. $400-600

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191

184

184 Unidentified Photographer Liftoff, Apollo 11, July 16, 1969. NASA KSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Minor yellowing to sheet, subtle ripples at left side. N.B. Liftoff at 9:37 a.m. from Pad A, Launch Complex 39, Kennedy Space Center. $300-500

192

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185

185 Unidentified Photographer The Saturn V rocket heading to the Moon, Apollo 11, July 16, 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 5/8 x 7 5/8 in. (24.3 x 19.2 cm), unmatted. Condition: Minor yellowing to sheet, sheet slightly rippled, minor handling crimp l.l., adhesive tape residue around edges of verso.

N.B. “I’ve often said that my instinct, not a carefully reasoned statistical study, but my instinct,” remembered Armstrong, “told me that we had a 90 percent chance of a safe return and a 50 percent chance of a safe landing” (Chaikin, Voices, p. 47). $300-500

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193

186

186 Unidentified Photographer The Saturn V rocket and the American flag, Apollo 11, July 16, 1969. Vintage chromogenic print on fiber-based GAF paper, image size 9 5/8 x 7 5/8 in. (24.3 x 19.2 cm), unmatted. Condition: Color shifting and yellowing to sheet, adhesive residue right edge and l.r. corner, handling crimp l.l.

194

N.B. The American flag heralds the flight of Apollo 11, manâ&#x20AC;&#x2122;s first lunar landing mission. This double exposure was made with a 1000mm lens when the rocket was at an altitude of about 5,000 feet. A band of super cold propellants seems to circle the rocket near its center. The image was superimposed upon the image of the flag, captured one day earlier. $400-600

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187

187 Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930) The Earth, as seen from the spacecraft during its trans-lunar journey toward man’s first moonlanding, Apollo 11, July 1969. Numbered “NASA AS11-36-5337” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 1/8 in. (17.5 x 18.0 cm), unmatted. Condition: Minor handling crimp u.l., restoration/repair to l.r. corner of sheet.

N.B. Apollo 11 was already about 10,000 nautical miles from Earth when this picture was made. As NASA administrator George M. Low predicted in October 1970: “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” (NASA SP-250, foreword). $700-900

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195

188

188 Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930) The Earth, seen from the spacecraft at middistance of the Moon, Apollo 11, July 1969. Numbered “NASA AS11-36-5355” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 9 1/2 in. (18.0 x 24.0 cm), unmatted. Condition: Subtle residue or similar u.r. corner.

196

N.B. Apollo 11 was already about 98,000 nautical miles from Earth when this picture was made. “It suddenly struck me that that tiny pea, pretty and blue, was the Earth,” said Neil Armstrong. “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.” Literature: Thomas, p. 211. $700-900

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189

189 Neil Armstrong (American, 1930-2012) Buzz Aldrin weightless inside the Lunar Module Eagle during the flight to the Moon, Apollo 11, July 1969. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 5/8 in. (19.2 x 19.2 cm), unmatted. Condition: Good.

N.B. Buzz Aldrin is seen communicating with Mission Control on Earth. Apollo 11 was travelling at a speed of about 3,200 feet per second. “It was surprising to me how much at home I felt in Eagle because of all the simulations we had done back home,” said Aldrin. “The view of the Moon from the surface and the EVA itself have much less reality to me now than have those familiar operations inside Eagle” (Life, August 22, 1969). The NASA negative number is AS11-36-5390. Literature: Chaikin, Space, p. 92. $400-600

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197

190

190 Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930) Earthrise, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 7/8 in. (19.8 x 19.8 cm), unmatted. Condition: Minor scratch c.l.

198

N.B. Two and a half days after liftoff, the Apollo 11 astronauts were in lunar orbit, preparing for the descent to the surface. On one of their orbits, as their spacecraft came over the Moon’s horizon, they photographed the awesome sight of an earthrise from outer space. “I really didn’t appreciate the first planet [Earth] until I saw the second one...,” said Michael Collins. “I cannot recall the Moon’s tortured surface without thinking of the infinite variety the delightful planet Earth offers” (Collins, p. 469). The NASA negative number is AS11-44-6549. $800-1,200

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191

191 Buzz Aldrin (American, b. 1930) Tranquility Base seen from the orbiting Lunar Module Eagle, Apollo 11, July 1969. Numbered “NASA AS11-37-5437” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

N.B. Seen just one orbit before final descent, Tranquility Base is near the shadow line of the lunar terminator, a little to the right of center. At this point the Lunar Module with Armstrong and Aldrin aboard was still docked to the CSM. The jagged shape to the left is one of the LM thruster engines (NASA SP-350, p. 11.4). “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). Literature: Thomas, pp. 188-89; Reynolds, p. 138. $400-600

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199

192

192 Neil Armstrong (American, 1930-2012) or Buzz Aldrin (American, b. 1930) The Command Spaceship Columbia in lunar orbit with Michael Collins on board, Apollo 11, July 1969. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 5/8 in. (19.2 x 19.2 cm), unmatted. Condition: Good.

200

N.B. The view was taken from the Lunar Module which had separated to land on the Moon with Aldrin and Armstrong aboard. Michael Collins was left on a 22-hour solo voyage with the Command Module. “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?...” said Collins. “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” (Life, July 4, 1969). The NASA negative number is AS1137-5443. $500-700

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193

193 Buzz Aldrin (American, b. 1930) The lunar surface seen from the Lunar Module after touchdown, Apollo 11, July 20, 1969. Numbered “NASA AS11-37-5457” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Several minor matte areas.

N.B. Tranquility: “We’ll get to the details of what’s around here, but it looks like a collection of just about every variety of shape, angularity, granularity, about every variety of rock you could find.” Houston: “Roger, Tranquility. Be advised there’s lots of smiling faces in this room, and all over the world.” Tranquility: “There are two of them up here.” Columbia: “And don’t forget one in the command module” (Apollo 11 air-to-ground transmission). $400-600

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201

194

194 Neil Armstrong (American, 1930-2012) The first photograph taken by man on the surface of the Moon, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 7 5/8 in. (20.3 x 19.2 cm), unmatted. Condition: Good.

N.B. This image was captured by Armstrong after his famous first words on the Moon: “That’s one small step for a man, one giant leap for mankind.” According to the mission plan, Armstrong was supposed to collect in priority a contingency sample of lunar surface material in case of emergency return. But he chose instead to photograph his first steps on the Sea of Tranquility. In the photograph, the golden-covered landing leg of the LM and a transfer equipment bag between Eagle and the lunar surface are visible. This image was not published outside of NASA and is extremely rare. The NASA negative number is AS11-40-5850. Literature: Reynolds, p. 113. $700-900

202

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195

195 Neil Armstrong (American, 1930-2012) Buzz Aldrin emerging from the Lunar Module Eagle, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Minor crimp l.r.

N.B. An eager Aldrin joins Armstrong on the Moon 19 minutes later. On his back rides a Portable Life Support System (PLSS) with oxygen for breathing, water for cooling, an electric power supply, and radio equipment. Armstrong: “Okay. Your PLSS... looks like it is clearing okay. The shoes are about to come over the sill. Okay now drop your PLSS down…” Aldrin: “Now, I want to back up and partially close the hatch. Making sure not to lock it on my way out.” Armstrong: “A good thought” (Apollo 11 air-to-ground transmission). The NASA negative number is AS11-40-5866. Literature: Thomas, p. 192. $600-800

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203

196

196 Neil Armstrong (American, 1930-2012) Buzz Aldrin climbs down the ladder of the Lunar Module Eagle, Apollo 11, July 1969. Numbered “NASA AS11-40-5868” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Subtle staining in right margin, hinge remnants on the verso at upper corners.

204

N.B. Leaving the ninth step of the ladder, Aldrin jumps down to the Moon. On Earth his weight, including the spacesuit and mechanism-filled portable life-support system, would have totaled 360 lbs., but here the gross came only to a bouncy 60 lbs. (NASA SP-350, p. 11.4). Literature: Thomas, p. 193; Jacobs, p. 56; Reynolds, p. 144. $600-800

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197

197 Neil Armstrong (American, 1930-2012) Buzz Aldrin about to take his first step on the Moon, Apollo 11, July 1969. Stamped “65821-69” in black on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good.

N.B. Buzz Aldrin has both feet on the footpad of the LM Eagle before making his first step on the Moon. “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’” (Jacobs, p. 63). The NASA negative number is AS11-40-5869. $600-800

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205

198 Neil Armstrong (American, 1930-2012) First photograph of a man standing on the surface of another world, Apollo 11, July 1969. Stamped “5872” (NASA MSC) in black on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Subtle creases at sheet corners u.r. and l.r.

198

N.B. Armstrong took this historic first photograph of Aldrin on the lunar surface after having set up the lunar surface TV camera. Aldrin was unfurling the solar wind sheet, designed to trap tiny particles hurled from the distant sun. Deployed for an hour and 17 minutes, the aluminum sheet caught 10 trillion atoms of chemical elements streaming from the Sun at supersonic speeds (Mason, p. 174). 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 (Thomas, p. 196). The NASA negative number is AS11-40-5872. Literature: Thomas, p. 196-97. $700-900

206

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199

199 Neil Armstrong (American, 1930-2012) Buzz Aldrin on the Moon, Apollo 11, July 1969. Vintage chromogenic print on fiberbased Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Discoloration around edges on the verso where tape or similar was removed.

N.B. On the Moon at last, Aldrin stands in front of the Lunar Module Eagle, next to the solar wind experiment. On the lunar surface all the Apollo astronauts took photographs using a 500 EL Hasselblad data camera equipped with a transparent glass reseau plate engraved with grid markings and specially designed lenses and Kodak films. Crosses on each picture enable geologists to make photogrammetric measurements of all objects recorded. The NASA negative number is AS11-40-5873. Literature: Thomas, p. 182. $600-800

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207

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200 Taken by an Automatic 16mm Camera Mounted to the Lunar Module The two astronauts planting the American flag, Apollo 11, July 1969. Numbered “NASA S-69-40308” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Good.

N.B. Just before receiving a congratulatory phone call from President Nixon, Aldrin and Armstrong set up the flag as shown in this rare image showing the two astronauts captured by an automatic 16mm camera mounted on the LM. The scene was described by Mission Control in Houston to Michael Collins orbiting the Moon in Columbia. Columbia: “How’s it going?” Houston: “The EVA is progressing beautifully… I believe they are setting up the flag now.” Columbia: “Great.” Houston: “They’ve got the flag up now and you can see the Stars and Stripes on the lunar surface” (Thomas, p. 194). Literature: Thomas, p. 194. $500-700

208

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201

201 Neil Armstrong (American, 1930-2012) Buzz Aldrin salutes the American flag, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 5/8 x 7 1/2 in. (24.3 x 18.9 cm), unmatted. Condition: Good.

N.B. Aldrin is saluting the flag with his right hand clearly visible next to his helmet. “Being able to salute the flag was one of the more humble yet proud experiences I’ve ever had,” he remembered. “To be able to look at that American flag and know how much so many people had put of themselves and their work into getting it where it was. We sensed, we really did, this almost mystical unification of all the people in the world at that moment” (Life, August 22, 1969, p. 26). The NASA negative number is AS11-40-5874. Literature: Thomas, p. 195; Hope, p. 24; Jacobs, p. 59. $800-1,200

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209

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202 Neil Armstrong (American, 1930-2012) Buzz Aldrin poses for a photograph beside the American flag, Apollo 11, July 1969. Numbered “NASA AS11-40-5875” (NASA MSC) in blue on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Minor wear to corners of sheet, linen tape hinge remnants on the verso.

N.B. Aldrin’s face is visible through his helmet as he looks over at Neil Armstrong. 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: https:// www.hq.nasa.gov/alsj/a11/images11.html). Literature: Chaikin, Space, p. 53; Reynolds, pp. 2-3. $800-1,200

210

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203

203 Taken by the Apollo Lunar Surface TV Camera First TV transmission from another world: the astronauts and the flag, Apollo 11, July 1969. Numbered “NASA S-69-39562” in black on the recto u.l. margin, NASA MSC caption on the verso. Vintage gelatin silver print, image size 7 3/8 x 9 1/2 in. (18.5 x 24.0 cm), unmatted. Condition: Crease u.r.

N.B. This image was broadcast to half a billion people on Earth. “Here we were, farther away from the rest of humanity than any humans had ever ventured,” remembered Buzz Aldrin. “Yet in another sense we became inextricably connected to the hundreds of millions watching us from 240,000 miles away. In this moment the world came together in peace for all mankind” (Jacobs, p. 63). $300-500

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211

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left: 204 205

204 Buzz Aldrin (American, b. 1930) The footprint on the Moon, Apollo 11, July 1969. Numbered “AS11-40-5877” in a NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good. N.B. Like the haunting footprints left in caves during the ice age, this impression of Buzz Aldrin’s boot in the fine lunar dust is expected to endure thousands of years into the future, carrying the same message: “We were here” (Reynolds, p. 260). The photograph has come to be regarded as iconic of space exploration. Literature: Chaikin, Space, p. 97; Light, plate 48; Reynolds, p. 261; Hope, p. 21. $800-1,200

205 Buzz Aldrin (American, b. 1930) Astronaut’s boot in lunar soil, Apollo 11, July 1969. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good. N.B. 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,” said Aldrin. “I immediately looked down at my feet and became intrigued with the peculiar properties of the lunar dust” (NASA SP-350, p. 11.4). The NASA negative number is AS11-40-5880. Literature: Reynolds, p. 1. $700-900

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213

206

206 Neil Armstrong (American, 1930-2012) Buzz Aldrin walking on the Moon, Apollo 11, July 1969. Numbered “NASA AS11-40-5902” (NASA MSC) in black on the recto l.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Minor handling creases l.r. N.B. “We felt very comfortable. It was preferable to weightlessness and to the Earth’s gravity,” said Neil Armstrong. According to Aldrin, “With bulky suits on, we seemed to be moving in slow motion” (NASA SP-350, p. 11.4).

207 Neil Armstrong (American, 1930-2012) Buzz Aldrin’s gold-plated sun visor reflects the photographer and the lunar module, Apollo 11, July 1969. Numbered “NASA CS-51768” (NASA Lewis Research Center) in blue ink on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 7/8 x 7 in. (22.9 x 17.5 cm), unmatted, unframed. Condition: Tape remnant along right edge of verso.

Literature: Thomas, p. 196. $700-900

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N.B. “As I walked away from the Eagle lunar module,” remembered Aldrin, “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” (Jacobs, p. 63). The NASA negative number is AS11-40-5903. Literature: Chaikin, Space, p. 95; Thomas, frontispiece; Jacobs, p. 62; Reynolds, p. 145. $1,200-1,800

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215

208

208 Buzz Aldrin (American, b. 1930) The American flag on the Moon, Apollo 11, July 1969. Numbered “NASA AS11-40-5905” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Subtle handling crimp l.c., minor loss at l.r. corner of sheet.

216

N.B. “It’s a great honor and privilege for us to be here, representing not only the United States, but men of peace of all nations. And with interest and a curiosity and a vision for the future,” said Neil Armstrong in an Apollo 11 air-to-ground transmission. Literature: Jacobs, p. 58. $700-900

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209

209 Buzz Aldrin (American, b. 1930) The Lunar Module Eagle on the Moon, Apollo 11, July 1969. Numbered “NASA AS11-405915” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. Eagle: “Houston, Tranquility Base here. The Eagle has landed.” Houston: “Roger, Tranquility, we copy you on the ground. You’ve got a bunch of guys about to turn blue. We’re breathing again. Thanks a lot” (Apollo 11 airto-ground transmission). $500-700

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217

210

210 Neil Armstrong (American, 1930-2012) The Earth over the Lunar Module Eagle, Apollo 11, July 1969. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 5/8 in. (19.2 x 19.2 cm), unmatted. Condition: Good.

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N.B. The first moonwalkers left a plaque on Eagle’s leg bearing the inscription “Here men from the planet Earth first set foot upon the Moon, July, 1969 A.D. We came in peace for all mankind.” Buzz Aldrin recalled “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” (NASA SP-350, p. 11.5). The NASA negative number is AS1140-5924. $500-700

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211

211 Neil Armstrong (American, 1930-2012) Buzz Aldrin at the Lunar Module Eagle, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Crack in the emulsion u.l., wear to corners of sheet.

N.B. Aldrin unloads scientific equipment from the stowage area in the LM’s descent engine. 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. “Our LM was sitting there with its black, silver, and bright yelloworange thermal coating shining brightly in the otherwise colorless landscape,” said Aldrin. “I had seen Neil in his suit thousands of times before, but on the Moon the unnatural whiteness of it seemed unusually brilliant” (NASA SP-350, p. 11.5). The NASA negative number is AS11-40-5931. $400-600

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219

212 Neil Armstrong (American, 1930-2012) Two views of Buzz Aldrin transporting scientific equipment in the Moon’s one sixth gravity, Apollo 11, July 1969. NASA MSC captions numbered “AS11-40-5942” and “AS11-40-5945,” respectively, on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Minor chemical inconsistencies to left of figure in vertical image. N.B. “When you move, the combination of the restriction of the suit and the gravity, you just wait to be brought down to the surface...,” said Aldrin. “You’ve got a lot of time, which means that time slowed down, which gives you this sensation of slow-motion” (Chaikin, Voices, p. 72). The scientific experiments had to be deployed far away enough so that they would not be damaged by the ascent stage rocket when the Eagle lifted off. Aldrin had to maneuver through an area covered with fragments of broken rock to find a level spot. He first set up the Laser Ranging Retroreflector, about 14 meters south-southwest of the LM. Second was the Passive Seismic Experiment, which was set up a bit farther out from the LM. The last experiment, the Lunar Dust Detector, was mounted on the Passive Seismic Experiment (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_11/surface_opp/). Literature: Thomas, p. 199; Light, plate 50 (first image); Jacobs, p. 58 (second image). $600-800

212

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213

213 Neil Armstrong (American, 1930-2012) Buzz Aldrin in front of Tranquility Base, Apollo 11, July 1969. Stamped “65840-69” on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Subtle scratches l.l.

N.B. In one of the rare “tourist” moments on the Moon, Armstrong called out to Aldrin to take his portrait: “There you go. Good work; good show. Hey, whoa; stop, stop! Back up” (Apollo 11 air-to-ground transmission). Aldrin is standing next to the seismometer; the Laser Ranging Retroreflector is behind him. The TV camera and the LM Eagle are in the background. Armstrong took this photograph after the astronauts had deployed the lunar-science station near the landing site, also called the EASEP (Early Apollo Surface Experiments Package) site. “There were a lot of things to do, and we had a hard time getting them finished. We had very little trouble, much less trouble than expected, on the surface. It was a pleasant operation.

Temperatures weren’t high. They were very comfortable. 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,” remembered Armstrong (NASA SP-350, p. 11.5). The NASA negative number is AS11-40-5947. $500-700

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221

214

214 Neil Armstrong (American, 1930-2012) Buzz Aldrin looks back at Tranquility Base, Apollo 11, July 1969. Numbered “NASA AS11-40-5948” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. Aldrin observes the landing site from the lunar-science station (EASEP site): “The disappearing of the horizon, it is distinct. There’s no haze, no nothing obscuring it, and that makes distant objects appear clear, very clear. And then there’s the rock, and then there’s nothing. You look out and you see that. Whether you realize it or not, you’re looking at the edge of a ball, and you’re on it. And that sensation was clear as distinctly different than on Earth. It is curving away. Not that it just grabs you immediately that you’re on the knoll of a hill, it’s not that; it’s more than that, but a little bit of intellect and a little bit of everything says, Gee, this is really obvious that it is a sphere that we’re walking on” (Chaikin, Voices, p. 66). Literature: Thomas, pp. 202-03; Hope, p. 28. $500-700

222

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215 Neil Armstrong (American, 1930-2012) Two views of Buzz Aldrin at the lunar-science station (Early Apollo Surface Experiments Package site) on the Sea of Tranquility, Apollo 11, July 1969. The first stamped “AS11 5949” (NASA MSC) on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Crease and possible repair at l.r. corner of vertical sheet. N.B. Each Apollo mission deployed a lunarscience station near the landing site. Apollo 11’s was called the Early Apollo Surface Experiments Package (EASEP) site and deployed 15 meters south of the LM Eagle. The first wide-angle photograph shows Aldrin between the seismometer and the Laser Ranging Retroreflector with the LM, the American flag, and the TV camera that recorded the EVA in the background. The second photograph is a close-up of Aldrin with the seismometer. The reflection of the photographer Neil Armstrong and also Aldrin’s face can be seen in his gold-plated visor. The NASA negative numbers are AS11-40-5949 and AS11-40-5951. Literature: Jacobs, p. 59 (second image). $600-800

215

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223

216

216 Neil Armstrong (American, 1930-2012) Little West Crater on the Sea of Tranquility, Apollo 11, July 1969. Numbered “NASA AS11-40-5954” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

224

N.B. Shortly before entering the LM, Armstrong walked back about 200 feet eastward to photograph the interior of a crater several feet deep and about 80 feet across that he noted during descent (NASA SP-214, p. 29). Aldrin “was struck by the contrast between the starkness of the shadows and the desert-like barrenness of the rest of the surface” (NASA SP-350, p. 11.5). $400-600

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217

217 Neil Armstrong (American, 1930-2012) The photographer’s shadow on the lunar surface, Apollo 11, July 1969. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 x 8 in. (20.3 x 20.3 cm), unmatted. Condition: Good.

N.B. Armstrong photographed his shadow on the bright lunar surface and the LM standing at Tranquility Base from the rim of Little West Crater. “The Moon has the same reflective power as an asphalt parking lot, but the Sun shines so brightly on the moondust that the Moon appears as a bright orb from Earth and a blinding desert on its surface. The glare makes it impossible to see the stars in the black lunar sky” (Reynolds, p. 179). The NASA negative number is AS11-40-5961. Literature: Jacobs, p. 57. $400-600

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225

218

218 Neil Armstrong (American, 1930-2012) Buzz Aldrin on the lunar surface before the return inside the Lunar Module Eagle, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 7 5/8 in. (19.5 x 19.2 cm), unmatted. Condition: Good. N.B. In one of the last tasks of the EVA, Buzz Aldrin takes core samples of the lunar surface. The Solar Wind Collector is just beyond the core tube and the TV camera is at the extreme left.

226

During this first visit to the Moon, the astronauts remained within about 100 meters of the LM, collected about 47 pounds of samples, and deployed four experiments. After spending approximately 2 hours and 31 minutes on the surface, the astronauts ended the EVA at 1:11:13 a.m. EDT on July 21 (http://www.lpi.usra.edu/lunar/missions/ apollo/apollo_11/surface_opp/). “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,” believed Armstrong (Chaikin, Voices, p. 73). The NASA negative number is AS11-40-5963. Literature: Thomas, p. 198; Jacobs, p. 58. $400-600

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219

219 Neil Armstrong (American, 1930-2012) or Buzz Aldrin (American, b. 1930) Shadow of the Lunar Module Eagle and footprints left at Tranquility Base, Apollo 11, July 1969. Numbered “NASA AS11-37-5505” (NASA MSC) in black on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 5/8 in. (18.0 x 19.2 cm), unmatted. Condition: Minor wear at u.r. corner.

N.B. The photograph was taken from inside the LM after the EVA and shows the simplest marks of man’s first visit, footprints in the fine Moon dust and the shadow of the spacecraft. In his acceptance speech for the Medal of Freedom (August 13, 1969), Buzz Aldrin noted that “There are footprints on the moon. Those footprints belong to each and every one of you, to all mankind. They are there because of the blood, sweat, and tears of millions of people. Those footprints are the symbol of true human spirit.” Literature: Thomas, pp. 204-05. $300-500

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227

220

220 Buzz Aldrin (American, b. 1930) Neil Armstrong in the Lunar Module Eagle after the historic moonwalk, Apollo 11, July 1969. Numbered “NASA AS11-37-5528” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. Aldrin took very few photographs of Armstrong on the lunar surface but this image of him back in the LM after the moonwalk is the first “helmet-free” photograph of a man on the moon. Armstrong wears a grin as he talks into a microphone to Houston. Houston: “We would like to say from all of us down here... that you have done a fantastic job up there today.” Eagle: “Thank you very much. It has been a long day” (Apollo 11 air-to-ground transmission). Literature: Thomas, p. 209; Reynolds, p. 146. $500-700

228

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221

221 Neil Armstrong (American, 1930-2012) or Buzz Aldrin (American, b. 1930) The view from Eagle’s window before lunar takeoff, Apollo 11, July 1969. Stamped “AS11 5545” (NASA MSC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 7 5/8 in. (19.2 x 19.2 cm), unmatted. Condition: Good. N.B. Surrounded by footprints left by the first men to walk upon the Moon, the American flag stands on the surface of the Sea of Tranquility.

“Distances on the lunar surface are deceiving. A large boulder field located north of the LM did not appear to be too far away when viewed from the cockpit. However, on the surface we did not come close to this field, although we traversed about 100 feet toward it. The flag, the television camera, and the experiments, although deployed a reasonable distance away from the LM and deployed according to plan, appeared to be immediately outside the window when viewed from the LM cockpit” (Apollo 11 crew observations, NASA SP-214). This photograph was featured on the cover of Life magazine in August 1969. The NASA negative number is AS11-37-5545. $400-600

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229

222

222 Michael Collins (American, b. 1930) The forbidding lunar farside, Apollo 11, July 1969. Numbered “NASA AS11-44-6609” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 1/8 in. (17.5 x 18.0 cm), unmatted. Condition: Good.

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N.B. The view shows the lunarscape at the center 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,” said Collins. “I sensed more almost a hostile place, a scary place” (from the movie In The Shadow of the Moon, 2007). $400-600

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223

223 Michael Collins (American, b. 1930) The Lunar Module Eagle rising from the surface of the Moon, Earth in background, Apollo 11, July 1969. Numbered “NASA AS11-44-6640” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good. N.B. After 21 hours on the surface, the Lunar Module Eagle rose to join pilot Michael Collins in the orbiting Command Spaceship Columbia. As explained by Neil Armstrong,

“This picture captures the essence of the Apollo project, two celestial bodies connected by a human transportation system composed of two very different vehicles. Taken through the window of the Command Module which has the ability to return through the Earth’s atmosphere at very high speeds, this photograph features the ascent stage of the Lunar Module, the only craft to be able to convey crewmen from lunar orbit to the surface of the Moon and return them to orbit around the Moon. As the Lunar Module was unable to return through the Earth’s atmosphere, it was required to rendezvous and dock with the Command Module, where the crew could transfer to the Command Module for the return to their home planet” (Jacobs, p. 65). $700-900

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224

224 Michael Collins (American, b. 1930) Lunar Module Eagle and Earthrise, Apollo 11, July 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 5/8 in. (18.9 x 24.3 cm), unmatted. Condition: Minor creasing or similar at l.l. corner of sheet.

N.B. “Bigger and bigger the LM gets in my window, until finally it nearly fills it completely...,” observed Collins. “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. Too bad Columbia will show up only as a window frame, if at all” (Schick and Van Haaften, p. 74). The NASA negative number is AS11-44-6642. Literature: Thomas, p. 206; Schick and Van Haaften, p. 75; Jacobs, p. 64. $800-1,200

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225

225 Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930) Full Moon seen during the return flight to Earth, Apollo 11, July 1969. Numbered “NASA AS11-44-6665” in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Subtle circular matte area l.c.

N.B. A view of the full Moon never seen before the space age and showing parts of its face hidden to Earth’s viewers as the spacecraft was already 10,000 nautical miles from the Moon. “As the astronauts begin the long fall back to Earth, they have a view of a full Moon centered on a point between Mare Crisium and Mare Fecunditatis. At this moment, people in and around the Pacific Basin on Earth (for example, in Los Angeles) were seeing a half moon” (ALSJ: https://www. hq.nasa.gov/alsj/a11/JK-ApAn-44-6665-67. html). Twenty-four Apollo astronauts were the only men in history to witness such views of the Moon, in a perspective different than from

Earth, from December 1968 to December 1972. “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, heading 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,” said Buzz Aldrin (Chaikin, Voices, p. 119). Literature: Thomas, p. 210. $600-800

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226 right: 227

226 Robert Madden (American, 20th Century) Back from another world, Apollo 11, July 1969. NASA KSC caption numbered “69-H1203” on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Subtle handling crimp u.l., minor wear at corners of sheet.

227 Ralph Morse (American, 1917-2014) Apollo 11 lifts off on its historic flight to the Moon, July 16, 1969. Large-format vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 14 x 10 1/2 in. (35.5 x 26.5 cm), unmatted. Condition: Minor wear at corners of sheet.

N.B. Robert Madden for National Geographic pictured the smiling Apollo 11 astronauts speaking with President Nixon after splashdown. “Aglow with triumph, the lunanauts greet the world from the quarantine trailer on Hornet. They wear the NASA insignia and an Apollo 11 emblem depicting an eagle bearing an olive branch—symbol of peace—to the moon” (National Geographic, December 1969, pp. 786-87). Buzz Aldrin noted that “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” (from a TV broadcast on the way back from the Moon).

N.B. “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,” said Morse. “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 minusfour seconds the camera started shooting something like ten frames per second” (Time magazine, July 1, 2014, http://time. com/3880305/apollo-11-photos-of-whatliftoff-looked-like/).

Literature: National Geographic, December 1969, pp. 786-87. $300-500

Literature: Thomas, p. 184. $1,000-1,500

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228

228 Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930) The Earth, Apollo 11, July 1969. Large-format vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 13 7/8 x 11 in. (35.0 x 27.8 cm), unmatted. Condition: Good.

N.B. “Houston, Apollo 11...I’ve got the world in my window,” exclaimed Michael Collins in an Apollo 11 air-to-ground transmission. After the mission, he wrote: “There is but one Earth, tiny and fragile, and one must be 100,000 miles away from it to appreciate fully one’s good fortune in living in it. If I could use only one word to describe the Earth as seen from the Moon, I would ignore both its size and color and search for a more elemental quality, that of fragility. The Earth appears ‘fragile,’ above all else. I don’t know why but it does” (Collins, p. 471). The NASA negative number is AS11-36-5355. Literature: Thomas, p. 211. $3,000-5,000

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229

229 Neil Armstrong (American, 1930-2012) Buzz Aldrin prior to becoming the second human being to set foot upon the Moon, Apollo 11, July 1969. Large-format vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 13 1/2 x 10 5/8 in. (34.1 x 26.8 cm), unmatted. Condition: Possible color shifting/yellowing.

N.B. “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 (NASA SP-350, p. 11.4). The NASA negative number is AS11-40-5868. Literature: Thomas, p. 193; Jacobs, p. 56; Reynolds, p. 144. $3,000-5,000

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237

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230 Neil Armstrong (American, 1930-2012) Buzz Aldrin and the American flag on the Sea of Tranquility, Apollo 11, July 1969. Largeformat vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 13 7/8 in. (27.8 x 35.0 cm), unmatted. Condition: Cracks in the emulsion at the sheet corners.

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N.B. In one of the 20th century’s most iconic images, Aldrin saluted the American flag, stiffened with wire so it would “wave” on the windless plain. The NASA negative number is AS11-40-5875. Literature: Chaikin, Space, p. 53; Reynolds, pp. 2-3. $4,000-6,000

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231

231 Neil Armstrong (American, 1930-2012) Buzz Aldrin walks on the Moon, Apollo 11, July 1969. Large-format vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image/ sheet size 10 1/2 x 13 3/4 in. (26.5 x 34.8 cm), unmatted. Condition: Subtle cracks in the emulsion at the corners.

N.B. 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. The NASA negative number is AS11-40-5902. Literature: Thomas, p. 196. $3,000-5,000

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left: 232; above: 233

232 Neil Armstrong (American, 1930-2012) Buzz Aldrin with the photographer and the Lunar Module reflected in his gold-plated visor, Apollo 11, July 1969. Numbered “AS11-405903” in a U.S. Army caption on the verso. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 13 1/2 x 10 5/8 in. (34.1 x 26.8 cm), unmatted. Condition: Good. N.B. A “Man on the Moon,” the legendary image: “What you remember of the lunar surface is more having looked at the picture over and over again, and looked and studied it. I remember more about what the Moon’s about because of the photographs we took that I look back on, that give me a better recollection of it than is up there (points to his head),” recalled Aldrin (Chaikin, Voices, p. 178).

233 Neil Armstrong (American, 1930-2012) Buzz Aldrin surveys the Tranquility Base landing site, Apollo 11, July 1969. Largeformat vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 10 7/8 x 13 7/8 in. (27.5 x 35.0 cm), unmatted. Condition: Cracks in the emulsion at sheet corners, subtle handling creases l.l. N.B. “In my own view, the important achievement of Apollo was a demonstration that humanity is not forever chained to this planet, and our visions go rather further than that, and our opportunities are unlimited,” Armstrong said in a rare public appearance to mark the 30th anniversary of the Moon landing. The NASA negative number is AS1140-5948. Literature: Thomas, pp. 202-03; Hope, p. 18. $2,000-3,000

Literature: Chaikin, Space, p. 95; Thomas, frontispiece; Jacobs, p. 62; Reynolds, p. 145. $5,000-7,000

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234 Michael Collins (American, b. 1930) Lunar Module Eagle and Earthrise, Apollo 11, July 1969. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Cracks in the emulsion at the sheet corners, subtle handling creases l.l. N.B. On Apollo 11, Michael Collins became the only person in history to capture a photograph showing every human being in the universe (including the two astronauts in Eagle) except himself. He recalled: “Little by little, they grew closer, steady, as if on rails, and I thought ‘What a beautiful sight,’ one that had to be recorded. As I reached for my Hasselblad, suddenly the Earth popped up over the horizon, directly behind Eagle.

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I could not have staged it any better, but the alignment was not of my doing, just a happy coincidence. I suspect a lot of good photography is like that, some serendipitous happenstance beyond the control of the photographer. 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” (Jacobs, p. 65). The NASA negative number is AS1144-6642. Literature: Thomas, p. 206. $4,000-6,000

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Apollo 12: November 1969

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235 Unidentified Photographer Portrait of the crew, Apollo 12, November 1969. Stamped “D4C 70805” on the verso u.r., McDonnell stamp on the verso u.l. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 10 1/2 x 8 1/8 in. (26.5 x 20.5 cm), unmatted. Condition: Minor wear at u.l. corner of sheet.

N.B. From left to right: Pete Conrad, Richard Gordon, and Alan Bean. “Our second journey to the Moon,” wrote NASA administrator Thomas Paine, “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” (NASA SP-242). $200-400

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236 Unidentified Photographer Two views of Alan Bean and Pete Conrad practicing lunar surface activities at Cape Canaveral, Apollo 12, October 1969. NASA KSC captions on the verso. Vintage chromogenic prints on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image sizes to 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Minor cracks and wear at several corners of sheets. 236

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N.B. The astronauts would spend 7 hours and 37 minutes on the lunar surface, nearly three times as long as the time spent by the crew of Apollo 11. $400-600

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237 Richard Gordon (American, b. 1929) Streaked window, Command Module Yankee Clipper, Apollo 12, November 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 1/8 in. (19.8 x 18.0 cm), unmatted. Condition: Minor creases at corners of sheet.

N.B. “The condensation inside the glass window of the hatch was due to a design flaw which was corrected on later flights” (Light, caption 113). “Spaceflights were often reconnaissance missions and dirty portholes could make that job impossible,” noted author Jeffrey Kluger. “Gas trapped between layers of glass or moisture picked up on the way out of the atmosphere could make windows impossible to use, though the fogging or streaking would often clear up as the sun warmed the spacecraft skin. The public saw only the pretty pictures shot through clear windows, but here the Apollo 12 crew took a shot to show NASA the challenges they faced” (http://time.com/unseen-apollo/). The NASA negative number is AS12-50-7369. Literature: Schick and Van Haaften, p. 83; Light, plate 113. $400-600

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245

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238 Richard Gordon (American, b. 1929), Pete Conrad (American, 1930-1999), or Alan Bean (American, b. 1932) Lunar sunset from orbit, Apollo 12, November 1969. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 7/8 x 7 1/8 in. (19.8 x 18.0 cm), unmatted. Condition: Good.

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N.B. This photograph was taken over crater Gambart at the terminator (the boundary between day and night on the Moon). “If you look down at the Moon, it doesn’t look that rugged until you get over near where the terminator is,” observed Alan Bean. “It’s only when it gets in these long shadows, and the shadows start making these jagged lines, that you can see how rugged the Moon is. When you’re like, at noon, hell, everything just looks like flat craters” (Chaikin, Voices, p. 39). The NASA negative number is AS12-50-7437. $400-600

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239

239 Pete Conrad (American, 1930-1999) or Alan Bean (American, b. 1932) The lunar horizon illuminated by low sunlight, Apollo 12, November 1969. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 3/4 x 7 3/4 in. (24.6 x 19.5 cm), unmatted. Condition: Good.

N.B. A low sun gives an auburn hue to the lunar surface and throws physical features into sharp relief in this dramatic photograph taken from the LM Intrepid while it was still docked with the CSM Yankee Clipper prior to landing. Near the horizon is the crater Copernicus, measuring 56 miles from rim to rim. In the foreground is Reinhold with Reinhold B behind (Thomas, p. 227). “Boy, oh boy, Houston. Do we have a fantastic view of Copernicus,” marveled Charles Conrad (Apollo 12 air-to-ground transmission). The NASA negative number is AS12-47-6876. Literature: Thomas, p. 226; Mason, p. 180. $400-600

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240 Richard Gordon (American, b. 1929) The Lunar Module Intrepid heading for the Ocean of Storms landing site, Apollo 12, November 1969. Numbered “NASA AS1251-7507” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good. N.B. The LM is above the floor of the giant crater Ptolemaeus in this westward-looking oblique. The LM appears to be close to the surface, even though it is some 60 nautical miles high. This was one of Gordon’s last views of the LM as he began his one and a half day of solo flight around the Moon (NASA SP-235).

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“I made a small burn with the Command Module which allowed for separation from the LM, so we wouldn’t collide later on. As I was drifting away,” recalled Gordon, “I grabbed the Hasselblad and took some pictures out the window. It was simply a matter of pointing the nose of the spacecraft at the lunar module” (Schick and Van Haaften, p. 80). Literature: Light, p. 43; Chaikin, Voices, p. 50; Schick and Van Haaften, p. 80. $500-700

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241 Pete Conrad (American, 1930-1999) or Alan Bean (American, b. 1932) Crescent Earthrise, Apollo 12, November 1969. Vintage chromogenic print on resincoated Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 8 x 8 in. (20.3 x 20.3 cm), unmatted. Condition: Good.

N.B. This remarkable view was photographed from the Lunar Module 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,” observed Charles Conrad. “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” (Schick and Van Haaften, p. 40). The NASA negative number is AS12-47-6871. Literature: Thomas, cover. $600-800

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249

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242 Pete Conrad (American, 1930-1999) Alan Bean taking his first step on the Moon’s Ocean of Storms, EVA 1, Apollo 12, November 1969. Numbered “NASA G70-3844” (NASA Goddard) in black on the recto l.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 1/2 in. (18.9 x 18.9 cm), unmatted. Condition: Good.

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N.B. Pete Conrad’s first words on the Moon: “Man, that may have been a small one for Neil, but that’s a long one for me.” The NASA negative number is AS12-46-6729. Literature: Chaikin, Voices, p. 65. $400-600

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243 Alan Bean (American, b. 1932) Pete Conrad holding the American flag on the Ocean of Storms, EVA 1, Apollo 12, November 1969. NASA HQ caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), unmatted. Condition: Good.

N.B. 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 backdrop (NASA SP-235). “You can see that I was holding the flag up,” pointed out Conrad. “Because, if you look at the rest of the pictures [of the mission], it hangs straight down, because the little pin up broke” (ALSJ: https:// www.hq.nasa.gov/alsj/a12/a12.eva1prelim. html). The NASA negative number is AS1247-6897. Literature: Hope, p. 24; Jacobs, p. 74. $500-700

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244 Pete Conrad (American, 1930-1999) Alan Bean taking a picture of the photographer, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on fiberbased Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Minor handling crimps u.c. N.B. Alan Bean is shown photographing Conrad from the Solar Wind Collector site which was about 150 meters west of the LM. The NASA negative number is AS12-46-6736. $300-500

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245 Pete Conrad (American, 1930-1999) The Sun illuminates the American flag on the lunar surface, EVA 1, Apollo 12, November 1969. Numbered “NASA AS12-46-6738” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. The S-band antenna is in the sun glare. According to author Jeffrey Kluger, “The 12 men who walked on the moon had to reckon with a problem no photographers in history ever had before: how to manage sunlight that streams straight to the camera with no intervening atmosphere to soften and color it” (http://time.com/unseen-apollo/). $400-600

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246 Pete Conrad (American, 1930-1999) Re-photographed 4 o’clock and 8 o’clock panoramas of the landing site near the Lunar Module Intrepid, EVA 1, Apollo 12, November 1969. Numbered “NASA S-70-24449” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, sheet size 8 x 10 in. (20.9 x 25.3 cm), unmatted. Condition: Good.

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N.B. These rare panoramic views were assembled from 8 x 10 inch prints by the Mapping Sciences Laboratory at the Manned Spacecraft Center in Houston and then photographed for use by scientists. Pete Conrad walked a short way down into Surveyor Crater to take the first panorama of the landing site (top). It is known as the 8 o’clock panorama because it was taken from the 8 o’clock position relative to the LM’s front hatch which was at 12 o’clock. Alan Bean is seen photographing the footpad of the LM. Conrad took the second panorama (bottom), facing the 4 o’clock side of the LM, from a spot close to the TV camera.

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It shows Bean inspecting the LM; the S-band antenna; Conrad’s shadow; the American flag; and the TV camera, which like many Apollo artifacts, remains on the surface. This pan really shows just how precise the landing was, being just a few feet from the edge of the target crater (Constantine, pp. 32-36). The NASA negative numbers are AS12-46-6764 to AS12-46-6782 and AS12-46-6746 to AS1246-6763. $500-700

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247 Pete Conrad (American, 1930-1999) Alan Bean and lunar footprints leading to the burn-out TV camera, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 9 5/8 x 7 5/8 in. (24.3 x 19.2 cm), unmatted. Condition: Good.

N.B. Live television coverage was unfortunately lost early in the mission when Bean accidentally pointed the TV camera at the sun during transfer from the LM. Thus the Hasselblad photographs taken by the crew are the only visual records of their lunar surface activities. Here, Bean is shown taking close-up photographs of the LM Intrepid (not visible in the image). The NASA negative number is AS12-46-6780. Literature: Jacobs, p. 75. $400-600

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248 Alan Bean (American, b. 1932) Two close-ups of the descent engine bell of the Lunar Module Intrepid, EVA 1 and EVA 2, Apollo 12, November 1969. The first numbered “NASA AS12-47-6910” (NASA MSC) in red on the recto u.l. margin; the second with a NASA HQ caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, and vintage gelatin silver print, image sizes to 7 5/8 x 7 3/4 in. (19.2 x 19.5 cm), unmatted. Condition: Minor wear at corners of gelatin silver print. N.B. Bean took the first color photograph during EVA 1 and the second black and white image at the beginning of EVA 2 to document the effects of lunar landing on both the descent stage and the lunar surface. 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 SP-350, p. 12.2). The NASA negative number for the gelatin silver print is AS12-48-7034. Literature: Light, plate 52 (second image). $400-600 248

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249

249 Alan Bean (American, b. 1932) Close-up of Pete Conrad with the reflection of the Lunar Module in his visor, EVA 1, Apollo 12, November 1969. Numbered “NASA AS12-47-6913” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good. N.B. Conrad is using a lanyard to pull the scientific experiment packages out of the LM bay on a rail. His Hasselblad camera is mounted on his chest. Literature: Schick and Van Haaften, p. 45. $400-600

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250 Pete Conrad (American, 1930-1999) Alan Bean and the Lunar Module Intrepid, EVA 1, Apollo 12, November 1969. Numbered “NASA AS12-46-6787” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

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N.B. “The Lunar Module seemed much larger sitting on the Moon than I had imagined,” recalled Bean. “All alone, it seemed like a house, with Pete and I working and playing all around it. When I think about it now, it was the only ‘house’ for 239,000 miles” (Constantine, p. 37). $400-600

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251 Pete Conrad (American, 1930-1999) Two views of Alan Bean unpacking equipment from the Lunar Module Intrepid, EVA 1, Apollo 12, November 1969. Numbered “NASA AS12-46-6789” and “NASA AS12-46-6791” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Minor wear to several corners of sheet. N.B. The astronauts had to remove the Apollo Lunar Scientific Equipment Package (ALSEP) from the stowage areas on the descent stage of the LM. It was in two sub-packages that were folded up or collapsed for more compact storage (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_12/surface_opp/). The deployment of the ALSEP was one of the major tasks of the first EVA period; it was deployed on every lunar landing mission. $600-800 251

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259

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252 Pete Conrad (American, 1930-1999) Alan Bean transports scientific equipment on the Ocean of Storms, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 8 x 8 in. (20.3 x 20.3 cm), unmatted. Condition: Paper hinge remnants on the verso at upper corners.

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N.B. Alan Bean is using a “barbell” carry to take the Apollo Lunar Scientific Equipment Package (ALSEP) to its deployment site, the lunar-science station (also called ALSEP site). The experiments were deployed at a distance of about 425 feet from the LM which is visible with the S-band antenna behind Alan Bean. “Up there, with the suit on... You just couldn’t take that big a leap. Not that you weren’t physically capable of doing it as those weights, but you were going to wind up on your head or your back or your side or something,” noted Pete Conrad (Chaikin, Voices, p. 72). The NASA negative number is AS12-46-6807. $400-600

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253 Pete Conrad (American, 1930-1999) Alan Bean deploying scientific experiments on the lunar surface, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Subtle circular matte area c.l.

N.B. The magnometer and Conrad’s shadow are in the foreground. “That is the Moon exploration. You’re trying to plant these little experiments, which, at the 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,” said Bean. “And so you’re really not doing anything so, more than, like, housekeeping, almost” (Chaikin, Voices, p. 77). The NASA negative number is AS12-47-6919. $400-600

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261

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254 Pete Conrad (American, 1930-1999) Bluish halo around Alan Bean at the lunarscience station, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), unmatted. Condition: Fingerprint u.l.

N.B. “Everybody was trying to figure out what that aura was,” explained Pete Conrad. “Neither Al or I remember seeing the other guy putting the stuff out, but the film picked it up. The conclusion was that the halos were watervapor ice crystals coming out of the water boilers on our backpacks” (Schick and Van Haften, p. 47). In fact, the blue glow around Bean was due to a dust smudge on the center of the lens (ALSJ: https://www.hq.nasa.gov/ alsj/a12/a12.html). This photograph was on the cover of Life, December 12, 1969. The NASA negative number is AS12-46-6826. Literature: Light, plate 55; Schick and Van Haaften, p. 47; Thomas, p. 260. $400-600

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255 Alan Bean (American, b. 1932) The Lunar Module Intrepid seen from the lunar-science station, EVA 1, Apollo 12, November 1969. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Possible color shifting.

N.B. The ALSEP central station in the foreground is approximately 600 feet from the LM. The magnetometer to the right and the passive seismometer to the left are clearly visible. Only a small part of the rim of Surveyor Crater, which is located behind the LM, can be seen at this distance (NASA SP-235). The NASA negative number is AS12-47-6928. Literature: Chaikin, Voices, p. 76. $400-600

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256 Alan Bean (American, b. 1932) Pete Conrad working at the Lunar Module, EVA 1, Apollo 12, November 1969. Numbered “NASA AS12-47-6988” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. On the right, the dish antenna was used for communicating with Earth. “Both of us really enjoyed working on the surface; we took a lot of kidding later about the way we reacted. But it was exciting; there we were, the third and fourth people on the Moon, doing what we were supposed to do, what we had planned to do, and keeping within schedule. Add to that the excitement of just being there, and I think we could be forgiven for reacting with enthusiasm,” recalled Pete Conrad (NASA SP-350, p. 12.2). Literature: Jacobs, p. 77. $400-600

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257 Pete Conrad (American, 1930-1999) or Alan Bean (American, b. 1932) Re-photographed panoramic view of the Ocean of Storms landing site seen from the Lunar Module window after the first moonwalk, Apollo 12, November 1969. Numbered “NASA S-70-24452” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, sheet size 8 x 10 in. (20.9 x 25.3 cm), unmatted. Condition: Minor crease to u.l. corner of sheet.

N.B. This rare panoramic view was assembled from 8 x 10 inch prints numbered AS12-47-7012 to AS12-47-7015 by the Mapping Sciences Laboratory at the Manned Spacecraft Center in Houston and then photographed for use by scientists. The lunarscience experiments station (ALSEP site) is visible in the distance. $400-600

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258 Pete Conrad (American, 1930-1999) Re-photographed panorama of Sharp Crater with the astronaut’s shadow in the foreground, EVA 2, Apollo 12, November 1969. Numbered “NASA S-70-24305” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, sheet size 8 x 10 in. (20.9 x 25.3 cm), unmatted. Condition: Minor crease to u.r. corner. N.B. This rare panoramic view was assembled from 8 x 10 inch prints numbered AS12-49-7271 to AS12-49-7275 by the Mapping Sciences Laboratory at the Manned Spacecraft Center in Houston and then photographed for use by scientists. EVA-2 was a long, circular geology walk that took the crew first around the west side of Head Crater, and then southwest to a small, fresh impact feature called Sharp Crater, about 400 meters southwest of the LM.

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From there, they would walk east to a point on the southern rim of Surveyor Crater opposite the LM, and then make their way down to the Surveyor itself before climbing back up to the LM (ALSJ: https://www.hq.nasa.gov/alsj/ a12/a12.html). “The craters are hard to see,” noted Alan Bean. “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” (Chaikin, Voices, p. 73). $500-700

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259 Pete Conrad (American, 1930-1999) Alan Bean with the reflection of the photographer in his visor, EVA 2, Apollo 12, November 1969. Numbered “NASA AS1249-7278” (NASA MSC) in black ink on the recto u.l. margin. Vintage gelatin silver print, image size 7 3/8 x 7 1/4 in. (18.5 x 18.3 cm), unmatted. Condition: Good.

N.B. Pete Conrad took this photograph near Sharp Crater. His full body is reflected in sharp detail in Alan Bean’s visor in this celebrated picture that has also been described as the first self-portrait on the Moon (https://apod. nasa.gov/apod/ap060121.html).

“That’s when it would really hit me that we were on the Moon. And I would say, This is the Moon; that’s the Earth. I’m really here. And then I would say, I’ve got to quit doing this... because when I’m doing this, I’m not looking for rocks” (Chaikin, Voices, p. 99).

Alan Bean holds a container of lunar soil in his right hand. His Hasselblad camera is mounted on the control unit on his chest. “I can remember running along and looking up at the Earth,” noted Bean.

Literature: Light, plate 69; Schick and Van Haaften, p. 46; Hope, p. 21; Jacobs, p. 14. $700-900

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260 Alan Bean (American, b. 1932) and Pete Conrad (American, 1930-1999) Re-photographed panoramic views at Halo Crater and Triple Craters, EVA 2, Apollo 12, November 1969. Numbered “NASA S-7024310” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, sheet size 8 x 10 in. (20.9 x 25.3 cm), unmatted. Condition: Minor wear to l.l. corner of sheet.

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N.B. These rare panoramic views were assembled from 8 x 10 inch prints numbered AS12-49-7293 to AS12-49-7304 and AS12-49-7201 to AS12-49-7207 by the Mapping Sciences Laboratory at the Manned Spacecraft Center in Houston and then photographed for use by scientists. The Sun illuminates the lunar surface near Halo Crater in a scene captured by Alan Bean during the last stop before arriving at the location of Surveyor 3 (top). The shadow of the photographer Pete Conrad appears in the lunar landscape, captured during the EVA’s first stop at the Triple Craters location just west of Head Crater (bottom). $400-600

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261 Alan Bean (American, b. 1932) Pete Conrad standing on the rim of Surveyor Crater, EVA 2, Apollo 12, November 1969. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 5/8 x 8 1/8 in. (19.2 x 20.5 cm), unmatted. Condition: Minor wear to corners.

N.B. “The Hand Tool Carrier (HTC) is forward of Conrad’s left foot. He is holding a scoop in his right hand. As Conrad and Bean were on the subtle rim of Surveyor Crater, they found that, like the ground near the LM, the soil was well compacted. There were only a few small rocks in evidence and on the inner slopes, the soil was just as dark as on the surrounding plain. Based on their observations from the first EVA, the astronauts expected that the footing would remain good as they would descend into the crater to visit Surveyor 3 in the climax of the Apollo 12 mission” (ALSJ: https://www.hq.nasa.gov/alsj/a12/a12.html). The NASA negative number is AS12-49-7318. Literature: Chaikin, Voices, pp. 162-63. $400-600

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262 Alan Bean (American, b. 1932) Wide-angle view of Surveyor Crater with the robot spacecraft and the Lunar Module, EVA 2, Apollo 12, November 1969. Numbered “NASA AS12-48-7090” (NASA MSC) in black on the recto u.l. margin, NASA MSC caption on the verso. Vintage gelatin silver print, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Minor wear to u.r. corner of sheet.

270

N.B. “We finally reached the Surveyor Crater. I was surprised by its size and its hard surface,” recalled Pete Conrad. “We could have landed right there, I believe now, but it would have been a scary thing at the time. The Surveyor was covered with a coating of fine dust, and it looked tan or even brown in the lunar light, instead of the glistening white that it was when it left Earth more than two years earlier. It was decided later that the dust was kicked up by our descent onto the surface, even though we were 600 feet away” (NASA SP-350, p. 12.3). $300-500

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263 Alan Bean (American, b. 1932) Two photographs of the Surveyor 3 robot spacecraft standing on the lunar surface and its footprint in lunar soil, EVA 2, Apollo 12, November 1969. The first numbered “NASA AS12-48-7121” (NASA MSC) in black on the recto u.r. margin, NASA MSC caption on the verso; the second with a NASA HQ caption on the verso. Vintage gelatin silver prints, image sizes to 7 5/8 x 7 3/4 in. (19.2 x 19.5 cm), unmatted. Condition: Subtle scratch in first print u.l.; minor creases in sheet corners of the second.

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N.B. “Apollo 12’s assignment was to land the LM near the location of Surveyor 3, a picture-taking robot that had landed in the so-called Surveyor Crater thirty months earlier. It was a golden opportunity for NASA engineers to examine spacecraft parts which had been exposed to lunar conditions for a relatively long period of time, information which would someday be of use in designing space stations and lunar bases. Conrad and Bean spent forty minutes to examine the robot spacecraft and the marks it had made when it landed. The Surveyor had 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” (ALSJ: https://www.hq.nasa.gov/alsj/ a12/a12.html). The NASA negative number of the second photograph is AS12-48-7110. $300-500

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271

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264 Alan Bean (American, b. 1932) Pete Conrad examining the Surveyor 3 robot spacecraft, EVA 2, Apollo 12, November 1969. Numbered “NASA AS1248-7134” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor creases to l.l. corner of sheet, handling crimp u.r.

N.B. After Conrad’s suggestion to take some tourist photos of each other standing in front of the Surveyor, Alan Bean captured him “jiggling” the spacecraft to see if it was firmly planted. The LM Intrepid is in the background. “This image is symbolic of our mission,” noted Richard Gordon. “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” (Jacobs, p. 77). Literature: Schick and Van Haaften, p. 102; Chaikin, Space, p. 105; Thomas, p. 259; Jacobs, p. 76. $400-600

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265 Richard Gordon (American, b. 1929), Pete Conrad (American, 1930-1999), or Alan Bean (American, b. 1932) Eclipse of the Sun by the Earth, Apollo 12, November 1969. Numbered “NASA AS12-53-7934” (NASA MSC) in black on the recto l.r. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Scattered subtle handling crimps. N.B. This dramatic view was taken on the journey home from the Moon when the Earth moved directly between the Sun and the spacecraft. Depicted is a scene only visible in space, and which the Apollo 12 astronauts were the only humans to witness. “Now, we saw an eclipse coming back on Apollo 12, which nobody else had experienced before,” remembered Richard Gordon.

“It was a beautiful sight. It was very, very impressive. It looked like a damn diamond ring... We were pretty close to the Earth for the eclipse, so it was pretty good size, but only a very small crescent of the atmosphere was illuminated, and then the Sun kind of... went behind the Earth, and then came back out around the corner again... The Earth was totally black; we couldn’t see a damn thing on the Earth. Just black, I mean, nothing was illuminating it. There was the black of space, the black of the Earth that you couldn’t distinguish anything on, and then we saw a little crescent of atmosphere...” (Chaikin, Space, p. 126). Literature: Light, plate 108 (variant). $500-700

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273

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266 Alan Bean (American, b. 1932) Pete Conrad and the American flag on the Ocean of Storms, Apollo 12, November 1969. Numbered “NASA AS12-47-6896” and with a U.S. Army caption on the verso. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 13 1/2 x 10 5/8 in. (34.0 x 26.8 cm), unmatted. Condition: Minor discoloration on the verso.

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N.B. “I’ve always thought those 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,” said Pete Conrad (Schick and Van Haaften, p. 40). Literature: Hope, p. 24; Jacobs, p. 74. $2,000-3,000

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Apollo 13: April 1970

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267 Unidentified Photographer Official portrait of the crew, Apollo 13, February 1970. Numbered “NASA S-7036485” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Minor crease l.r. corner; subtle circular matte areas c.l. and right edge.

N.B. Left to right are James A. Lovell Jr., Commander; John L. Swigert Jr., Command Module pilot; and Fred W. Haise Jr., Lunar Module pilot. “The drama of Apollo 13 began even before the flight was under way. By early April 1970, mission commander James Lovell and his crew, command module pilot Ken Mattingly and lunar module pilot Fred Haise, had trained for almost a year to explore the Moon’s Fra Mauro highlands. When the crew was exposed to German measles, NASA doctors feared that Mattingly, the only one of the crew not immune to the illness, might become sick during the mission. Despite Lovell’s objections, Mattingly was replaced by his backup, Jack Swigert, just days before launch. The trio left Earth atop a Saturn V booster on April 11, 1970” (Chaikin, Voices, p. 136). $300-500

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268 Unidentified Photographer Two photographs showing astronaut James Lovell with the American flag and Fred Haise with the hand tool carrier during lunar surface training, Apollo 13, April 1970. NASA KSC captions on the verso. Two vintage gelatin silver prints, image sizes to 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), unmatted. Condition: Good. N.B. James Lovell and Fred Haise are pictured in a walkthrough of the extravehicular timeline in the flight crew training building of the Kennedy Space Center. Unfortunately, they never had the opportunity to walk on the Moon. $300-500 268

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269 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Earth, Apollo 13, April 1970. Numbered “NASA AS13-60-8588” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good.

N.B. “In spaceflight, when we orbited the Earth, we thought in terms of continents,” said James Lovell. “We were over the US; now we’re over a body of water. We’re over Africa now; we’re over Australia now. In the lunar flight, we thought in terms of bodies. The Moon’s here, the Sun’s there, the Earth is there” (Chaikin, Voices, p. 25). $700-900

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270 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Three views of the damaged Service Module after the explosion of an oxygen tank, Apollo 13, April 1970. Numbered “NASA AS13-58-8458,” “NASA AS13-58-8465,” and “NASA AS13-58-8478” (NASA MSC), respectively, in red on the recto u.l. margin, the first with a NASA MSC caption on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: The first with hinge remnants to the verso. N.B. “Houston, we’ve had a problem” (Apollo 13 airto-ground transmission). Apollo 13 was 200,000 miles from home when the crew heard a loud explosion. The SM oxygen tank had 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 (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_13/return/). “I thought, when I saw that oxygen system leaking down, I figured we’d lost them,” recalled Apollo 13 backup crew member John Young. “I really did. I didn’t think we’d make it” (from the movie In The Shadow of the Moon, 2007). $500-700 270

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271 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Two views of the interior of the spacecraft during the transfer from the Command Space Module Odyssey to the “lifeboat” Lunar Module Aquarius, Apollo 13, April 1970. Numbered “NASA AS13-62-8880” and “NASA AS13-62-8892” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Crease in u.l. corner of second print.

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N.B. The first image shows a blurred view of the interior of the spacecraft but the transfer tunnel between Odyssey and Aquarius is clearly visible in the second image. With the service module damaged beyond use, the only source for power and consumables was the Lunar Module. The resources of the Command Module had to be preserved for the vital reentry operation. And so the Lunar Module became the lifeboat for Apollo 13. Fortunately, the loss of oxygen from the remaining tank was slow enough that the last fuel cell continued to supply power for about two hours. This was enough time to evaluate options and prepare for a quick return to Earth. The crew then powered down the Command Module and shifted to the powered up Lunar Module for the trip home (http://www.lpi.usra.edu/lunar/missions/apollo/ apollo_13/return). $300-500

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279

272

272 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) The Earth seen through the window of the Lunar Module Aquarius, Apollo 13, April 1970. Numbered “NASA AS13-62-8888” (NASA MSC) in red on the recto l.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/4 in. (18.0 x 18.3 cm), unmatted. Condition: Good.

280

N.B. While surviving in their “lifeboat” LM during trans-lunar coast, the Apollo 13 astronauts took this astonishing photograph of the Earth from more than 200,000 miles away not knowing whether they would ever return. “We were as calm as could be,” said James Lovell. “We didn’t panic. If we did, we’d still be up there” (from the movie In The Shadow of the Moon, 2007). Literature: Light, plate 110. $500-700

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273

273 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) The Moon seen in crescent during approach, Apollo 13, April 1970. Numbered “NASA AS13-62-8895” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

N.B. A fantastic view of the crescent Moon, less than 40,000 miles away, as the crew had to undertake a free-return trajectory and make a “slingshot” around the celestial body to get back to Earth. “Looking at the mission rules, and I knew it already without looking,” remembered Fred Haise, “we couldn’t even go into lunar orbit. So the mission was gone, right there” (Chaikin, Voices, p. 135). $400-600

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281

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274 Jack Swigert (American, 1931-1982) or Fred Haise (American, b. 1933) The lunar farside during the single pass around the Moon, Apollo 13, April 1970. Numbered “NASA AS13-60-8659” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Subtle crease to l.l. corner of sheet.

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N.B. In the center of image, the crater Tsiolkovsky is the most prominent feature on the lunar farside. The photograph clearly shows the distinction between bright lunar highlands and lowlands flooded with dark lava from the Moon’s interior. “As we approached the Moon, the ground informed us that we would have to use the LM descent engine a second time; this time a long 5-minute burn to speed up our return home. The maneuver was to take place two hours after rounding the far side of the Moon, and I was busy running down the procedures we were to use. Suddenly, I noticed that Swigert and Haise had their cameras out and were busy photographing the lunar surface. I looked at them incredulously and said, ‘If we don’t make this next maneuver correctly, you won’t get your pictures developed!’ They said, ‘Well, you’ve been here before and we haven’t.’ Actually, some of the pictures these tourists took turned out to be very useful,” according to James Lovell (NASA SP-350, p. 13.4). $300-500

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275 Jack Swigert (American, 1931-1982) or Fred Haise (American, b. 1933) Two views of the lunar farside terminator during the single pass around the Moon, Apollo 13, April 1970. The first numbered “NASA AS13-62-8918” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. One vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso and one vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/2 x 7 1/4 in. (18.3 x 18.9 cm), unmatted. Condition: The second print with creases u.l. N.B. The terminator is the boundary between day and night on the Moon. “We really didn’t have anything to do in that pass, and we lost communication with the ground for a portion of that, behind the Moon. And our next maneuver coming up was after we passed around the Moon, plus two hours. And we were kind of ahead of the timeline in preparation for that maneuver. So we really didn’t have much to do except to look, and shoot pictures. And it’s a strange place. It’s a big, beat-up rock. Not anything like on Earth, I’ll tell you that... There’s nothing there. It’s a rock with a lot of holes in it,” remarked Fred Haise (Chaikin, Voices, p. 146). The NASA negative number for the second image is AS13-60-8636. $400-600 275

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276 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) The Earth from the farthest distance ever seen by a manned crew, Apollo 13, April 1970. Numbered “NASA AS13-62-8901” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

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N.B. Following the free-return trajectory, the altitude of Apollo 13 over the lunar farside was approximately 100 kilometers (60 miles) greater than the orbital altitude on the remaining Apollo lunar missions. According to the 1992 Guinness Book of World Records (p. 118), Apollo 13 holds the absolute altitude record for a manned spacecraft, reaching a distance of 400,171 kilometers (248,655 miles) from Earth at 7:21 pm EST, April 14, 1970. $400-600

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277

277 Jack Swigert (American, 1931-1982) or Fred Haise (American, b. 1933) Two views of the Moon as seen through the rendezvous window of the Lunar Module Aquarius after the single pass around the Moon, Apollo 13, April 1970. Numbered “NASA AS13-61-8732” and “NASA AS13-618746” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good. N.B. “Boys, take a good look at the Moon,” said James Lovell. “It’s going to be a long time before anybody gets up here again” (Apollo 13 air-to-ground transmission). $400-600

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285

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278 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Full Moon, Apollo 13, April 1970. Numbered “NASA AS13-61-8790” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

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N.B. This outstanding view of the full Moon, in a perspective seen only by the Apollo astronauts from December 1968 to December 1972, was photographed from the spacecraft during its journey back to Earth. “I never felt we were in a hopeless situation…,” recalled Fred Haise. “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” (Chaikin, Voices, p. 139). $400-600

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279

279 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Crescent Earth rising above the thruster of the Lunar Module Aquarius, Apollo 13, April 1970. Numbered “NASA AS13-61-8835” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. “We do not realize what we have on Earth until we leave it,” remarked James Lovell after his safe return from the Moon and upon receiving the Medal of Freedom from President Nixon. $400-600

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287

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280 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Twelve views of the receding Moon seen from increasing distances during the homeward journey, Apollo 13, April 1970. Numbered “NASA AS13-61-8762,” “AS13-61-8772,” “AS13-61-8801,” “AS13-61-8814,” “AS1361-8857,” “AS13-61-8870,” “AS13-61-8874,” “AS13-62-8925,” “AS13-62-8939,” “AS1362-8964,” “AS13-62-8986,” and “AS1362-9008” (NASA MSC), respectively, in red on the recto u.l. and u.r. margins. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

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N.B. While the Apollo 13 astronauts didn’t reach the surface, they belong to the rare club of men who made the voyage to the Moon and back. “The finest hour, in my viewpoint, of the space program was getting Apollo 13 back, not the first lunar landing,” believed Tom Stafford (Chaikin, Voices, p. 150). $1,200-1,800

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281

281 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) The Earth seen in a bright halo, Apollo 13, April 1970. Stamped “NASA AS13-62-9025” (NASA MSC) in black on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. Reflections in the spacecraft’s window create a halo around the Earth. “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,” said James Lovell. “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” (NASA SP-350). $400-600

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289

282

282 James Lovell (American, b. 1928) or Fred Haise (American, b. 1933) Jack Swigert works on the “mailbox” in the Lunar Module Aquarius, Apollo 13, April 1970. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 7 3/8 in. (18.9 x 18.5 cm), unmatted. Condition: Slight yellowing to sheet. N.B. “We would have died of the exhaust from our own lungs if Mission Control hadn’t come up with a marvelous fix,” recalled James Lovell.

“The trouble was the square lithium hydroxide canisters from the CM would not fit the round openings of those in the LM environmental system. After a day and a half in the LM a warning light showed us that the carbon dioxide had built up to a dangerous level, but the ground was ready. They had thought up a way to attach a CM canister to the LM system by using plastic bags, cardboard, and tape, all materials we had on board. Jack and I put it together: just like building a model airplane. The contraption wasn’t very handsome but it worked. It was a great improvisation, and a fine example of cooperation between ground and space” (NASA SP-350, p. 13.4). The NASA negative number is AS13-62-9004. Literature: Jacobs, p. 85. $500-700

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283

283 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Crescent Earth seen during the homeward journey, Apollo 13, April 1970. Numbered “NASA AS13-60-8720” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Minor crease to l.l. corner of sheet.

N.B. “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,” said James Lovell (Chaikin, Voices, p. 139). $500-700

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284 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Three views of the powered-down Command Module Odyssey as seen from the windows of the Lunar Module Aquarius, Apollo 13, April 1970. Numbered “NASA AS13-62-8955,” “NASA AS13-62-8958,” and “NASA AS13-629032” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good. N.B. These views of the exterior of the spacecraft heading back to Earth were taken from the lifeboat LM Aquarius docked to the CSM Odyssey. The Sun reflects in the rendezvous window and over the Command Module (first image), but the hatch of the powered-down Odyssey is visible in the last two images. The crew were forced to shut down the Command Module to conserve its batteries and save its oxygen for use in reentry. $400-600

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284

285 James Lovell (American, b. 1928) or Jack Swigert (American, 1931-1982) Two views inside the lifeboat Lunar Module Aquarius: Fred Haise monitoring systems and the control panel of the spacecraft, Apollo 13, April 1970. Numbered “NASA AS13-598482” and “NASA AS13-59-8490” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good. N.B. “The reason why I said it’s a test pilot’s mission is because we were given the situation, we were given an opportunity, maybe, we didn’t look at it that way, to really exercise our skills and our talents to take a situation which was almost certainly catastrophic and come home safely. That’s why I thought that 13, of all the flights, including 11, that 13 exemplified a real test pilot’s flight,” remarked James Lovell (Chaikin, Voices, p. 144). $300-500 285

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293

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286 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) The home planet in view, Apollo 13, April 1970. Numbered “NASA AS13-59-8494” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good. N.B. The exhausted astronauts near their home planet seen in a crescent. “Survive we did,” remarked James Lovell, “but it was close. Our mission was a failure but I like to think it was a successful failure.” $400-600

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287

287 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Six views showing the jettison of the damaged Service Module with the now very distant Moon in the background, Apollo 13, April 1970. Numbered “NASA AS13-59-8500,” “NASA AS13-59-8507,” “NASA AS13-598510,” “NASA AS13-59-8516,” “NASA AS1359-8521,” and “NASA AS13-59-8547” (NASA MSC), respectively, on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

N.B. The exterior of the docked Command Module that astronauts use for landing is visible in some of these photographs taken from the window of the LM. “Four hours before landing, we shed the service module; Mission Control had insisted on retaining it until then because everyone feared what the cold of space might do to the unsheltered CM heat shield. I’m glad we weren’t able to see the SM earlier,” said James Lovell. “With one whole panel missing, and wreckage hanging out, it was a sorry mess as it drifted away” (NASA SP-350, p. 13.5). “Seeing the damaged Service Module raised the, maybe, possibility of the heat shield being cracked when we saw that this whole panel had been ripped off the side...,” noted Fred Haise. “It was a bigger thing, really, than we envisioned. We expected to see a little bitty ripped hole. I did, I should say; maybe Jack or Jim suspected more, I didn’t; I was thinking I would maybe see one little gouged hunk of aluminum, and a hole” (Chaikin, Voices, p. 149). $500-700

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295

288

288 James Lovell (American, b. 1928), Jack Swigert (American, 1931-1982), or Fred Haise (American, b. 1933) Four views of the separation and jettison of the Lunar Module Aquarius after transfer of the crew in the Command Module for reentry into the Earth’s atmosphere, Apollo 13, April 1970. Numbered “NASA AS13-59-8553,” “NASA AS13-59-8560,” “NASA AS13-59-8568,” and “NASA AS13-59-8576” (NASA MSC), respectively, on the recto u.r. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Minor rippling to sheets.

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N.B. The LM dock window can be seen as well as its thrusters (first image). Due to the unusual spacecraft configuration resulting from retaining the LM, 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 reentry. From this point, the mission was similar to previous flights, with a safe landing approximately 1 mile from the target point (http://www.lpi.usra.edu/lunar/missions/ apollo/apollo_13/return/). “As far as spacecraft operations go,” said James Lovell, “13 was, I think, the epitome of man and machine, you know, trying to go back home safely” (Chaikin, Voices, p. 142). $500-700

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289

289 Unidentified Photographer Two views of the recovery of the astronauts in the Pacific Ocean after the safe landing of the Command Module, Apollo 13, April 1970. The first with a NASA KSC caption on the verso; the second numbered “NASA S-70-35614” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Minor wear at corners.

N.B. Apollo 13 may have been the most carefully watched mission of the program. For a tense four days, no one knew if the crew would make it back safely. “We didn’t realize, until we got on the ground, on board the ship, even the ship didn’t realize the whole thing, of the amount of emotion and attention this flight had...,” recalled James Lovell. “It was amazing, the amount of attention that it got. I was completely amazed” (Chaikin, Voices, p. 150). $300-500

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290 Unidentified Photographer Congratulations at Mission Control, Apollo 13, April 1970. KSC caption on the verso. Vintage gelatin silver print, image size 6 1/2 x 9 5/8 in. (16.3 x 24.3 cm), unmatted. Condition: Minor wear to corners of sheet. N.B. NASA exchanges of congratulatory remarks, handshaking, and cigars were all part of the post-recovery environment in the Mission Control room. In the foreground, Apollo 13 flight directors Glynn Lunney and Eugene Krans view the activity from their consoles. “To get Apollo 13 home would require a lot of innovation. Most of the material written about our mission describes the ground-based activities, and I certainly agree that without the splendid people in Mission Control, and their backups, we’d still be up there,” said James Lovell (NASA SP-350, p. 13.2).

291 Unidentified Photographer Liftoff, Apollo 13, April 1970. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 14 x 11 in. (35.5 x 27.7 cm), unmatted. Condition: Color shifting and wear at corners. $800-1,200

Literature: Chaikin, Space, p. 111; Jacobs, pp. 86-87; Chaikin, Voices, p. 151. $300-500

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291

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299

Apollo 14: February 1971

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292 Unidentified Photographer Official portrait of the crew, Apollo 14, December 1970. Numbered “NASA S-7055635” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 6 5/8 x 9 1/2 in. (16.8 x 24.0 cm), unmatted. Condition: Possible color shifting/yellowing of sheet. N.B. Left to right are Edgar D. Mitchell, Lunar Module pilot; Alan B. Shepard Jr., Commander; and Stuart A. Roosa, Command Module pilot. The Apollo 14 emblem is in the background. $300-500

300

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293

293 Unidentified Photographer Two views of Edgar Mitchell and Alan Shepard during lunar surface training at the Kennedy Space Center, Apollo 14, November 1970. Numbered “NASA S-70-46155” and “NASA S-70-46187,” respectively, in red on the recto u.r. margin, NASA MSC captions on the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 9 1/2 x 6 1/2 in. (24.0 x 16.3 cm), unmatted. Condition: Good. N.B. The Hasselblad camera is mounted on Ed Mitchell’s Extravehicular Mobility Unit (first image). Stripes on commander Alan Shepard’s helmet and on his arms and legs help distinguish him from Mitchell, who has no stripes. The mission marked Shepard’s return to spaceflight after a decade of being grounded due to an inner ear condition. $300-500

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294 Stuart Roosa (American, 1933-1994), Edgar Mitchell (American, 1930-2016), or Alan Shepard (American, 1923-1998) Two views of the Saturn Rocket third stage drifting through space after jettison, Apollo 14, February 1971. Numbered “NASA AS14-729925” and “NASA AS14-72-9933” (NASA MSC), respectively, in red on the recto u.r. margin. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 x 7 in. (17.5 x 17.5 cm), unmatted. Condition: Good.

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N.B. After the successful docking maneuver and extraction of the LM, the empty third stage of the Saturn V rocket (also called SIVB) 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 (first image). $300-500

295 Stuart Roosa (American, 1933-1994) Two views of the Moon seen in a slender crescent during trans-lunar coast, with reflections through the LM window, Apollo 14, February 1971. Numbered “NASA AS14-729937” and “NASA AS14-72-9942” (NASA MSC), respectively, in red on the recto u.r. margin. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good. N.B. The photographs were taken during trans-lunar travel. The white dots in the dark sky of space are an effect produced by lens flare inside the camera. 295

Literature: Chaikin, Voices, p. 34 (first image). $500-700

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296 Edgar Mitchell (American, 1930-2016) The first steps of Alan Shepard on the lunar surface, as seen from the Lunar Module Antares, EVA 1, Apollo 14, February 1971. NASA MSC caption numbered “AS14-669230” on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 1/4 in. (17.5 x 18.3 cm), unmatted. Condition: Good.

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N.B. Shepard’s first words after stepping onto the lunar surface were, “And it’s been a long way, but we’re here.” Ed Mitchell took this photograph through the window of the LM. Shepard lowers his gold-plated outer visor against the glare of the lunar sun, looking up toward Cone Crater. Literature: Chaikin, Space, p. 114; Chaikin, Voices, p. 56. $500-700

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297 Edgar Mitchell (American, 1930-2016) Alan Shepard and the American flag, EVA 1, Apollo 14, February 1971. Numbered “NASA AS14-66-9232” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Stains on the verso u.c. and l.c.

N.B. Despite all the things that he had previously heard from fellow astronauts, Shepard was still startled by the blackness of the lunar scene. “It certainly is a stark place here at Fra Mauro,” he said. “I think it’s made all the more stark by the fact that the sky is completely black” (Apollo 14 air-to-ground transmission). Literature: Chaikin, Voices, p. 166. $600-800

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298 Alan Shepard (American, 1923-1998) The Lunar Module Antares and the American flag at Fra Mauro, EVA 1, Apollo 14, February 1971. Numbered “NASA AS14-66-9277” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Handling crimp u.r.

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N.B. While Stuart Roosa remained aloft in lunar orbit, Alan Shepard and Edgar Mitchell touched down on the Moon in the hilly Fra Mauro region, previously planned as the landing site for Apollo 13. For nearly ten hours, they crisscrossed the site and collected 108 pounds of rocks and soil. Literature: Reynolds, pp. 4-5. $500-700

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299 Alan Shepard (American, 1923-1998) The Lunar Module Antares reflects a circular flare, EVA 1, Apollo 14, February 1971. Numbered “NASA G-71-3276 14” in black on the recto l.l. margin, NASA Goddard caption on a separate sheet. Vintage chromogenic print on fiber-based GAF paper with a “GAF” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Pinpoint fox marks on the verso.

N.B. “Unfiltered by any atmosphere, the Sun as seen from the lunar surface is more brilliant than on Earth” (Light, caption 46). The unusual ball of light was said by astronauts to have a jewel-like appearance (NASA caption). The NASA negative number is AS14-66-9306. Literature: Chaikin, Space, p. 115; Hope, p. 19; Light, plate 51. $400-600

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300 Taken by an Automatic 16mm Camera Mounted on the Apollo Lunar Hand Tool Carrier Aboard the Modularized Equipment Transporter (MET) Two views of Edgar Mitchell and Alan Shepard deploying components of the ALSEP, lunarscience station, EVA 1, Apollo 14, February 1971. Numbered “NASA G-71-3278” and “NASA G-71-3277” (NASA Goddard), respectively, in black on the recto l.l. margin, both with NASA Goddard captions on separate sheets. Vintage chromogenic prints on fiber-based GAF paper with a with “GAF” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Subtle chemical inconsistencies on the surface of the second print. N.B. The first image shows a close-up of Shepard with a checklist of the EVA timeline on his left wrist. Mitchell is doing lunar-science experiments in the background. The second image shows Mitchell operating the Active Seismic Experiment’s (ASE) thumper while in the background Shepard walks near the deployed components of the Apollo Lunar Surface Experiments Package (ALSEP). The NASA negative numbers are S-71-19510 and S-71-19509. $600-800

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301

301 Alan Shepard (American, 1923-1998) Fra Mauro landing site photographed in brilliant sun glare, EVA 1, Apollo 14, February 1971. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 3/4 x 7 3/4 in. (19.5 x 19.5 cm), unmatted. Condition: Handling crimp to u.r. corner, possible fading/yellowing. N.B. Tracks of the Modularized Equipment Transporter (MET) show the route taken by the two astronauts on their traverse from the LM Antares to the lunar-science station (or ALSEP site).

This handcart gave the astronauts the ability to carry far more samples, containers, and tools than they could have carried in their hands and on their backpacks. The pattern reminded the Texas-born Mitchell “of driving a tractor through a plowed field.” His companion was less lyrical: “Nothing like being up to your armpits in lunar dust,” said Shepard (Mason, p. 186). The NASA negative number is AS1467-9367. Literature: Chaikin, Space, p. 116; Jacobs, p. 93; Light, plate 65. $400-600

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302 Alan Shepard (American, 1923-1998) Two views of Fra Mauro’s lunar-science station, EVA 1, Apollo 14, February 1971. The first numbered “NASA AS14-67-9376” (NASA MSC) in red on the recto u.l. margin, with a typed label affixed to the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Subtle creases at several corners.

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N.B. Several components of the Apollo Lunar Scientific Equipment Package (ALSEP) are shown in these photographs. The larger object with the antenna is the ALSEP central station. The Active Seismic Experiment mortar assembly, the Charged Particle Lunar Environmental Experiment, and the Modular Equipment Transporter are also visible. “We’re there to do a job. That idea is never out of your head for one instant,” said Ed Mitchell. “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. You’re there to observe and report” (Chaikin, Voices, p. 77). The NASA negative number for the second image is AS14-67-9372. $400-600

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303 Alan Shepard (American, 1923-1998) Edgar Mitchell at the lunar-science station, EVA 1, Apollo 14, February 1971. Numbered “NASA G-71-3275” (NASA Goddard) in black on the recto l.l. margin, NASA Goddard caption on a separate sheet. Vintage chromogenic print on fiber-based GAF paper, with a “GAF” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Good.

N.B. Mitchell walks back toward the LM with the extension handle in hand at the end of the first EVA. The photographer’s shadow is in the foreground. The NASA negative number is AS14-67-9389. $400-600

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304

304 Edgar Mitchell (American, 1930-2016) Alan Shepard next to the Modular Equipment Transporter, Station A, EVA 2, Apollo 14, February 1971. NASA HQ caption numbered â&#x20AC;&#x153;AS14-68-9405â&#x20AC;? on the verso. Vintage gelatin silver print, image size 7 1/2 x 7 5/8 in. (18.9 x 19.2 cm), unmatted. Condition: Scattered minor handling crimps.

N.B. Shepard fits together two core tubes that he then hammers into the ground in order to sample soil layers at Station A, the first stop during the traverse to Cone Crater about 150 meters northeast of the Lunar Module. All equipment was transported using a small cart, the Modular Equipment Transporter. Due to the difficulty in walking over the rugged terrain, the crew fell behind schedule during the traverse (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_14/surface_opp/). Literature: Jacobs, p. 95; Hope, p. 33; Reynolds, p. 160. $400-600

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305 Alan Shepard (American, 1923-1998) Edgar Mitchell loses his way on the Moon, Station B1, EVA 2, Apollo 14, February 1971. Numbered “NASA AS14-64-9089” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Subtle handling crimp u.r.

N.B. Mitchell moves across the lunar surface as he looks over a traverse map at Station B1, trying to puzzle out where they are. Anonymous undulating terrain with smooth hills over ten feet high hid the landmark craters and made it very difficult for the Apollo 14 astronauts to find their way to Cone Crater. Lunar dust can be seen clinging to the boots and legs of Mitchell’s spacesuit. This photograph, symbolic of the traverse as a whole, is one of the better known pictures taken during the Apollo program. Literature: Jacobs, p. 94; Chaikin, Space, p. 117; Reynolds, p. 157. $500-700

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306 Alan Shepard (American, 1923-1998) and Edgar Mitchell (American, 1930-2016) Two lunar landscapes seen on the way to Cone Crater, Station C-Prime, EVA 2, Apollo 14, February 1971. The first with a NASA HQ caption numbered “AS14-64-9118” on the verso; the second numbered “NASA AS1468-9447” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 3/4 x 8 5/8 in. (19.5 x 21.8 cm), unmatted. Condition: Scattered minor handling crimps. N.B. The second EVA was a planned geological traverse to Cone Crater, with the objective of sampling material from the rim of this crater (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_14/surface_opp/). Alan Shepard (first photograph) and Ed Mitchell (second photograph) captured these views from Station C-Prime about 75 meters southeast of the rim of Cone Crater. It was at this point that they had used up their time allotted to find the rim of the crater and now had to turn around (Constantine, p. 54). The views are looking across the valley which the crew flew over during the final approach to landing. Literature: Chaikin, Voices, back cover (first image). $400-600

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307 Edgar Mitchell (American, 1930-2016) The Lunar Module Antares, visible in the far distance, station C1, EVA 2, Apollo 14, February 1971. Numbered “NASA AS14-689448” (NASA MSC) in black on the recto u.l. margin, typed label with caption affixed to the verso. Vintage gelatin silver print, image size 7 3/8 x 7 1/4 in. (18.5 x 18.3 cm), unmatted. Condition: Scattered minor handling crimps. N.B. “The LM is visible as a tiny speck in the plain on the right behind the white rock which was referred to as ‘Contact Rock.’ Mitchell took the photograph from Station C1 located about 1.25 kilometers east-northeast of the LM and about 25 meters southeast of the Cone Crater rim.

During the whole EVA the crew had trouble judging distance because there were no familiar objects to provide scale, no color differences to break up the lunar scene, and no haze to help differentiate smaller, relatively nearby craters from larger ones in the distance. To their untrained earthly eye, only the LM provided scale” (ALSJ: https://www. hq.nasa.gov/alsj/a14/a14.summary.html). “This photograph is a great indication of how far Shepard and Mitchell had travelled, mostly uphill and without the aid of a lunar rover used on the subsequent J-missions” (Constantine, p. 55). Literature: Light, plate 63. $400-600

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308 Edgar Mitchell (American, 1930-2016) The photographer’s shadow near Saddle Rock, station C1, EVA 2, Apollo 14, February 1971. Numbered “NASA AS14-68-9453” (NASA MSC) in black on the recto u.l. margin, NASA MSC caption on the verso. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good. N.B. “A hammer and a small collection bag lie atop a lunar boulder to give some indication of size in this view of several boulders clustered together near the rim of Cone Crater at Station C1. Scientists believe these rocks were blasted out of the Moon’s crust by the gigantic impact that formed the Imbrium Basin” (Light, caption 68). $400-600

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309 Alan Shepard (American, 1923-1998) Edgar Mitchell with the Modularized Equipment Transporter (MET) on the way back to the Lunar Module, Station F, EVA 2, Apollo 14, February 1971. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 3/4 x 9 3/4 in. (19.5 x 24.6 cm), unmatted. Condition: Minor handling crimps l.r.

N.B. “Even if the crew fell behind schedule during the traverse due to the difficulty in walking over the rugged terrain, the trip back was quick and uneventful. Shepard and Mitchell showed that, in the event of a Rover breakdown during future missions, a crew could walk back to the LM from a considerable distance (ALSJ: https://www. hq.nasa.gov/alsj/a14/a14.summary.html). “You know, you’re not heavy, and you have the feeling that you’re floating a lot of the time,” said Mitchell. “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” (Chaikin, Voices, p. 72). The NASA negative number is AS14-64-9140. $300-500

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310 Edgar Mitchell (American, 1930-2016) The Fra Mauro landing site with Alan Shepard and the Lunar Module Antares, EVA 2, Apollo 14, February 1971. Numbered “NASA AS14-69-9487” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Crease to u.r. corner.

N.B. The photograph was taken by Mitchell from Station H at the end of Apollo 14’s second and last excursion on the Moon. Foot tracks leading to the LM are visible in the foreground with Old Nameless Crater in the background. “That was it, Antares was in sight, as it had been throughout much of the traverse, and our long Moon walk was almost over,” remembered Alan Shepard. “I went on past Antares to the ALSEP site to check antenna alignment because of reports from Houston that a weak signal was being received. Ed took some more samples from a nearby field of boulders” (NASA SP-350, p. 12.6). Literature: Hope, p. 17. $400-600

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311 Edgar Mitchell (American, 1930-2016); 16mm Data Acquisition Camera Mounted inside the Lunar Module Two views depicting the liftoff from the Moon, Apollo 14, February 1971. Numbered “NASA AS14-66-9340” and “NASA S-71-19500,” respectively, in red on the recto u.l. margin, the first with a typed caption on a label affixed to the verso. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 x 9 1/2 in. (17.5 x 24.0 cm), unmatted. Condition: Subtle crease l.r. of the first print. N.B. Footprints and the shadow of the S-band antenna, as well as the MET (Modularized Equipment Transporter) and the golden camera left on the Moon, as seen from the LM window before liftoff (first image). The Apollo 14 Lunar Module ascent stage lifts off the lunar surface (second image) and the powerful LM engine causes a brief force of wind which scatters gold-colored foil covering the LM, and disturbs the American flag. “No, there was really not any worry; it’s just the apprehension, the anticipation of waiting for it to go,” recalled Ed Mitchell. “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” (Chaikin, Voices, p. 114). Literature: Chaikin, Voices, p. 115 (second image). $400-600

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312 Stuart Roosa (American, 1933-1994), Edgar Mitchell (American, 1930-2016), or Alan Shepard (American, 1923-1998) Two views: The Command Spaceship Kitty Hawk seen from the Lunar Module Antares returning from the lunar surface; and The jettison of Antares after transfer of the crew in Kitty Hawk for trans-Earth injection, Apollo 14, February 1971. The first numbered “NASA G-71-5810” (NASA Goddard) in black on the recto l.l. margin; the second numbered “NASA AS14-69-9487” (NASA MSC) in red on the recto u.l. margin. One vintage chromogenic print on fiber-based GAF paper with a “GAF” watermark on the verso, and one vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Scattered handling crimps and fingerprints on the first print, minor crease in l.r. corner of the second print.

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N.B. “In the blackness of space, the Apollo 14 Command Service Module Kitty Hawk gleams brilliantly as it draws near the camera in the Lunar Module Antares. The single-orbit rendezvous procedure, used for the first time in lunar orbit on this mission, brought the two craft together in two hours. After crew transfer, Antares was guided to lunar impact at a velocity of approximately 1,600 km/hour at a point between the Apollo 12 and 14 sites” (NASA SP-350, p. 12.6). “Because you were running on adrenalin, you didn’t really feel the exhaustion,” recalled Ed Mitchell. “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” (Chaikin, Voices, p. 117). The NASA negative number for the first image is AS14-66-9347. $400-600

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313 Unidentified Photographer The spaceship returning to Earth, Apollo 14, February 1971. NASA KSC caption numbered “71-HC-249” on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/2 in. (24.0 x 18.9 cm), unmatted. Condition: Minor creases at corners of sheet. N.B. The Apollo 14 Command Module descended into the South Pacific on February 9, 1971. $300-500

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314 Stuart Roosa (American, 1933-1994) The Lunar Module Antares heading to the lunar surface, Apollo 14, February 1971. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 13 5/8 x 10 3/4 in. (34.5 x 27.2 cm), unmatted. Condition: Subtle fading and wear at corners of sheet. N.B. “From some angles, the irregularly shaped LM could achieve a certain doily-like symmetry. Stuart Roosa captured this image of the top of the lander as it drifted away from the command module. The dark circle at the center of the roof is the docking port, where the nose of the command module would connect, allowing a tunnel to be opened between the two ships,” explains author Jeffrey Kluger.

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“On one of the LM’s legs, the ladder that astronauts Al Shepard and Ed Mitchell would later climb down to the lunar surface is visible” (http://time.com/unseen-apollo/). Computer and radar glitches aboard Antares initially threatened the descent to the surface. However the problems were resolved, and Shepard and Mitchell safely landed their spacecraft on the Moon on February 5, 1971 (Jacobs, p. 91). “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 have landed anyhow,” said Ed Mitchell. “We’re not going to get down to eighteen thousand feet and not take a look. Regardless of what Houston says” (Chaikin, Voices, p. 54). The NASA negative number is AS14-7410206. $1,500-2,500

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315 Alan Shepard (American, 1923-1998) The Fra Mauro landing site illuminated by the Sun, Apollo 14, February 1971. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 13 7/8 in. (27.7 x 35.0 cm), unmatted. Condition: Good.

N.B. “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...” observed Ed Mitchell (Chaikin, Voices, p. 66). The NASA negative number is AS14-67-9367. Literature: Chaikin, Space, p. 116; Jacobs, p. 93. $2,000-3,000

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Apollo 15: July–August 1971

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316 Unidentified Photographer The astronauts simulating lunar surface activities with the lunar rover, Apollo 15, January 1971. Numbered “NASA S-7116722” (NASA MSC) in red on the recto u.l. margin, inscribed “SIM/ROVER – Bldg 5 File copy” in red ink on the recto u.r. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 9 1/2 in. (18.3 x 24.0 cm), unmatted. Condition: Good.

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N.B. The final three Apollo missions were scientific expeditions, outfitted with extra supplies which allowed a pair of astronauts to spend three days on the Moon. With improved spacesuits that offered greater mobility, they took moonwalks lasting up to seven hours, a full working day of exploration. Best of all, these teams brought along their own transportation: a battery-powered Lunar Rover that allowed them to travel across the landscape, even onto the sides of mountains. $200-400

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317 Unidentified Photographer Two views of the Saturn V rocket on the launch pad before takeoff, Apollo 15, July 1971. The second numbered “NASA G-72233” (NASA Goddard) in black on the recto l.l. margin, typed NASA Goddard caption on a label taped to the verso. Two vintage chromogenic prints on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: The first print with multiple fingerprints and scattered handling crimps. N.B. Lightning streaks through the sky around the Apollo 15 stack of hardware prior to the Apollo 15 launch (first image). A camera positioned at the mobile launcher’s 360 foot level recorded this fish eye view of the Apollo 15 space vehicle as it vented liquid oxygen during the “wet” portion of the countdown demonstration test (second image). The huge 363-foot-tall Apollo 15 (Spacecraft 112/Lunar Module 10/Saturn 510) space vehicle was scheduled to launch from Pad A, Launch Complex 39, at 9:34:00:79 p.m. (EDT) on July 26, 1971. The prime crew members for the Apollo 15 mission were astronauts David R. Scott, Commander; James B. Irwin, Lunar Module pilot; and Alfred M. Worden, Command Module pilot (https://spaceflight. nasa.gov/gallery/images/apollo/apollo15/html/ s89-41564.html). $300-500

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318 Unidentified Photographer Two views depicting the Lunar Module and the Saturn Rocket SIVB third stage seen during transposition and docking maneuver, Apollo 15, August 1971. The second print numbered “NASA AS15-91-12337” (NASA MSC) in red on the recto l.l. margin. One vintage chromogenic print on resin-coated Kodak paper and one vintage chromogenic print on fiber-based Kodak paper, each with “A Kodak Paper” watermark on the verso, image sizes to 7 7/8 x 7 1/2 in. (19.8 x 18.9 cm), unmatted. Condition: Good. N.B. The CSM separated from the SIVB stage of the Saturn V rocket approximately 30 minutes after the trans-lunar injection burn and revolved to examine the LM (still attached to the SIVB stage) whose 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 (first image). Then the Command Module docked with the LM (second image) whose radar antenna is clearly visible. The NASA negative number of the first photograph is AS15-91-12331. $400-600

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319 Alfred Worden (American, b. 1932), David Scott (American, b. 1932), or James Irwin (American, 1930-1991) Whole Earth, Apollo 15, 1971. Numbered “NASA AS15-91-12343” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 in. (17.5 x 17.5 cm), unmatted. Condition: Scattered subtle indentations or similar c.l.

N.B. The spacecraft was 50,000 kilometers from Earth when the crew took this photograph. “To me, it’s crystalline. Crystalline being it has depth. I like to draw the analogy with someone who has deep blue eyes...,” said David Scott. “The Earth is deep blue. And especially when you get out a little ways, not too far away, and you can look back at it, it’s deep blue. It’s got a three-dimensional feel to it. A depth... And it’s really beautiful...” (Chaikin, Voices, p. 26). Literature: Chaikin, Voices, p. 28. $600-800

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320 Alfred Worden (American, b. 1932) Two UV photographs of the receding Earth, Apollo 15, August 1971. Numbered “NASA AS15-99-13414” and “NASA AS15-9913429” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Good.

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N.B. “You can see the whole Earth at about ten thousand miles,” said David Scott. “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” (Chaikin, Voices, p. 29). “As we got further and further away, the Earth diminished in size,” observed James Irwin. “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” (Kelley, Plate 38). $400-600

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321 Alfred Worden (American, b. 1932), David Scott (American, b. 1932), or James Irwin (American, 1930-1991) The Sea of Ingenuity seen with reflections of the low sunlight in the spacecraft’s window, Apollo 15, August 1971. Numbered “NASA AS15-91-12375” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Minor wear to l.l. corner. $400-600

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322 Alfred Worden (American, b. 1932) Two views of the Moonâ&#x20AC;&#x2122;s surface photographed from orbit with the Fairchild camera, Apollo 15, August 1971. NASA HQ captions on the verso. Vintage gelatin silver prints, image sizes to 8 x 7 5/8 in. (20.3 x 19.2 cm), unmatted. Condition: Minor wear at corners.

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N.B. Vertical view of the Crater Paracelsus on the lunar farside (first image) and oblique view of Humboldt Crater (second image). The huge Crater Humboldt is 124 miles in diameter. While Scott and Irwin spent 66 hours on the lunar surface, overhead in solo orbit Worden, besides taking hand-held photographs, operated two special automatic photographic systems one of which, the Fairchild metric camera, was located in the SIM bay of the Apollo 15 CSM along with the stellar camera, the laser altimeter, and the panoramic camera. $300-500

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323 Alfred Worden (American, b. 1932) Vertical view of the Hadley-Apennine landing site seen from lunar orbit, Apollo 15, August 1971. Numbered “NASA AS15-94-12813” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good. N.B. Worden flying solo aboard Endeavor in its 25th orbit photographed Hadley-Appenine with the 80mm lens from about 100 kilometers above the lunar surface. The mountain casting a heavy shadow is Mount Hadley rising 4,200 meters above the valley floor. The Apollo 15 landing site is located between Mount Hadley and the undulating Hadley Rille in the center of the image. Scott and Irwin aboard the LM found a very mountainous landscape on their approach to

Hadley-Apennine before landing: “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,” said James Irwin (Chaikin, Voices, p. 54). $300-500

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324 David Scott (American, b. 1932) Panoramic view of the landing site taken from the Lunar Module window after touchdown, Apollo 15, August 1971. Numbered “NASA AS15-85-11392,” “NASA AS15-85-11389,” “NASA AS15-85-11385,” and “NASA AS1585-11383” (NASA MSC) in black along upper margins. Mosaic of four vintage gelatin silver prints, overall size 9 3/4 x 20 3/4 in. (24.6 x 52.5 cm), unmatted. Condition: Minor crease to u.l. corner of second image.

N.B. With towering mountains on either side, a broad valley floor, and a rille canyon, the landscape of Hadley-Apennine surrounded Apollo 15 with the most varied terrain that Apollo astronauts would ever explore (Reynolds, p. 178). Scott captured this panorama from the LM window. It extends from Mount Hadley Delta at the left to the base of Hadley Rille and Hill 305 to the right. St. George Crater (punched on the edge of Mount Hadley Delta) is in the distance beyond the thruster with an illuminated, subsidiary peak southwest of Hadley Delta in the far distance. The small feature on the horizon, in the center, is Bennett Hill. In the left foreground the small crater actually appears to be a doublet. The shadow of the LM is in the right foreground. Literature: NASA SP-289, p. 3.14; Constantine, p. 64. $2,000-3,000

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325 James Irwin (American, 1930-1991) Panoramic view of the Valley of Hadley, taken at Elbow Crater’s Station 1, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-8511399,” “NASA AS15-85-11401,” “NASA AS15-85-11402,” “NASA AS15-85-11403,” “NASA AS15-85-11405,” and “NASA AS1585-11406” (NASA MSC) in black along upper margins. Mosaic of six vintage gelatin silver prints, overall size 10 x 23 in. (25.3 x 58.3 cm), unmatted. Condition: Minor handling crimp to u.l. corner of fifth image from left, subtle silvering in third image.

N.B. From left to right, Hill 305, Hadley Rille lunar canyon, Mount Hadley (partially in shadow), and the Swann mountain range serve as a fitting background. Rover tracks coming from the landing site are in the foreground. “As Scott and Irwin arrived at their first stop at Elbow Crater, it soon became obvious just how productive the J missions (Apollo 15 to Apollo 17) were going to be. At this, their first stop, they were over three kilometers from the LM and, yet, had plenty of cooling water, oxygen, and time for field work. For ten minutes or so, they gathered rocks and soil, describing features that the TV couldn’t capture and taking photographs” (ALSJ: https://www.hq.nasa.gov/alsj/a15/a15. html). $3,000-5,000

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326 James Irwin (American, 1930-1991) Three views of David Scott’s geologic investigations at St. George Crater’s Station 2, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-85-11437,” “AS15-85-11440,” and “NASA AS15-85-11442” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Subtle crease to l.r. corner of the first print. N.B. Driving from Elbow Crater (Station 1) to the flank of Mount Hadley Delta, the crew didn’t go all the way up to the rim of St. George Crater because that would have required a significant cross-slope drive when all they needed was a point high enough that they could be sure of being up off the young, mare materials. Seven minutes from the first station, they found what they wanted: a meter-sized boulder sitting on the hillside about fifty meters above the valley floor; and parked the Rover at this Station 2. Only a complete set of samples would tell the tale of Mount Hadley Delta and, so, Scott and Irwin wielded rakes, scoops, cameras and sample bags, and hammered a double section of core tube into the soil. By the time they were done, Scott and Irwin had spent fifty minutes at St. George. It was, by far, the longest and most productive geology stop that had yet been performed by an Apollo crew (ALSJ: https:// www.hq.nasa.gov/alsj/a15/a15.html). Literature: Hope, p. 37 (first image). $600-800

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327 James Irwin (American, 1930-1991) Panoramic view of David Scott and the rover on the edge of Hadley Rille lunar canyon, Station 2, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-85-11448” and “NASA AS15-85-11452” (NASA MSC) in black along upper margins. Mosaic of three vintage gelatin silver prints, overall size 8 3/4 x 18 1/2 in. (22.0 x 46.8 cm), unmatted. Condition: Minor silvering in blacks in print at left. N.B. “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. Thanks to the rover-mounted TV camera, Scott and Irwin could share the view with watchers back on Earth, exulting over scenery long characterized as barren and drab (National Geographic, February 1972, “The Mountains of the Moon,” pp. 242-43). Hill 305 (left) and the left flank of Mount Hadley (right) are in the background.

Tiny dots visible on the floor of the winding almost 1 mile-wide canyon are actually house-sized boulders (Chaikin, Space, p. 121). “Well, the drive...up toward St. George [crater], on the first day... You don’t have a big peripheral vision. Stop the rover, and get off, and turn around and look, and the goddamn Grand Canyon, Hadley Rille! I mean, that’s an absolute mind-blower,” remembered Scott. “Even though you know it’s there, but you can’t see it, ‘cause you’re driving this little rover next to the ground. Hadley Rille’s over there, you can’t see Hadley Rille. You can’t see craters. All of a sudden you get off and you turn around, and there it is! In all its glory. The Grand Canyon of the Moon! That’s mind-boggling! I mean, that’ll blow you out” (Chaikin, Voices, p. 89). The NASA negative for the middle image is AS15-85-11449. Literature: NASA SP-289, appendix D, figure D-5-C; “The Mountains of the Moon,” National Geographic, February 1972, pp. 242-43; Chaikin, Voices, pp. 88-89. $2,500-3,500

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328 David Scott (American, b. 1932) Two close-up views documenting investigations on the lunar surface, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-86-11563” and “NASA AS15-86-11589” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good. N.B. An overturned boulder at Station 2 and the magnetometer at the lunar-science station. “At Station 2, the crew turned a boulder over so that they could obtain samples from beneath it…which might tell just how long the rock had been lying where they found it. Back to the landing site at about four hours and twenty minutes into the EVA, they spent the remainder of the EVA deploying the scientific experiments at the lunar-science station (ALSEP site) located approximately 125 meters northwest of the LM, notably the Lunar Surface magnetometer” (ALSJ: https:// www.hq.nasa.gov/alsj/a15/a15.html). $300-500 328

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329 David Scott (American, b. 1932) James Irwin and the Rover at the HadleyApennine landing site, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-8611601” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Minor handling crimp l.l., subtle accretion or similar u.r.

N.B. “We were a base... I mean, if we’d had more oxygen and more food and more water in the LM, we could’ve stayed there. Nothing wore out... The rover’s still good. You could go out there and start it up right now. So, we had a lunar base established,” noted David Scott (Chaikin, Voices, p. 192). The NASA negative number on the recto is an error, the correct number is AS15-86-11602. Literature: Hope, p. 28; Reynolds, p. 177. $500-700

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330 David Scott (American, b. 1932) James Irwin and the Rover in front of Mount Hadley, EVA 1, Apollo 15, August 1971. Numbered “NASA AS15-86-11603” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

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N.B. The shadow of the LM Falcon is in the foreground. “When I look at the Moon I do not see a hostile, empty world,” said Scott. “I see the radiant body where man has taken his first steps into a frontier that will never end” (“What Is It Like to Walk on the Moon?,” National Geographic, September 1973, p. 329). Literature: Chaikin, Space, p. 120; Hope, p. 29. $500-700

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331 James Irwin (American, 1930-1991) David Scott drives the Lunar Rover on the Moon, EVA 2, Apollo 15, August 1971. NASA KSC caption numbered â&#x20AC;&#x153;AS-15-85-11471â&#x20AC;? on the verso. Vintage gelatin silver print, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. 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. The lunar orbital photographs in front of Scott were used as an aid for navigation as the crew spent almost 38 man-hours on expeditions. The lunar-science station is visible between the rover and Hill 305 on the horizon. Literature: Jacobs, p. 103. $500-700

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332 David Scott (American, b. 1932) The Lunar Module Falcon in the desolate moonscape of Hadley-Apennine, EVA 2, Apollo 15, August 1971. Numbered “NASA AS15-84-11324” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/8 x 7 1/2 in. (18.0 x 18.9 cm), unmatted. Condition: Good.

N.B. Apollo 15 took the astronaut explorers as far from their lander as any previous crew had traveled. This photograph taken by Scott with the 500mm telephoto lens shows the LM as seen from Station 6 on the flank of Mount Hadley Delta, about sixty meters above the spacecraft and five kilometers to the south, with Pluton Crater in the background and Dune Crater in the foreground. “I took a telephoto from there, and it’s my favorite picture... And I got the LM in it. And with a 500mm lens you can barely see it. And the impression you get from being up there and look[ing] back is that, Boy, you’re a long way from home,” said Scott (Chaikin, Voices, p. 92). Literature: Reynolds, p. 183; Chaikin, Voices, p. 93. $400-600

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333 James Irwin (American, 1930-1991) Panoramic view of David Scott in front of the lunar mountains of Hadley-Apennine, Station 6, EVA 2, Apollo 15, August 1971. Numbered “NASA AS15-85-11510,” “NASA AS15-8511511,” “NASA AS15-85-11512,” and “NASA AS15-85-11514” (NASA MSC) in black along upper margins. Mosaic of four vintage gelatin silver prints, overall size 10 x 23 in. (25.3 x 58.3 cm), unmatted. Condition: Good. N.B. “For a boots-on-the-ground perspective of the lunar surface, one of the best resources is the spectacular set of 70mm 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. Because the astronauts were wearing helmets, they were unable to align the cameras with a viewfinder and 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” (https:// www.lpi.usra.edu/resources/apollopanoramas/ foreword/). David Scott is photographing a geologic find at Apennine Front’s Station 6, located on the North facing slope of Mount Hadley Delta, about 5 kilometers southeast of the Lunar Module, which would appear as a tiny dot just out of shot to the left (Constantine, p. 68). The lunar rover can be seen parked in the distance behind Scott. The white spots above him are lens flares caused by shooting directly east into the sun.

The mountains behind him are 10.5 miles away with Mount Hadley rising 4,200 meters above the plain on the left and the Swann Range to the right (Light, caption 79). “They [the mountains] looked big, but not as big as they were... And they were enormous. They were huge,” remembered Scott. “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?” (Chaikin, Voices, p. 70). Literature: NASA SP-289, appendix D, figure D-9-b; Light, plate 79; Constantine, pp. 6869. $3,000-5,000

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334 James Irwin (American, 1930-1991) Four views of David Scott’s geologic investigations at Apennine Front’s Station 6 and Spur Crater’s Station 7, EVA 2, Apollo 15, August 1971. Numbered “NASA AS15-8511500,” “NASA AS15-85-11525,” “NASA AS15-90-12223,” and “NASA AS15-9012232” (NASA MSC), respectively, in black on the recto u.l. and u.r. margins. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Several with wear at corners.

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N.B. Stations 6 and 7 were close to each other on the north-facing slope of Hadley Delta about 90 to 100 meters above the mare surface, nearly 3 kilometers east of St. George Crater and 5 kilometers southeast of the Lunar Module (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_15/surface_opp/). At Spur Crater, the crew collected a sample that later proved to be more than four billions years old, older than any rocks ever found on Earth. It was dubbed the “Genesis Rock.” $600-800

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335 James Irwin (American, 1930-1991) Two views of the valley of Hadley seen from the green boulder, Station 6A, EVA 2, Apollo 15, August 1971. The first numbered “NASA AS15-90-12187” (NASA MSC) in black on the recto u.l. margin, NASA MSC caption on the verso; the second numbered “NASA AS15-90-12200” in black on the recto u.l. margin. Two vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Minor wear at corners of the first print. N.B. Station 6A was the highest location explored on the Apennine Front. It was an intermediate stop made en route to Station 7. The boulder that marked this stop was located about 250 meters south-southeast of Spur Crater (http://www.lpi.usra. edu/lunar/missions/apollo/apollo_15/surface_opp/). Mount Hadley and the Swann range (first image) and Hadley Rille lunar canyon and Hill 305 (second image) are in the backgrounds. $400-600

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336 James Irwin (American, 1930-1991) The significant tilt of the Lunar Module Falcon at Hadley-Apennine landing site, EVA 2, Apollo 15, August 1971. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 5/8 in. (19.2 x 24.3 cm), unmatted. Condition: Possible color shifting and yellowing to sheet.

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N.B. “Apollo 15 almost came to ruin the second it touched down,” notes author Jeffrey Kluger. “NASA had strict rules about how sharp an angle was safe for a LM landing, and a 15-degree slope was the absolute maximum. Any steeper and liftoff could be compromised. The moon’s Hadley-Apennine region was treacherous, however, and the 10-degree incline of the landing spot was the best the crew was able to find. NASA was happy to release images of the Apollo 15 LM photographed from the front, but profile shots such as this one were kept under wraps” (http://time.com/unseen-apollo/). The NASA negative number is AS15-87-11818. $400-600

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337 James Irwin (American, 1930-1991) The Lunar Module Falcon with David Scott and the Rover in the background, EVA 2, Apollo 15, August 1971. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. In the left background, David Scott is moving away from the rover at the lunarscience station. “With its oxygen and food and water, the LM is a tiny artificial Earth that comforts us in the void,” said David Scott (“What Is It Like to Walk on the Moon?,” National Geographic, September 1973, p. 328). The NASA negative number is AS15-8711839. $400-600

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338 James Irwin (American, 1930-1991) David Scott leaning in the Moon’s one sixth gravity, lunar-science station, EVA 2, Apollo 15, August 1971. Numbered “NASA AS1587-11847” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

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N.B. 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. Early on, astronauts were very cautious in their spacesuits, aware of the lethal dangers of their environment. By later missions the spacesuits had proven their durability, and astronauts thought nothing of leaping, stumbling, or falling. $400-600

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339 David Scott (American, b. 1932) James Irwin bending over in the Moon’s one sixth gravity to collect samples, lunarscience station, EVA 2, Apollo 15, August 1971. Numbered “NASA AS15-92-12424” in black on the recto u.l. margin, NASA MSC caption on the verso. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Minor wear to corners.

N.B. James Irwin can be seen digging a trench using the lunar surface scoop by forcing it into the ground then propelling the soil backwards between his legs (Constantine, p. 78). He is bending over as far as he is able to in the stiff Apollo suit, which the astronauts often called “hard suits” (Reynolds, p. 188). Mt. Hadley is in the background, about 14 kilometers away. Literature: Reynolds, p. 188; Hope, p. 28. $300-500

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340 James Irwin (American, 1930-1991) David Scott salutes the American flag, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-88-11863” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

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N.B. Irwin and Scott took a series of “tourist” photographs of each other with the American flag in the splendid lunarscape of Hadley landing site. Hadley Delta in the background rises approximately 4,000 meters (about 13,124 feet) above the plain; the base of the mountain is 5 kilometers (3 statute miles) away. Literature: Hope, p. 37. $600-800

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341 David Scott (American, b. 1932) James Irwin salutes the American flag, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-88-11866” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Subtle handling crimp u.l.

N.B. After having been himself photographed next to the flag by James Irwin, David Scott took Irwin’s portrait. Few Apollo photographs have been reproduced more often than this image of Irwin, the flag, the Rover, the LM, and Mount Hadley. Literature: Reynolds, pp. 186-87. $600-800

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342 James Irwin (American, 1930-1991) The Lunar Module Falcon, the American flag, and human tracks at the foot of the Apennine mountain range, EVA 3, Apollo 15, August 1971. Vintage gelatin silver print, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Minor handling crimp u.c.

N.B. Irwin took the photograph from the lunar-science station. The Swann Range (an area of the Apennine mountains between Mount Hadley and Mount Hadley Delta) forms the background behind the LM. In the center of the image the American flag is illuminated by the sun. Wheel and foot tracks crisscross in the foreground (NASA SP-289, p. 3.20). The NASA negative number is AS15-82-11056. Literature: Chaikin, Voices, p. 193. $300-500

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343

343 James Irwin (American, 1930-1991) David Scott and the rover beside Hadley Rille, Station 9A, EVA 3, Apollo 15, August 1971. Numbered “NASA G-72-930” in black on the recto l.l. margin, NASA Goddard caption on the verso. Vintage gelatin silver print, image size 7 1/2 x 7 7/8 in. (18.9 x 19.8 cm), unmatted. Condition: Good.

N.B. Station 9A was 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 behind him which is about 1 kilometer across. Mount Hadley Delta forms the skyline in the background with the huge St. George Crater punched into its side on the right. “Oh, the beauty! The spectacular beauty,” exclaimed Scott. “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” (Chaikin, Space, p. 66). The NASA negative number is AS15-82-11121. $400-600

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351

344

344 David Scott (American, b. 1932) Telephoto panorama of a crater on the wall of Hadley Rille lunar canyon, Station 9A, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-89-12068,” “NASA AS15-89-12069,” “NASA AS15-89-12064,” and “NASA AS1589-12063” (NASA MSC) in black along upper margins. Mosaic of nine vintage gelatin silver prints, overall size 17 3/8 x 26 5/8 in. (44.0 x 67.5 cm), unmatted. Condition: Minor handling crimp l.l.

352

N.B. Apollo 15 was the only mission that allowed astronauts to visit a lunar canyon. From Station 9A on the edge of the canyon known as Hadley Rille, Scott used his 500mm telephoto lens to photograph the stunning landscape of its opposite wall in front of him. The rocky crater in the wall of the rille is 100 meters wide and was named “Debris-filled” crater. The lip of the rille is just above the blocky areas, and beyond is the mare surface. Additional NASA negative numbers include AS15-89-12073. $2,000-3,000

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345 James Irwin (American, 1930-1991) Two views of David Scott prospecting for samples in a field of boulders on the edge of Hadley Rille, Station 9A, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-8211141” and “NASA AS15-82-11145” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good. N.B. The painstaking geological survey work of the later Apollo missions required improved tools, such as tongs (first image) which helped the astronauts pick up rocks since bending over in their pressure suits was difficult (Reynolds, p. 205). David Scott also used a hammer (second image). The checklists on both his arms cover the drilling tasks that occupied him on all three EVAs. Work at Station 9A was both productive and fun and Scott neatly summed up his pleasure and his buoyant mood: “Man, am I going to miss one-sixth G. This is neat” (ALSJ: https://www. hq.nasa.gov/alsj/a15/a15.html). $500-700 345

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353

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346 James Irwin (American, 1930-1991) and David Scott (American, b. 1932) Four close-ups of the lunar surface at Station 9A, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-82-11130,” “NASA AS15-82-11131,” “NASA AS15-82-11149,” and “NASA AS15-82-11155” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

354

N.B. “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” (Light, caption 128). $500-700

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347

347 James Irwin (American, 1930-1991) The majestic Mount Hadley Delta, Station 10, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-85-11175” and “NASA AS1585-11180” (NASA MSC) in black on the recto along upper margins. Mosaic of two vintage gelatin silver prints, overall size 8 x 16 1/2 in. (20.1 x 41.8 cm), unmatted. Condition: Minor handling crimps to u.l. corner and c.l. edge. N.B. Mount Hadley Delta with St. George Crater punched on its edge is part of the front range of the Apennine mountains and rises 3,600 meters above the floor of the Sea of Rains. Hadley Rille lunar canyon is at the center and right of the image. Jim Irwin was standing at the north rim of the 45-meterdiameter Rim Crater in the foreground as he took the panorama. The summit of Mount Hadley Delta is about 18 kilometers away, the diameter of St. George Crater is 2.4 kilometers. “It had a majestic feeling about it,” said Apollo 14 astronaut Alan Shepard.

“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” (Chaikin, Voices, p. 66). The first print is numbered in error, the correct negative number is AS15-85-11178. Literature: NASA SP-289, appendix D, figure D-15; Light, plate 90. $1,500-2,500

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355

348

356

Additional information and photos at www.skinnerinc.com

349

348 James Irwin (American, 1930-1991) David Scott exploring the Moon with his 500mm Hasselblad camera in hand, Station 10, Apollo 15, August 1971. Large-format vintage gelatin silver print, image size 10 1/2 x 10 1/2 in. (26.5 x 26.5 cm), unmatted. Condition: Subtle silvering at image edges. N.B. Station 10 on the edge of Hadley Rille lunar canyon was the last stop (for photography only) made by the astronauts before returning to the lunar module. David Scott is carrying the Hasselblad with the 500mm telephoto lens in order to take panoramic photographs of the canyon. “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...” exclaimed David Scott (Chaikin, Voices, p. 96). The NASA negative number is AS15-82-11168. $1,500-2,500

349 David Scott (American, b. 1932) Telephoto panorama of Hadley Rille lunar canyon, Station 10, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-89-12115,” “NASA AS15-89-12112,” “NASA AS15-8912109,” “NASA AS15-89-12105,” “NASA AS15-89-12102,” and “NASA AS15-8912115” (NASA MSC) in black on the recto upper margins. Mosaic of six vintage gelatin silver prints, overall size 10 x 39 in. (25.3 x 98.9 cm), unmatted. Condition: Handling crimp l.l., slight rippling l.r. N.B. Hadley-Appenine landing site was a forbidding terrain near the massive 15,000foot peak Mt. Hadley, an area cut by treacherous gorges and studded with strange mounds and craters. The breathtaking Hadley Rille meanders across the Hadley Plain up to 1.5 kilometers across in places and 400 meters deep. Scott photographed its far wall with his 500mm Hasselblad camera from the edge of the lunar canyon at Station 10. The area shown in the panorama is approximately 800 meters wide. The bases of Bennet Hill (left) and Hill 305 (right) are in the background. Literature: NASA SP-289, p. 5.27. $2,500-3,500

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357

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350 David Scott (American, b. 1932) Lunar Rover “RIP” panorama with the Lunar Module Falcon, the flag, and James Irwin in the distance, EVA 3, Apollo 15, August 1971. Numbered “NASA AS15-88-11897,” “NASA AS15-88-11899,” and “NASA AS15-8811901” in red on the recto upper margins. Mosaic of three vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, overall size 8 1/4 x 19 3/4 in. (20.8 x 50.0 cm), unmatted. Condition: Good.

N.B. Scott parked the Rover at its final resting place 300 feet east of the LM where the worldwide television audience could watch the launch transmitted by the Rover’s TV camera. As James Irwin worked near the LM (left of image), Scott took a series of pictures near the rover to create this panorama of the moonscape before returning inside Falcon for lunar takeoff. “There is a fundamental truth to our nature,” said Scott. “Man must explore. And this is exploration at its greatest” (Apollo 15 air-to-ground transmission). Literature: NASA SP-289, appendix D, figure D-2 (d). $2,500-3,500

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351

351 James Irwin (American, 1930-1991) Telephoto panorama of the lunarscape seen from the Lunar Module window before takeoff, Apollo 15, August 1971. Numbered “NASA AS15-82-11214,” “NASA AS15-82-11215,” “NASA AS15-82-11217,” and “NASA AS1582-11211” (NASA MSC) in black along upper margins. Mosaic of four vintage gelatin silver prints, overall size 9 1/2 x 24 1/4 in. (24.0 x 62.0 cm), unmatted. Condition: Scattered minor handling crimps.

N.B. Before returning to Earth, Irwin captured with the 500mm telephoto lens a last view of the lunarscape and its black sky near Pluton Crater. Situated in the North Complex, it was an area the astronauts could not explore during their three EVAs. “Most people can’t comprehend a black sky except at night,” said David Scott. “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” (Chaikin, Voices, p. 68). $2,000-3,000

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359

352

352 Alfred Worden (American, b. 1932) The Lunar Module Falcon returning from the Moon, Apollo 15, August 1971. Numbered “NASA AS15-96-13037” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

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N.B. Alfred Worden took the photograph from the orbiting Command Module Endeavor—its EVA floodlight mounted on the exterior of the spacecraft is visible in the foreground. “Flying the Lunar Module is a very demanding task,” said Scott. “It’s the toughest flying job, and I’ve flown a lot of stuff, the toughest flying job I ever had” (Chaikin, Voices, p. 48). $400-600

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353

353 David Scott (American, b. 1932) or James Irwin (American, 1930-1991) Close-up of the Command Spaceship Endeavor over the Sea of Fertility, Apollo 15, August 1971. Numbered “NASA AS15-8811872” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

N.B. Alone in the Endeavor, Worden pitched the command ship nose down toward the Moon so that Scott and Irwin in the LM could inspect and photograph the exposed SIM (Scientific Instrument Module, used for the first time on Apollo 15) bay where he would later retrieve the cassettes of the panoramic cameras during the first ever deep space EVA. The print is numbered in error, the correct negative number is AS15-88-11972. $400-600

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361

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354 Alfred Worden (American, b. 1932) Orbital panorama over the Moon at lunar sunrise, near Mons La Hire, Apollo 15, August 1971. Numbered “NASA AS15-96-13026” and “NASA AS15-96-13029” (NASA MSC) in red on the recto upper margins. Mosaic of four vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, overall size 14 1/2 x 26 1/2 in. (36.8 x 64.50 cm), unmatted. Condition: Good.

362

N.B. While Irwin and Scott explored the lunar surface, Alfred Worden took this telephoto panorama with the 250mm lens during the 36th revolution of his spacecraft, the CSM Endeavor. It shows a long shadow behind the mountains of the 1,500-meter-high Mons La Hire (right of image) and its surrounding landscape dramatized by the low morning Sun on the Moon. The additional NASA negative numbers are AS15-96-13027 and AS15-9613028. $1,500-2,500

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355

355 Alfred Worden (American, b. 1932), David Scott (American, b. 1932), or James Irwin (American, 1930-1991) Four close-ups of brilliant craters on the Moon, Apollo 15, August 1971. Numbered “NASA AS15-81-10907,” “NASA AS15-8110908,” “NASA AS15-81-10989,” and “NASA AS15-81-10996” (NASA MSC), respectively, in black on the recto left margins. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Minor handling crimps on several prints. N.B. The spacecraft was at an altitude of about 120 kilometers during revolutions 62 to 69 when these photographs were taken with the 500mm telephoto lens. An impact crater west of La Perouse area; a vertical view of the Crater Dawes; Crater Messier A; and an impact crater near Censorinus A. $600-800

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363

356

356 Alfred Worden (American, b. 1932) Three views of Aristarchus Crater and its lunar rilles, Apollo 15, August 1971. Numbered “NASA AS15-93-12600,” “NASA AS15-9613047,” and “NASA AS15-97-13246” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiberbased paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good. N.B. Aristarchus is the brightest large crater on the Earth face of the Moon. General view of Aristarchus crater and its rilles taken with the 80mm lens (first image); close-ups of Aristarchus Rille III (second image) and Aristarchus Rille VIII taken with the 250mm telephoto lens (third image). $600-800

364

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357

357 Alfred Worden (American, b. 1932) Lunar mountain in the Sea of Rains, Apollo 15, August 1971. Numbered â&#x20AC;&#x153;NASA AS15-8110976â&#x20AC;? (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

N.B. The photograph was taken with the 500mm telephoto lens above Mare Imbrium from an altitude of 109 kilometers. Crater Helicon is visible in the center. $400-600

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365

358

358 Alfred Worden (American, b. 1932) Four details of the lunar surface seen from the orbiting Command Spaceship Endeavor, Apollo 15, August 1971. Numbered “NASA AS15-93-12665,” “NASA AS15-93-12683,” “NASA AS15-93-12684,” and “NASA AS1593-12687” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Several with minor creases at corners.

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N.B. The photographs were taken with the 250mm telephoto lens from an altitude of about 110 kilometers above the surface during the 71st revolution of the spacecraft. Craters Maskelyne A and Censorinus in the Sea of Tranquility; Crater Manilius; Haemus Mountains; and Bradley Rille IV. The bright spots on the surface are produced when lunar craters are illuminated by a high sun angle. $500-700

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359

359 Alfred Worden (American, b. 1932) Four details of the lunar surface seen from the cockpit of the orbiting Command Spaceship Endeavor, Apollo 15, August 1971. Numbered “NASA AS15-90-12289,” “NASA AS15-90-12306,” “NASA AS15-90-122316,” and “NASA AS15-90-12325” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 3/8 x 7 1/4 in. (18.5 x 18.3 cm), unmatted. Condition: Good.

N.B. The spacecraft was at an altitude of about 110 kilometers during revolutions 60 to 70 when these photographs were taken with the 60mm lens and the transparent glass reseau plate engraved with grid markings of the lunar surface Hasselblad camera (Apollo 15 was the only crew to bring back their camera from the surface). The lunar terminator over Crater Nauman; Aristarchus Rille seen through the window of the spacecraft; lands near Craters Herodotus K and V; and the lunar horizon near Craters Plinius and Ross. $500-700

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367

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360 Alfred Worden (American, b. 1932) Orbital panorama of the lunar horizon over the Bay of Rainbows, Apollo 15, August 1971. Numbered “NASA AS15-93-12705,” “NASA AS15-93-12703,” and “NASA AS15-9312702” in red on the recto upper margins. Mosaic of three vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 8 1/4 x 19 1/2 in. (20.8 x 49.4 cm), unmatted. Condition: Matte areas on surface of print on left.

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N.B. This telephoto panoramic view was taken with the 250mm lens during the 71st revolution of Endeavor around the Moon. On the horizon, the Bay of Rainbows, located at the North West rim of the Sea of Showers, was the landing site of the first Chinese Lunar Lander Chang’e 3 in December 2013. $2,000-3,000

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361

361 Alfred Worden (American, b. 1932) Crescent Earth rising beyond the Moon’s barren horizon, Apollo 15, August 1971. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 6 1/2 x 7 7/8 in. (16.3 x 19.8 cm), unmatted. Condition: Good.

N.B. As the spacecraft was in its 70th revolution rounding the Moon’s far side approaching Crater Humboldt, Alfred Worden captured with the 250mm telephoto lens this magnificent sight of “a gleaming white sliver of Earth rising above the lunar horizon” (National Geographic, February 1972, p. 257). “The photographs are a permanent reminder that we’re just a little part of the universe,” noted Worden. “We’re not the center of anything” (Schick and Van Haaften, p. 109). The NASA negative number is AS15-97-13267. Literature: Chaikin, Voices, p. 168; Schick and Van Haaften, p. 109. $700-900

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369

362

362 Alfred Worden (American, b. 1932), David Scott (American, b. 1932), or James Irwin (American, 1930-1991) First view of a satellite in lunar orbit, Apollo 15, August 1971. Vintage chromogenic print on resin-coated Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 3/8 x 8 in. (18.5 x 20.3 cm), unmatted. Condition: Good.

370

N.B. Before trans-Earth injection, the CSM launched a subsatellite around the Moon containing three experiments: the S-band transponder, the particle shadow/boundary layer experiment, and a magnetometer (NASA SP-289, p. 3.27). The NASA negative number is AS15-96-13068. $200-400

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363

363 Alfred Worden (American, b. 1932), David Scott (American, b. 1932), or James Irwin (American, 1930-1991) The half-Moon during the trans-Earth coast phase, Apollo 15, August 1971. Numbered “NASA AS15-94-12866” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Scattered minor handling crimps, especially at u.c.

N.B. A view of the Moon never seen before the space age, centered on the boundary between the lunar near side and the Moon’s hidden face. “We went to the Moon as trained, hopefully efficient, observers to gather data with both our scientific instruments and our minds. We spent 150 hrs circling over this unique planet, exploring the Hadley Base area, and performing the scientific tasks required. 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” (NASA SP-289, Apollo 15 crew observations, p. 4.1). $400-600

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371

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364 Taken by a 16mm Maurer Camera Mounted on the Hatch of the Command Module The first deep space Extravehicular Activity in history, performed by Alfred Worden, Apollo 15, August 1971. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 6 3/4 x 9 1/4 in. (17.0 x 23.4 cm), unmatted. Condition: Possible yellowing to sheet.

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N.B. This picture was taken from a frame of motion picture film. Worden’s EVA has been described as the first interplanetary spacewalk in an age that placed much prestige on space “firsts.” Apart from the three Apollo 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 kilometers away from the home planet (Apollo 15 flight journal: https://history. nasa.gov/afj/ap15fj/23day11_worden_eva. html). $400-600

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365

365 Alfred Worden (American, b. 1932) Four UV photographs of the increasing crescent Earth and the receding Moon seen during the homeward journey, Apollo 15, August 1971. Numbered “NASA AS15-9913481,” “NASA AS15-99-13496,” “NASA AS15-99-13500,” and “NASA AS15-9913506” (NASA MSC), respectively, in black on the recto left margin. Vintage gelatin silver prints, image sizes to 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted. Condition: Scattered minor handling crimps. N.B. On the way home, Command Module pilot Alfred Worden picked up a Hasselblad camera on board and captured these amazing views of the Moon diminishing in size and of the crescent Earth increasing in size, illuminated by sunlight from the side and basked in the beam of a lens flare.

This particular 70mm film magazine (#99) contained spectroscopic film for ultraviolet photographs. “In richness of scientific return, the Apollo 15 voyage to the plains at Hadley compares with voyages of Darwin’s HMS Beagle, and those of Endeavor 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 Endeavor did the same in planetary and Earth sciences and will guide the course of future explorations,” remarked NASA administrator James Fletcher (NASA SP-289, foreword). $600-800

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373

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366 David Scott (American, b. 1932) or James Irwin (American, 1930-1991) The Command Spaceship Endeavor in lunar orbit, Apollo 15, August 1971. Large-format vintage chromogenic print on fiber-based paper mounted to board, image/sheet size 10 1/2 x 13 3/4 in. (26.5 x 34.8 cm), unmatted. Condition: Surface scratches at center and c.l. N.B. While astronauts David Scott and James Irwin descended in the LM to explore the moon, command module pilot Alfred M. Worden flew solo in the Command and Service Modules (CSM) in lunar orbit.

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Worden described the experience this way: “Total isolation. I thought it was great. I loved it back there. I guess that’s the mentality of a fighter pilot, likes to be in the machine by himself, doesn’t particularly care to have to relate to anybody outside the machine. I was there by myself after Dave and Jim went down to the surface, which was good, and on the backside of the Moon, where I wasn’t even talking to the ground, it was better yet. I still did everything that I needed to do, but I sensed a freedom about what I did, that you don’t get if you’ve got the radio on…” (Chaikin, Voices, p. 111). The NASA negative number is AS15-88-11974. $1,500-2,500

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Apollo 16: April 1972

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367 Unidentified Photographer Official portrait of the lunar voyagers, Apollo 16, April 1972. Vintage chromogenic print on fiber-based Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 3/8 in. (18.9 x 23.8 cm), unmatted. Condition: Scattered subtle fingerprints, minor creases at upper corners and l.c., minor soiling to verso. N.B. The crew members were John Young, Commander; Ken Mattingly, Command Module pilot; and Charles Duke, Lunar Module pilot. $200-400

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375

368

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369

368 Unidentified Photographer Two views of the crew during training for the lunar mission, Apollo 16, November 1971-March 1972. NASA HQ captions on the verso. Vintage gelatin silver prints, image sizes to 7 1/2 x 9 5/8 in. (18.9 x 24.3 cm), unmatted. Condition: Minor wear at corners of sheet.

N.B. Apollo 16 Commander John Young (left) and Lunar Module pilot Charles Duke check out camera equipment of the Lunar Rover while Command Module pilot Ken Mattingly participates in EVA training aboard the Command Module. “We spent hundreds of hours training in the spacesuits, collecting pseudo-samples, photographing the samples in place and after we had collected them,” said Duke. “It taught us how to point the camera and how to center the picture without a viewfinder. The cameras were hung on our chests, and we got to where we could just point the thing and guess the distances. We were pretty good at it; I was pleased with the way they turned out” (Schick and Van Haaften, p. 114). $300-500

369 Unidentified Photographer Wide-angle view of the liftoff, Apollo 16, April 1972. Vintage chromogenic print on resincoated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Color shifting. $300-500

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377

370

370 Ken Mattingly (American, b. 1936) The Earth after trans-lunar insertion burn, centered on North America, Apollo 16, April 1972. NASA HQ caption numbered “AS16-118-18873” on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

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N.B. Until now the Apollo astronauts were the only space voyagers to escape the gravitational sphere of influence of the Earth and to travel to another realm. “I hadn’t been in the air an hour, and I knew I was in deep trouble,” said Ken Mattingly. “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! And I remember we were hardly out of Earth orbit when I said, you know, I’m in trouble” (Chaikin, Voices, p. 171). $400-600

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371

371 Ken Mattingly (American, b. 1936) The planet Earth, Apollo 16, April 1972. NASA HQ caption numbered “AS16-118-18880” on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Paper hinge remnants on the verso. N.B. Most of the United States and Central America is clearly visible in this awesome sight of a nearly full Earth photographed approximately one hour and 50 minutes after trans-lunar injection burn.

“The Earth is the most beautiful sight in space, with all its colors of lands, seas, and clouds,” said Charles Duke. “Looking at it against the blackness of space was almost a religious experience for me.” “There’s not a scene on the Moon that carries the emotional impact of watching your Earth shrink to a little ball,” added Mattingly (National Geographic, December 1972, p. 865). Literature: Light, plate 117; Chaikin, Voices, p. 170. $600-800

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379

372

372 Charles Duke (American, b. 1935) The Command Module and the Earth both rising over the lunar horizon, Apollo 16, April 1972. Stamped “RCA Astro-Electronics Div. 72-8-549C” on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Subtle scratch u.l. N.B. This remarkable image shows the loneliness of Ken Mattingly orbiting the Moon solo aboard the CSM Casper with the Earth in the background, while Young and Duke descended to the lunar surface aboard the LM Orion. That was “the most exhilarating thing in the world,” said Mattingly.

“To be there, by yourself, totally responsible for this thing. Dead quiet. And this spectacular, unreal world. Nothing could be more exhilarating” (Chaikin, Voices, p.105). “We had a problem with the Command Module before landing,” recalled Duke. “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. We were co-altitude at the time and started closing when we had Earthrise. Actually, we were pretty down in the dumps about that time because the mission rules said we were going to abort and not to land. Fortunately, Houston solved the problem” (Schick and Van Haaften, p. 119). The NASA negative number is AS16-118-18289. Literature: Schick and Van Haaften, p. 119. $500-700

380

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373

373 Transmitted by the RCA Camera Mounted to the Lunar Rover TV picture of the “jumping salute” on the Moon, Apollo 16, April 1972. Stamped “RCA Astro-Electronics Div. 72-8-512C” on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unmatted. Condition: Handling creases l.r., scattered faint surface scratches.

N.B. In a burst of exuberance, Young goes aloft for Duke’s camera to demonstrate the Moon’s meager gravity pull (Mason, p. 190). “Hey, John, this is perfect with the LM, the rover, and you and Stone Mountain and the old flag. Come on out there and give me a salute, a big Navy salute. Ok, here we go, a big one. Off the ground! One more,” exclaimed Charles Duke in an Apollo 16 air-to-ground transmission. $500-700

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381

374

374 Charles Duke (American, b. 1935) John Young jumps and salutes the American flag on the Moon, EVA 1, Apollo 16, April 1972. Stamped “AS 16 113 18339” (NASA MSC) on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good.

N.B. One of the iconic photographs of the Apollo program: “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. The ‘jumping salute’ photo is one of my favorite pictures, as it shows how nice it will be to live and work on the Moon,” recalled Young (Jacobs, p. 109). The NASA negative number is AS16-113-18339. Literature: Schick and Van Haaften, pp. 11617; Hope, p. 32; Jacobs, p. 109. $700-900

382

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375

375 Charles Duke (American, b. 1935) John Young in front of the lunar-science station, EVA 1, Apollo 16, April 1972. Numbered “NASA AS16-114-18388” (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good.

N.B. Young bags a sample from a small crater at the lunar-science station (ALSEP site). His backpack’s antenna used for communication is visible against the dark sky of space. “That blackness you see in those photographs is just black black,” remembered Duke. “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” (Chaikin, Voices, p. 68). $500-700

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383

376

376 Transmitted by the RCA Camera Mounted to the Lunar Rover Four TV pictures of the astronauts at Plum Crater, Station 1, EVA 1, Apollo 16, April 1972. Stamped “RCA Astro-Electronics Div. 72-4-549,” “RCA Astro-Electronics Div. 72-4-550,” “RCA Astro-Electronics Div. 72-4-551,” and “RCA Astro-Electronics Div. 72-4-552,” respectively, on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 in. (19.5 x 22.8 cm), unmatted. Condition: Scattered minor handling crimps. N.B. Duke and Young are seen gathering and photographing lunar samples in these black and white reproductions from a color transmission made by the RCA camera mounted on the lunar rover. “Plum Crater was to be the first of our geological stations,” recalled Charles Duke. “We had driven the rover to the west looking for Station 1. Many craters look very similar as we drove so at first we were unsure as to exactly where we were located. But then we came upon Flag/Plum and knew we were right on” (Constantine, p. 95). $600-800

384

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377

377 John Young (American, b. 1930) Charles Duke exploring Plum Crater, EVA 1, Apollo 16, April 1972. Numbered “NASA AS16-114-18423” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Good. N.B. “This view near the rim of Plum Crater at Station 1 shows the beauty and stark bleakness of the lunar surface. With antenna pointed toward Earth, the lunar rover in the background beams a TV picture to vicarious explorers around the world.

Duke stands near the rim of Plum Crater. The Hasselblad camera and documented sample bag hangs from the remote control unit on his chest. The reflection of the photographer can be seen in his visor” (NASA SP-315, p. 4.11). “It was probably the most hostile environment I’d ever been in in a flying situation,” said Duke. “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” (Chaikin, Voices, p. 62). Literature: Hope, p. 26. $600-800

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385

378

378 Charles Duke (American, b. 1935) South Ray Crater illuminated by the lunar Sun, EVA 1, Apollo 16, April 1972. Numbered â&#x20AC;&#x153;NASA AS16-112-18234â&#x20AC;? (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Minor handling crimps u.l. and across center.

386

N.B. South Ray Crater is approximately 700 meters in diameter and approximately 120 meters deep, with a bright system of rays of ejecta. The astronauts observed that the rim of South Ray was very bouldery, and reported that it would have been difficult to drive there on their rover (NASA SP-315, p. 5.3). Duke took the photograph with a 500mm telephoto lens from Spook Crater on the way back to the LM. $300-500

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379

379 John Young (American, b. 1930) Charles Duke with the UV astronomy camera, the Lunar Rover, and the American flag, EVA 1, Apollo 16, April 1972. Numbered “NASA AS16-114-18439” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Adhesive residue or similar along bottom edge.

N.B. John Young took the photograph during the EVA close-out at the LM. Charles Duke stands in the shadow of the Lunar Module behind the ultraviolet (UV) camera which is in operation. The American flag and Lunar Rover are in the background. Literature: Jacobs, p. 109. $500-700

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387

380

380 Transmitted by the RCA Camera Mounted to the Lunar Rover Four TV pictures of the EVA close-out at the Lunar Module, EVA 1, Apollo 16, April 1972. Stamped “RCA Astro-Electronics Div. 72-4-554,” “RCA Astro-Electronics Div. 72-4555,” “RCA Astro-Electronics Div. 72-4-556,” and “RCA Astro-Electronics Div. 72-4-557,” respectively, on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 1/2 in. (19.5 x 24.0 cm), unmatted. Condition: Scattered minor wear at corners of sheet.

388

N.B. The Earth as seen from the lunar surface; footprints at the Descartes landing site; Charles Duke examining a big lunar sample; and the American flag decal on the LM are visible in these black-and-white reproductions from a color transmission made by the camera. $500-700

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381

381 Charles Duke (American, b. 1935) Lunar Grand Prix at Descartes landing site, EVA 1, Apollo 16, April 1972. Numbered “NASA S-72-37002” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 9 1/2 in. (18.0 x 24.0 cm), unmatted. Condition: Good.

N.B. The rover gets a speed workout by John Young at the end of the first EVA (and not the third as mentioned in the NASA caption) to test how the vehicle handles in the Moon’s one sixth gravity. This view is a frame from motion picture film exposed by a 16mm Maurer camera held by Charles Duke (NASA caption). “The rover really seemed to be another spacecraft, even though we were operating on the surface of the Moon. Every time we’d hit a rock or a bump, we’d just fly into space. So I estimate we were floating through space a good bit of the time,” joked Apollo 15 astronaut James Irwin (Chaikin, Voices, p. 78). Literature: Reynolds, p. 189. $500-700

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389

382

382 Charles Duke (American, b. 1935) John Young beyond the rover parked next to the Lunar Module Orion, EVA 2, Apollo 16, April 1972. Numbered “NASA AS16-10717436” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 1/8 in. (17.5 x 18.0 cm), unmatted. Condition: Minor crimp in sheet edge l.l., vertical line of matte area at left.

390

N.B. Stone Mountain, approximately 5 kilometers in the distance and 500 meters high, forms the skyline behind the LM. “This and similar views of the LM, Rover and our flag was always special,” recalled Duke. “Other than the gray and white of the Moon, this was the only color. What a contrast to the stark Moon. The landing site that John selected was dead level so this made the deployment of the rover and the ALSEP a simple task” (Constantine, p. 99). $400-600

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383

383 Charles Duke (American, b. 1935) John Young and the rover in the barren lunar landscape of Stone Mountain’s Station 4, EVA 2, Apollo 16, April 1972. Numbered “NASA AS16-110-17960” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/4 x 6 7/8 in. (18.3 x 17.4 cm), unmatted. Condition: Scattered minor handling crimps, subtle silvering. N.B. Station 4 marked the highest point reached at Stone Mountain. At 152 meters (499 feet) above the valley floor, Young and Duke were at the highest elevation above the LM of any Apollo mission. Smoky Mountain is about 8 kilometers on the far horizon.

The astronauts found it difficult to find a level place to park the rover on the steep slopes of Stone Mountain. “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,” remembered Duke (Chaikin, Voices, p. 90). Literature: Hope, p. 33. $300-500

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391

384

384 John Young (American, b. 1930) Charles Duke surveying the spectacular lunarscape of Stone Mountain’s Station 4, EVA 2, Apollo 16, April 1972. Numbered “NASA AS16-107-17446” (NASA MSC) in red on the recto u.l. margin, stamped “PMPR-D” in red on the verso with additional annotations. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 in. (18.3 x 17.5 cm), unmatted. Condition: Good.

392

N.B. Station 4 was four kilometers south of the LM, near a cluster of five craters, the Cinco Craters, high on the side of Stone Mountain, from which the crew had a spectacular view. Duke: “Wow! What a place! What a view, isn’t it, John?” Young: “It’s absolutely unreal!” Duke: “We’ve really come up here, Tony. It’s just spectacular. Gosh, I have never seen... All I can say is ‘spectacular’” (Apollo 16 air-toground transmission). Literature: Hope, p. 27; Reynolds, pp. 19091. $400-600

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385

385 Charles Duke (American, b. 1935) John Young at the back of the Lunar Rover at Stone Mountain’s Station 6, EVA 2, Apollo 16, April 1972. NASA HQ caption on the verso. Vintage gelatin silver print, image size 7 5/8 x 7 1/4 in. (19.2 x 18.3 cm), unmatted. Condition: Slight curling to sheet. N.B. Station 6 was located at the base of Stone Mountain on the Cayley Plain. John Young is at the back of the rover giving Mission Control a reading of his oxygen supply.

Rather comically he reports that every time he checks his oxygen gauge, which is located on his chest, he gets an ear full of orange juice! “On the inside of our suits, we had a drink bag Velcroed to our liquid-cooled garment to give us something to drink on the surface,” recalled Duke. “In orbit, these leaky bags had caused a problem so that’s what John is kidding about” (Constantine, p. 104). The NASA negative number is AS16-108-17622. $300-500

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393

386

386 Charles Duke (American, b. 1935) John Young driving the rover along the lunar horizon, EVA 2, Apollo 16, April 1972. Numbered “NASA AS16-115-18559” (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Minor handling creases l.r. corner of sheet.

394

N.B. Young prepares to drive the rover from the lunar-science station (ALSEP site) to the LM. The shadow of the LM is in the foreground. Literature: Hope, p. 27. $400-600

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387

387 Charles Duke (American, b. 1935) John Young collecting lunar samples with the rover parked in the background, Station 11, EVA 3, Apollo 16, April 1972. Numbered “NASA AS16-106-17340” (NASA MSC) in black on the recto u.l. margin. Vintage gelatin silver print, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Subtle silvering.

N.B. Station 11 was located 4.4 kilometers north of the lunar module, on the southeast rim of North Ray Crater. “The Lunar Rover is parked over the rise in the field of boulders in the background. Young rakes with his right hand and holds the sample bag in his left hand. Because of mobility permitted by the suit, raking is a one-arm operation” (NASA SP-315, p. 4.17). “John’s balance was outstanding,” remembered Duke. “He could jump up and do a split, go down and come back up” (ALSJ: https://www.hq.nasa.gov/ alsj/a16/a16.html). $300-500

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395

388

388 Transmissions from the RCA Camera Mounted on the Lunar Rover Three TV pictures of John Young and Charles Duke at House Rock, Station 11, EVA 3, Apollo 16, April 1972. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 1/2 in. (19.5 x 24.0 cm), unmatted. Condition: Minor wear at corners. N.B. Duke and Young are seen gathering lunar samples at Station 11 on the southeast rim of North Ray Crater near a big black rock nicknamed House Rock because of its size (estimated to be 10 meters high by 20 meters long) in these black and white reproductions made from color transmissions. $500-700

396

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389

389 Transmissions from the RCA Camera Mounted on the Lunar Rover Three TV pictures of John Young and Charles Duke at Shadow Rock, Station 13, EVA 3, Apollo 16, April 1972. Stamped “RCA Astro-Electronics Div. 72-4-591,” “RCA Astro-Electronics Div. 72-4-587,” and “RCA Astro-Electronics Div. 72-4-595,” respectively, on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 1/2 in. (19.5 x 24.0 cm), unmatted. Condition: Minor wear at corners of sheet. N.B. Mission Control observed the astronauts at Station 13 (located at the base of Smoky Mountain) in these black and white reproductions made from color transmissions. The objective at this station was to sample one of the many large boulders in the area, so the crew chose this particular spot because it was next to the large 3-meter rock which could potentially cast a permanent shadow onto the lunar soil beneath it. This was scientifically significant because it meant a sample could be taken of cold lunar soil that had not been exposed to the heat of the Sun. The rock was therefore named Shadow Rock (Constantine, p. 111). $500-700

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397

390

390 John Young (American, b. 1930) The Lunar Module Orion behind the Lunar Rover antenna during return to the landing site, EVA 3, Apollo 16, April 1972. Numbered “NASA AS16-116-18680” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Subtle yellowing to left edge of sheet, vertical chemical (or similar) streaking at right.

398

N.B. “Just to the left of the LM is a crater that is approximately 25 meters in diameter. John Young flew the LM over this crater just before landing. The white area in the horizon right of the antenna is composed of South Ray and Baby Ray Craters approximately 6 kilometers in the distance. Stone Mountain forms the skyline in the left background” (NASA SP315, p. 4.19). “During their 71 hours on the Moon, the Apollo 16 crew conducted three extravehicular activities totaling about 20.3 hours on the lunar surface. These EVAs included lunar rover traverses totaling 26.7 kilometers” (http://www.lpi.usra.edu/lunar/ missions/apollo/apollo_16/surface_opp/). $400-600

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391

391 Charles Duke (American, b. 1935) John Young at the Descartes landing site, EVA 3, Apollo 16, April 1972. Numbered “NASA AS16-117-18825” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/4 x 7 1/8 in. (18.3 x 18.0 cm), unmatted. Condition: Subtle matte areas at c.l. and c.r.

N.B. “Young prepares to take samples near the lunar module and the lunar-science station. 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. The lunar rover, with only a partial right rear fender, stands in the background” (NASA SP-315, p. 4.19). $500-700

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399

392

392 John Young (American, b. 1930) Charles Duke inspecting the Lunar Rover at its final parking place, EVA 3, Apollo 16, April 1972. Numbered “NASA AS16-116-18719” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Hole punches in upper margin with the center hole slightly overlapping the image edge, subtle yellowing of sheet.

400

N.B. The battery covers of the rover are open so that Charles Duke can brush off the battery mirrors and make sure the TV camera is powered and captures the LM’s ascent stage for the long journey back to Earth. “This had been a great day in spite of cutting EVA 3 short due to our late landing,” said Duke. “We were having fun and were asking for an extension but to no avail” (Constantine, p. 113). $400-600

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393

393 Ken Mattingly (American, b. 1936) The ascent stage of the Lunar Module Orion rising from the Moon’s surface, Apollo 16, April 1972. NASA KSC caption numbered “AS16-122-19532” on the verso. Vintage chromogenic print on resin-coated Kodak Paper with “A Kodak Paper” watermark on the verso, image size 7 5/8 x 9 5/8 in. (19.2 x 24.3 cm), unmatted. Condition: Slight yellowing to sheet, emulsion loss l.l. corner in margin.

N.B. After more than three days on the Moon’s surface and before traveling back to Earth, Young and Duke in the LM Orion were about to join Mattingly in the orbiting Command Module Casper over the Sea of Fertility. Parts of the LM thermal panels buckled from the stresses of lift-off from the Moon, but the damage posed no risk to Young and Duke in their link-up with Casper. “Going to the Moon is an extraordinary thing! It doesn’t matter if you’re first or last; it’s extraordinary,” said Mattingly (Chaikin, Voices, p. 165). Literature: Light, plate 104 (variant). $400-600

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401

394

394 Ken Mattingly (American, b. 1936), Charles Duke (American, b. 1935), or John Young (American, b. 1930) Four details of the lunar surface seen from the orbiting Command Module Casper, Apollo 16, April 1972. Numbered “NASA AS16-11819013,” “NASA AS16-119-19136,” “NASA AS16-120-19193,” and “NASA AS16-12019228” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Minor wear at several corners.

402

N.B. Lunar landscapes near Magelhaens, Herigonius, Mills, and King Craters photographed from an altitude of about 120 kilometers with the 250mm telephoto lens. “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,” observed John Young (Chaikin, Voices, p. 42). $500-700

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395 Ken Mattingly (American, b. 1936), Charles Duke (American, b. 1935), or John Young (American, b. 1930) Two views of the lunar horizon over the rugged landscape of the far side highlands, Apollo 16, April 1972. Numbered “NASA AS16-12019204” and “NASA AS16-118-18933” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Minor wear to several corners of first print.

395

N.B. Using the 250mm telephoto lens, Mattingly photographed the stunning view from the Command Spaceship Casper as it orbited the far side of the moon at an altitude of about 120 kilometers. Shown are the lunar horizon over Crater Belyaev (first image) and Crater Van Gent (second image). “I can’t imagine bouncing across the surface of the Moon being as personally exhilarating as being solo in a spacecraft on the back side of the Moon... There’s nobody there but me!” exclaimed Ken Mattingly. “And there’s no noise, except the little electronic fans going poof. And you turn some music on, and you watch this panorama go by, and it’s absolutely mind boggling” (Chaikin, Voices, p. 106). $500-700

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403

396 Taken by a 16mm Maurer Camera Mounted on the Command Module Casper The deep space EVA of Ken Mattingly during the return from the Moon, Apollo 16, April 1972. Numbered “NASA S72-37001” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 9 1/2 in. (17.5 x 24.0 cm), unmatted. Condition: Minor crease to u.l. corner of sheet. N.B. Assisted by Charles Duke in the foreground during his EVA, Mattingly inspects the SIM bay of the Service Module and retrieves film from the Mapping and Panoramic cameras. This view is a frame from motion picture film exposed by a Maurer camera. “Lunar missions can be described as a ceaseless stream of unimaginable experiences. This picture is a reminder of one of these; an emotionally overwhelming sensation of space...,” recalled Mattingly. “There was nothing to see except our silver spacecraft with Charlie in the hatch. No colorful Earth, no white Moon, not one star; nothing but us and the Sun. Without visual clues, even the familiar voice from Mission Control did not break the profound sense of detachment and appreciation for the true meaning of the expression ‘deep space’” (Jacobs, p. 115).

397 Ken Mattingly (American, b. 1936) Planet Earth, Apollo 16, April 1972. Largeformat vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 13 7/8 x 11 in. (35.0 x 27.7 cm), unmatted. Condition: Subtle color shifting, minor wear at corners, blue ballpoint pen mark u.l. N.B. The twenty-four Apollo astronauts from Apollo 8 in December 1968 to Apollo 17 in December 1972 were the only men in history to see the Earth as a sphere hanging in space. “To stand back and look at the entirety of North America is not something you can take for granted. Yet, here’s a picture to show you that it was done. It wasn’t taken by a black box or a camera we sent out in a satellite into space. It was done by this guy right here who thinks and acts, puts on his pants one leg at a time just like you. 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,” said Apollo 17 Commander Eugene Cernan (Schick and Van Haaften, p. 60). The NASA negative number is AS16-118-18880. Literature: Light, plate 117; Chaikin, Voices, p. 170. $2,500-3,500

Literature: Jacobs, pp. 114-15. $400-600

404

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396

397

Online bidding at www.skinnerinc.com

405

Apollo 17: December 1972

398

398 Unidentified Photographer Portrait of Eugene Cernan, commander of the mission and the last man on the Moon, Apollo 17, 1972. Numbered “NASA S-7151309” (NASA MSC) in red on the recto u.r. margin. Vintage chromogenic print on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 1/2 x 7 1/8 in. (24.0 x 18.0 cm), unmatted. Condition: Subtle fingerprints u.c., minor crease at u.r. corner of sheet. $200-400

406

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399

399 Unidentified Photographer Four views of Eugene Cernan and Harrison Schmittâ&#x20AC;&#x2122;s lunar surface training and last preparations before departure for the Moon, Apollo 17, December 1972. NASA HQ and KSC captions on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), unmatted. Condition: Minor wear at corners of sheet. $400-600

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407

400

400 Unidentified Photographer Liftoff at night, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated GAF paper with a â&#x20AC;&#x153;GAFâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Subtle color shifting, minor rippling to sheet at right.

408

N.B. The Saturn V rocket lights up the night sky at the Kennedy Space Center shortly after midnight on December 7, 1972, the only night launch of the program. An estimated 750,000 spectators were on hand. Literature: Chaikin, Space, p. 130; Jacobs, pp. 6-7. $300-500

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401

401 Harrison Schmitt (American, b. 1935), Eugene Cernan (American, 1934-2017), or Ronald Evans (American, 1933-1990) The Southern hemisphere of the Earth seen from the spacecraft heading to the Moon, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. The photograph was taken beyond Earth orbit, showing Southern Africa, Madagascar, and Antarctica, after the successful docking maneuver and extraction of the LM; and the jettison of the expended SIVB third stage. The NASA negative number is AS17-148-22717. $400-600

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409

402

402 Harrison Schmitt (American, b. 1935) The “Blue Marble,” Apollo 17, December 1972. Numbered “NASA AS17-148-22727” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 9 1/2 in. (18.0 x 24.0 cm), unmatted. Condition: Minor cracks at sheet corners, fox marks or similar on the verso. N.B. Only this final Apollo mission saw the Earth fully illuminated. The photograph was released by NASA on Christmas Eve, four years to the day after the Apollo 8 Earthrise, and the image soon became known as the “Blue Marble,” probably the most widely distributed image in history. “This now famous picture of the Earth, taken from about 34,000 miles away, shows all of Africa, the continent of human origins and later migrations.

410

In spite of the personal motivations for the descriptions and photographs,” stated Harrison Schmitt, “when I took this picture, I could not help but be struck by the remarkable fact that humans from that now receding blue, green, red-yellow, and white globe could take such a picture. A new migration to places elsewhere in the solar system had begun. As a geologist, I also reflected on how much our Home Planet had endured over four and a half billion years of time, demonstrating a truly remarkable resilience to apparent diversity” (Jacobs, p. 126). Literature: Chaikin, Space, p. 131; Jacobs, p. 127; Light, plate 114; Hope, p. 151. $1,000-1,500

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403

403 Harrison Schmitt (American, b. 1935), Eugene Cernan (American, 1934-2017), or Ronald Evans (American, 1933-1990) Lunar horizon over the far side terminator during the first orbit, Apollo 17, December 1972. Numbered “NASA AS17-151-23111” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 in. (17.5 x 17.5 cm), unmatted. Condition: Good.

N.B. An oblique photograph showing the tortured relief of the Moon over craters Doppler and Korolev, accentuated by the low Sun illumination of the lunar terminator (boundary between day and night on the Moon). “I look at it very three-dimensionally. I mean I can look beyond the moon. I can see the three dimensions,” noted Eugene Cernan. “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” (Chaikin, Voices, p. 180). $300-500

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411

404

404 Eugene Cernan (American, 1934-2017) The Command Space Module America in the far distance, flying over the Taurus-Littrow landing site, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

412

N.B. The CSM America, seen as a small dot near the center of the photograph, is framed against the Taurus-Littrow landing site in this dramatic west-looking view from the LM shortly after separation on revolution 12. The South Massif is the large mountain just beyond the CSM. The valley of Taurus-Littrow is in the center of the picture, with South Massif above the valley and North Massif to the right. The crests of South Massif and North Massif are 2,500 and 2,100 meters, respectively, above the landing site. There is a cluster of small craters in the center of the valley. The LM landed just north of this cluster, to the right in this view. Mare Serenitatis is visible at the top of the picture, above the mountains (NASA SP-330, p. 4.11, and http:// www.lpi.usra.edu/lunar/missions/apollo/ apollo_17/landing_site/). The NASA negative number is AS17-147-22465. $400-600

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405 Harrison Schmitt (American, b. 1935) Two lunarscapes, the valley of TaurusLittrow, EVA 1, Apollo 17, December 1972. Numbered “NASA AS17-147-22497” and “NASA AS17-147-22505” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Minor cracks to l.l. of sheet corner.

405

N.B. “The Taurus-Littrow region of the Moon was a geologist’s dream. It had steepwalled valleys with large boulders at their base. The area gave NASA an opportunity to sample both young volcanic rock and older mountainous wall material at the same location” (Jacobs, p. 117). The North Massif (first image), Wessex Cleft and shadowed Sculptured Hills (second image) form the skyline of these photographs captured near the LM at the beginning of the first lunar excursion. “When Challenger alights, our view embraces a pristine moonscape of craters, rocks, and sunny slopes agleam like virgin snow. This is just after the dawn of a lunar daytime that will last for 13 more Earth days, a dawn when shadows etch the smallest features in high relief, prime time for the lunar explorer,” remembered Schmitt (National Geographic, September 1973, p. 305). $500-700

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413

406

406 Harrison Schmitt (American, b. 1935) Eugene Cernan tests the unloaded Lunar Rover, EVA 1, Apollo 17, December 1972. NASA Goddard caption numbered “AS17-147-22526” on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. The crew had just extracted and activated the Lunar Rover and Gene Cernan can be seen giving it a test drive. This was successful to the relief of the crew, as it was planned that Apollo 17 would be making longer traverses than any of the previous Apollo missions (Constantine, p. 120). “What really seemed fast was the fact that you kept bouncing off the surface,” recalled Schmitt. “You didn’t want to go any faster! The rover left the surface at every bump” (Chaikin, Voices, p. 78). Literature: Hope, p. 24. $500-700

414

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407

407 Harrison Schmitt (American, b. 1935) Eugene Cernan parks the Lunar Rover by the Lunar Module Challenger, the South Massif beyond, EVA 1, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. “Shortly after deployment, Cernan drove the LRV through a series of maneuvers to check out the performance of the vehicle. The LRV was then loaded with tools, experiment hardware, a TV camera, and antennas. South Massif, the crest of which is 2,500 meters above the valley floor, forms the skyline 5 kilometers behind the LM. The bands of dark gray are LRV tracks; bootprints in the lunar surface are visible near the right margin of the photograph” (NASA SP-330, p. 4.13). The NASA negative number is AS17-147-22527. $500-700

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415

408

408 Harrison Schmitt (American, b. 1935) Eugene Cernan salutes the American flag, EVA 1, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Missing l.r. corner of sheet.

N.B. “We, as Americans, did not conquer the Moon, because that was not our aim,” said Apollo 17 command module pilot Ronald Evans. “But the American flag is 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. It created pride and gave us unprecedented prestige in the eyes of the rest of the world” (Schick and Van Haaften, p. 120). The NASA negative number is AS17-134-20380. Literature: Hope, p. 24; Reynolds, pp. 22021. $500-700

416

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409

409 Eugene Cernan (American, 1934-2017) Harrison Schmitt with the Earth above the American flag, EVA 1, Apollo 17, December 1972. NASA Goddard caption numbered “AS17-134-20384” on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. “I captured the Earth, the Moon, the man, and the country all in one. I’m proud of this picture,” said Eugene Cernan whose image is reflected in Schmitt’s visor (Schick and Van Haaften, p. 65). NASA photographic specialist Richard Underwood described it as “One of the great photos ever to come out of the space program” (NASA Johnson Space Center Oral History). Literature: Chaikin, Space, pp. 132-33; Schick and Van Haaften, p. 65; Hope, p. 35. $800-1,200

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417

410

410 Harrison Schmitt (American, b. 1935) The morning lunar Sun illuminating the TaurusLittrow Valley, Apollo 17, December 1972. Numbered “NASA AS17-147-22602” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good.

418

N.B. Schmitt took the photograph from the lunar-science station; footprints and the lunar rover are in the foreground, the LM Challenger is in Sun glare in the background. “Even low in the sky, the Sun was a force to be reckoned with, producing a surface temperature of 150°F during the 3-day ‘morning’ of the 14day lunar day” (Reynolds, p. 205). $500-700

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411

411 Eugene Cernan (American, 1934-2017) Harrison Schmitt with the lunar rake at Steno Crater’s Station 1, EVA 1, Apollo 17, December 1972. NASA Goddard caption numbered “AS17-134-20425” on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Color shifting around image edges, paper hinge remnants on the verso. N.B. Schmitt has the Hasselblad camera mounted on his chest, and Family Mountain is in the background. “Station 1 was located about 150 meters from the northwest rim of Steno Crater, in the middle of the TaurusLittrow Valley.

When Steno Crater formed, it would have ejected material from below the surface and deposited it in the surrounding region. The goal of this stop was to collect samples of this subsurface material” (http://www.lpi.usra. edu/lunar/missions/apollo/apollo_17/surface_ opp/). “Here Schmitt is shaking soil out of the rake to collect a sample of rocks ranging from 1 to 4 centimeters in diameter after making a swath through the surface soil” (ALSJ: https:// www.hq.nasa.gov/alsj/a17/a17.html). Literature: Reynolds, p. 204. $400-600

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419

412

412 Eugene Cernan (American, 1934-2017) The Lunar Rover antenna and the lunarscape during the traverse from Station 1 to the SEP site, EVA 1, Apollo 17, December 1972. Numbered “NASA AS17-134-20434” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Rippling and surface irregularities to sheet, yellowing at edges.

420

N.B. Cernan took the photograph from his passenger seat. The SEP (Surface Electrical Properties) site was about 120 meters east of the LM. The umbrella-like device is one of two antennas used to maintain communication with Earth and the Apollo 17 Command Spaceship. Wessex Cleft forms the skyline in the background. $300-500

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413

413 Eugene Cernan (American, 1934-2017) Wide-angle view of the Taurus-Littrow landing site, EVA 1, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good. N.B. With bright mountains rising above the dark lava plains, the Apollo 17 landing site surrounded the astronauts with magnificent views.

Cernan took the photograph from the end of the east arm of the SEP (Surface Electrical Properties) transmitter array. Harrison Schmitt is shown working at the end of the west arm with the LM and the rover nearby. Also visible in the background is a large rock named Geophone Rock and the lunar-science station (ALSEP site). “The problem of distance perception on the Moon is well illustrated in this photograph: the distance to the rover is 35 meters; the distance to astronaut Schmitt is 70 meters. The distance to the LM is 150 meters; to the ALSEP, 350 meters. Family Mountain is 11 kilometers beyond the rover, and South Massif is behind the LM” (NASA SP-330, p. 4.16). The NASA negative number is AS17-134-20435. $500-700

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421

414

414 Eugene Cernan (American, 1934-2017) Panoramic view of Nansen Crater, Station 2, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-137-20951” (NASA MSC) in red on the recto u.c. margin. Mosaic of three vintage chromogenic prints on fiberbased Kodak paper with “A Kodak Paper” watermark on the verso, overall size 9 x 16 1/2 in. (22.8 x 41.8 cm), unmatted. Condition: Good. N.B. “The site of Taurus-Littrow recalled the magnificent Hadley-Apennine valley from Apollo 15. Also at the edge of a lunar sea, the valley borders the Mare Serenitatis. A dark floor forms a plain between a ring of high, smooth-profile mountains, bright light gray in contrast to the basalt of the lava-flow valley” (Reynolds, p. 200). Station 2 was located at the foot of the South Massif (left of image) near the southeast rim of Nansen Crater (center of the image), 4.8 miles from the LM. A landslide in this region put boulders from high on the massif into reach of the astronauts.

422

The primary purpose of this stop was to sample these boulders, which represent material formed very early in the Moon’s history that possibly came from deep within the Moon’s crust (http://www.lpi.usra.edu/ lunar/missions/apollo/apollo_17/surface_ opp/). The North Massif forms the skyline of this impressive view. “Well, I have some good pictures of Nansen, anyway, and... You know, I look out there, I’m not sure I really believe it all,” an incredulous Cernan said to Mission Control while he was capturing the panoramic view (Apollo 17 air-to-ground transmission). The additional NASA negative numbers are AS17-137-20940 and AS17-137-20949. Literature: NASA SP-330, p. 6.80, fig. 6-106 (variant). $2,500-3,500

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415

415 Eugene Cernan (American, 1934-2017) Close-up of the repaired Lunar Rover with Harrison Schmitt on board, Station 2, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-137-20979” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 x 7 in. (17.5 x 17.5 cm), unmatted. Condition: Good. N.B. “Cernan took the photograph just before driving off from Station 2; Schmitt is already seated in the rover. Every minute the explorers stayed outside they ticked time off their walkback constraint, the safety limit that would allow them to survive a return to the LM on foot if the rover failed or became disabled” (Reynolds, p. 193).

“The lunar rover performed well throughout the mission; however, as shown in this closeup, the right rear fender was accidentally knocked off during the first EVA and allowed the rover to kick up a dust plume while moving, which caused difficulty for the crew. Following a suggestion from astronaut John Young at Mission Control, the crew repaired the fender at the beginning of EVA 2 using lunar maps and clamps from the optical alignment telescope lamp” (http://www.lpi. usra.edu/lunar/missions/apollo/apollo_17/ surface_opp/). Literature: Reynolds, p. 201. $400-600

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423

416

416 Eugene Cernan (American, 1934-2017) Two telephoto panoramic views along the North and South Massif mountains at Taurus-Littrow, Station 2A, EVA 2, Apollo 17, December 1972. The first numbered “NASA AS17-144-22014,” “NASA AS17-144-22013,” “NASA AS17-144-22012,” and “NASA AS17144-22010” (NASA MSC) in black on the recto upper margins; the second numbered “NASA AS17-144-22023,” “NASA AS17-144-22016,” and “NASA AS17-144-22018” (NASA MSC) in black on the recto upper margins. Each mosaic comprised of four vintage gelatin silver prints, overall sizes to 10 1/2 x 25 1/4 in. (26.2 x 64.0 cm), unmatted. Condition: Crimp l.l.

424

N.B. “En route from Station 2 to Station 3 at Lara Crater, Eugene Cernan and Harrison Schmitt made a quick stop at Station 2A, located about 600 meters northeast of Nansen Crater, to check the gravity gradient between the South Massif and the valley” (http://www.lpi.usra.edu/lunar/missions/ apollo/apollo_17/surface_opp/). While off the rover, Eugene Cernan had a fantastic view of both the North and South Massifs which he photographed with the 500mm telephoto lens. These large massifs are located on either side of Apollo 17’s landing site in the majestic 7-kilometer-wide valley of Taurus-Littrow, called the North and South Massifs, respective to their geographic location in relation to each other.

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Their height gives the valley a depth greater than that of the Grand Canyon in the United States. The North Massif rises some 2,100 meters above the valley floor. The South Massif rises some 2,500 meters above the valley floor. The first telephoto panorama shows the western ridge of the North Massif mountain. The second telephoto panorama shows the left flank of the South Massif mountain. $1,500-2,500

417

417 Eugene Cernan (American, 1934-2017) Lunarscape, Shorty Crater, Station 4, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-137-21004” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Minor water damage or similar to l.l. corner of sheet.

N.B. This Station 4 stop was made to investigate the possibility that the 110-meterdiameter crater was actually a volcanic structure. The famous “orange soil” was discovered at this site. Shorty is actually an impact crater and the orange soil is an older volcanic deposit. The North Massif is in the background. “A geologist’s paradise, if I ever saw one...” remembered Harrison Schmitt in National Geographic (September 1973, p. 301). $300-500

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425

418

418 Eugene Cernan (American, 1934-2017) Harrison Schmitt and the rover in the desolate lunarscape of Shorty Crater, Station 4, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-137-21011” (NASA MSC) in red on the recto u.l. margin, NASA MSC caption on the verso. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Minor crease to u.r. corner of sheet.

N.B. The rim of Shorty Crater is in the right of the image; Family Mountain, rising 1,000 meters above the valley floor, is in the background. “The clarity brought on by the lack of atmosphere gives the impression that objects are closer than they really are,” observed Schmitt. “This atmospheric clarity made it difficult to estimate distances, so I used the known distance of my shadow and any given sun angle to calibrate my estimates of near field distances and crater diameters” (Constantine, p. 139). Literature: Hope, p. 31. $400-600

426

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419

419 Eugene Cernan (American, 1934-2017) Harrison Schmitt skimming lunar soil on the rim of Camelot Crater, Station 5, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-145-22156” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Hole punches in upper margin of sheet. N.B. Schmitt’s spacesuit is covered with lunar dust while he’s skimming soil with the scoop. “This moondust dirtied the space suits and darkened them.

Nowhere on Earth does one face raw, undiminished solar power, but on the Moon there is nowhere to hide except in a spacesuit. An astronaut’s backpack cooled him by circulating water; an astronaut could stay cool only as long as his water lasted, and in a dark spacesuit he would bake like an outdoor grilled briquette, burning up his water. Cernan and Schmitt had to spend time brushing each other off so as not to end up roasting” (Reynolds, p. 205). “It doesn’t make any difference whether you’re in a suit or whether you’re in shirtsleeves,” said Schmitt. “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” (Chaikin, Voices, p. 85). $300-500

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427

420

420 Eugene Cernan (American, 1934-2017) Lunarscape, Camelot Crater, Station 5, EVA 2, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

428

N.B. The 650-meter-wide Camelot Crater was the largest crater explored by the Apollo 17 crew. A boulder field is visible on its rim in the foreground with Wessex Cleft mountain in the background. The NASA negative number is AS17-145-22159. $300-500

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421

421 Eugene Cernan (American, 1934-2017) Telephoto panorama of the summit ridge of the South Massif mountain at TaurusLittrow, EVA 2, Apollo 17, December 1972. Numbered “NASA AS17-144-22104,” “NASA AS17-144-2103,” “NASA AS17-14422102,” “NASA AS17-144-22101,” “NASA AS17-144-22100,” “NASA AS17-144-22099,” “NASA AS17-144-22098,” “NASA AS17-14422097,” and “NASA AS17-144-22094” (NASA MSC) in black on the recto upper margins. Mosaic of thirteen vintage gelatin silver prints, overall size 10 1/2 x 50 1/4 in. (26.2 x 128.3 cm), unmatted. Condition: Scattered minor creases at l.l. corners of sheets.

N.B. Large massifs are located on either side of Apollo 17’s landing site in the 7-kilometerwide valley of Taurus-Littrow, called the North and South Massifs, respective to their geographic location in relation to each other. The height of these massifs gives the valley a depth greater than that of the Grand Canyon in the United States. The crest of the highest mountain, the South Massif, rises 2,500 meters above the valley floor. Cernan took the panorama with the 500mm telephoto lens near the LM Challenger during EVA 2 close-out. $2,500-3,500

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429

422

422 Harrison Schmitt (American, b. 1935) Eugene Cernan with the reflection of the photographer in his gold-plated visor, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-140-21390” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

430

N.B. Cernan’s gold-plated visor reflects the photographer, the Lunar Module, and the South Massif. Cernan is standing between the flag and the rover whose high-gain antenna is pointed at Earth. Wessex Cleft forms the skyline in the background. Literature: Chaikin, Voices, cover. $800-1,200

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423

423 Eugene Cernan (American, 1934-2017) Harrison Schmitt and Split Rock, Station 6, EVA 3, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. “Station 6 was located at the base of the North Massif. Schmitt carries the gnomon after sampling and collecting fragments of Split Rock, which had rolled down the side of the steep North Massif in a 1,500-footlong furrow before breaking into pieces. The boulder was so big that the astronauts could see it from lunar orbit. At the far right of the photograph, just above the rock, the astronauts’ LM Challenger can be seen as a distant speck sitting at the right edge of the lighter area” (Reynolds, p. 208). The NASA negative number is AS17-140-21496. Literature: Chaikin, Space, p. 133; Chaikin, A Man on the Moon, pp. 272-73; Reynolds, pp. 208-09. $500-700

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431

424

424 Eugene Cernan (American, 1934-2017) Harrison Schmitt taking photographs at Split Rock, Station 6, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-146-22294” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

432

N.B. Cernan holds the 500mm lens Hasselblad in his hand while leaning on the boulder for stability in order to take telephoto photographs. The lunar rover is in the foreground. Literature: Chaikin, A Man on the Moon, p. 246; Reynolds, p. 201; Hope, p. 34. $500-700

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425

425 Harrison Schmitt (American, b. 1935) Four lunarscapes seen from the rover during the sunny traverse from North Massif’s Station 7 to Sculptured Hills’ Station 8, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-142-21689,” “NASA AS17-142-21691,” “NASA AS17-142-21693,” and “NASA AS17142-21695” (NASA MSC), respectively, in black on the recto u.l. margin. Vintage gelatin silver prints, image sizes to 7 1/8 x 7 1/4 in. (18.0 x 18.3 cm), unmatted. Condition: Minor rippling at sheet edges.

N.B. Harrison Schmitt’s view of the Moon as he rode in his right-hand seat on the lunar rover. “Driving on the Moon was the ultimate off-road experience. The Lunar Rover handled steep inclines, crater potholes, and loose rocks very well, its design proving effective even in the one-sixth gravity, which would have allowed a taller vehicle to roll over easily” (Reynolds, p. 201). In the foreground is the rover’s television camera, which could be remotely controlled from Earth to relay the astronauts’ activities to the world. In Houston, Schmitt’s scientific colleagues used the camera to monitor Apollo 17’s explorations, offering information and advice to the two moonwalkers. $400-600

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433

426

426 Eugene Cernan (American, 1934-2017) The Lunar Rover parked at Sculptured Hills’ Station 8, EVA 3, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

434

N.B. “Station 8 was near the base of the Sculptured Hills. From this location the safety of the LM is nearly 4 kilometers away, which could pose a real danger if any problem had arisen with either one of the astronauts’ suits, the rover, or even an issue with the LM itself that needed repair” (Constantine, p. 141). The East Massif and Bear Mountain are in the background. The NASA negative number is AS17-146-22367. $400-600

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427 Eugene Cernan (American, 1934-2017) Two views of lunar rocks on the rim of Van Serg Crater, Station 9, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17146-22414” and “NASA AS17-146-22420” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Losses/repairs at u.r. corners, yellowing to sheets. N.B. On Apollo 17, Cernan and Schmitt brought back the heaviest haul of lunar samples of all Apollo missions at 110.52 kilograms. $300-500 427

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435

428

428 Eugene Cernan (American, 1934-2017) Sunstruck lunarscape, Station 9, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-146-22445” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Losses/repairs to u.r. corner, yellowing to sheet.

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N.B. The photograph was taken near Van Serg Crater toward the East Massif and was sunstruck, overexposed by sunlight that leaked into the camera, giving a surreal pink color to the black lunar sky. $400-600

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429 Eugene Cernan (American, 1934-2017) Panorama of the valley of Taurus-Littrow, Station 9, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-146-22426,” “NASA AS17-146-22426,” “NASA AS17-146-22433,” “NASA AS17-146-22439,” “NASA AS17-14622442,” and “NASA AS17-146-22446” (NASA MSC) in red on the recto upper margins. Mosaic of seven vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, overall size 8 1/4 x 47 in. (20.8 x 119.4 cm), unmatted. Condition: Subtle yellowing at sheet edges, crack in emulsion c.l. in margin, minor bluish discoloration along bottom edges.

N.B. Throughout their traverses, the Apollo astronauts stopped to take sequences of photographs to document the landscapes they explored. Taken by Cernan from the rim of Van Serg Crater at the last station explored on the lunar surface, Station 9, this stunning panorama offers a glimpse of what it was like to be surrounded by the otherworldly vistas of the Moon. From left to right: the South Massif (partial view), Family Mountain, Van Serg Crater (in the foreground), the North Massif, Wessex Cleft, Sculptured Hills, the East Massif, and the Lunar Rover parked in a field of boulders at Station 9. $5,000-7,000

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437

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430 Eugene Cernan (American, 1934-2017) Harrison Schmitt jumping into the LMP Rover seat, Station 9, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-134-20454” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good.

N.B. According to the Lunar Module pilot (LMP) Schmitt, “Mounting the Rover when spacesuited takes a bit of doing. You stand facing forward by the side of the vehicle, jump upward about two feet with a simultaneous sideways push, kick your feet out ahead, and wait as you slowly settle into the seat, ideally in the correct one. Here I’m completing the job” (NASA SP-350, p. 14.3). Literature: Schick and Van Haaften, p. 65 (variant). $400-600

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431

431 Eugene Cernan (American, 1934-2017) The Lunar Module Challenger and the American flag seen from the Lunar Rover during the return to the landing site, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-134-20460” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Slight yellowing to sheet edges.

N.B. The third excursion of Apollo 17 marked the last human footsteps on another world in the twentieth century. During the record 22 hours spent outside on the lunar surface, Gene Cernan and Harrison Schmitt drove the Lunar Rover 22.5 miles around the TaurusLittrow area of the Sea of Serenity. $400-600

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439

432

432 Eugene Cernan (American, 1934-2017) The Moon, the flag, the Earth, EVA 3, Apollo 17, December 1972. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 9 5/8 x 7 5/8 in. (24.3 x 19.2 cm), unmatted. Condition: Color has shifted.

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N.B. “Since the Moon always keeps the same face to the Earth, the blue planet always hangs in one place in the lunar sky at any given location on the Moon. Some astronauts reported that they could see the planet’s rotation over time” (Reynolds, p. 207). “Looking back at the Earth is your identity with reality,” said Cernan. “It’s home...I wonder what it would have been like to walk on the Moon and not have the Earth in the sky” (Chaikin, Voices, p. 99). The NASA negative number is AS17-134-20466. $600-800

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433

433 Harrison Schmitt (American, b. 1935) Eugene Cernan, the Lunar Rover, and the Earth, Apollo 17, December 1972. Numbered “NASA AS17-134-20473” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: Good.

N.B. The Earth is above the high-gain antenna of the Lunar Rover. “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,” noted Cernan (Schick and Van Haaften, p. 65). One of the rare Apollo frames showing the reunion of man standing on another celestial body with his home planet in the background. $600-800

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434 Harrison Schmitt (American, b. 1935) Two views of the lunar-science station, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-134-20503” and “NASA AS17134-20491” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 in. (18.0 x 17.5 cm), unmatted. Condition: The first with hole punches in the upper margin with the center hole slightly overlapping the image, minor wear to corners; the second with subtle yellowing at sheet edges. N.B. “Before returning to the LM, the astronauts performed several additional tasks at the lunar-science station (or ALSEP site), including the recovery of the Lunar Neutron Probe Experiment (first image), designed to obtain data on neutron capture rates in the lunar regolith as a function of depth” (http:// www.lpi.usra.edu/lunar/missions/apollo/ apollo_17/surface_opp/). The Central Station (second image) was essentially the command center for the entire ALSEP station. It received commands from Earth, transmitted data, and distributed power to each experiment. $300-500 434

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435 Harrison Schmitt (American, b. 1935) The American flag standing on the Moon after the last lunar excursion in history, EVA 3, Apollo 17, December 1972. Numbered “NASA AS17-145-22221” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Hole punches in the upper margin with the center hole overlapping the image, wear and minor loss to l.r. corner.

N.B. This photograph was taken from Schmitt’s window over the LM thrusters toward the American flag, with the North Massif in the background. “As we complete our third and final day on the surface of the Moon, Challenger’s miniature picture window looks out on a valley transformed, though less than its explorers. An array of thrusters frames the United States flag a dozen yards beyond, the sixth that men have planted on the Moon. This valley of history has seen man complete his first steps into the universe. From this larger home we move to the great future,” reflected Harrison Schmitt (National Geographic, September 1973, p. 305). $400-600

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443

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436 Taken by an RCA TV Camera Mounted to the Lunar Rover Two views of the last liftoff from the Moon, Apollo 17, December 1972. Stamped “RCA Astro-Electronics 72-12-530” and “RCA Astro-Electronics 72-12-532,” respectively, on the verso. Vintage gelatin silver prints, image sizes to 7 3/4 x 9 1/2 in. (19.5 x 24.0 cm), unmatted. Condition: Scattered minor handling crimps and wear to corners of sheet.

N.B. Cernan and Schmitt spent 75 hours in the Taurus-Littrow mountainous region of the Moon, southeast of the Serenitatis Basin. At 4:54 pm on Thursday, December 14, 1972, the Challenger ascent stage lifted off as seen in these stills from a television transmission. The LM engine emitted no visible flame on the airless Moon. “I thought about it when we left the surface...,” said Cernan. “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” (Chaikin, Voices, p. 191). Literature: Reynolds, p. 210. $400-600

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437 Ronald Evans (American, 1933-1990) The Lunar Module Challenger ascending from the Moon for rendezvous, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. “This picture, taken from the Command Module America, shows Challenger’s ascent stage in lunar orbit. Small reaction control thrusters are at the sides of the moonship with the bell of the ascent rocket engine itself underneath. The hatch allowing access to the lunar surface is visible in the front and a round radar antenna appears at the top” (https:// www.nasa.gov/multimedia/imagegallery/ image_feature_821.html). Gene Cernan’s bubble helmet is visible in the LM’s right window. The NASA negative number is AS17149-22857. Literature: Chaikin, Space, p. 136; Chaikin, A Man on the Moon, p. 256. $400-600

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438 Eugene Cernan (American, 1934-2017) or Harrison Schmitt (American, b. 1935) Rendezvous of the Command Space Module America with the Lunar Module Challenger in lunar orbit, Apollo 17, December 1972. Numbered “NASA AS17-145-22254” (NASA MSC) in red on the recto u.l. margin. Vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image size 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Good.

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N.B. Ronald Evans in the CSM prepares to welcome the last men on the Moon for the voyage back to Earth. Eugene Cernan described his feelings: “When we got back in that Command Module, we were home. Never mind that we were in lunar orbit, it was home” (Chaikin, Voices, p. 117). Literature: Chaikin, Space, p. 136. $400-600

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439

439 Ronald Evans (American, 1933-1990) The lunar horizon over Eratosthenes and Copernicus Craters, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated Kodak paper with â&#x20AC;&#x153;A Kodak Paperâ&#x20AC;? watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good.

N.B. A spectacular low-Sun angle, oblique view of the Eratosthenes Crater, 60 kilometers in diameter, with Copernicus Crater on the horizon, photographed from the LM Challenger just after rendezvous with the Command Spaceship America. The NASA negative number is AS17-145-22285. $400-600

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447

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440 Ronald Evans (American, 1933-1990) Crescent Earthrise, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated GAF paper with “GAF” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Good. N.B. Of the many views of the Earth photographed from lunar orbit, the crescent Earth visible during the Apollo 17 mission afforded what many consider “the most lyrical version of that phenomenon, a poetic coda to the first manned period of exploration” (Schick and Van Haaften, p. 120).

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“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,” said Cernan (Schick and Van Haaften, p. 125). The NASA negative number is AS17-152-23274. Literature: Schick and Van Haaften, p. 125; Chaikin, Space, p. 137; Chaikin, A Man on the Moon, p. 260; Reynolds, pp. 210-11. $800-1,200

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441

441 Ronald Evans (American, 1933-1990) Crescent Earth setting over the dark side of the Moon, Apollo 17, December 1972. NASA Goddard caption on the verso. Vintage chromogenic print on resin-coated GAF paper with “GAF” watermark on the verso, image size 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted. Condition: Probable color shift, prominent spot in center above crescent, scattered dark spots that may be from spot toning.

N.B. As the Apollo 17 crew began their voyage home, they saw for the last time the view of the Earth that only Apollo made possible (Reynolds, p. 211). Here, a crescent Earth disappearing below the lunar horizon, with the dark edge of the Moon silhouetted, creates an illusion similar to the horns of a bull (NASA caption). “For more than six days Earth has been our friend in the lunar skies. That fragile peace of blue with its ancient rafts of life will continue to be man’s home as he journeys even further in the solar system,” said Harrison Schmitt (National Geographic, September 1973, p. 306). The NASA negative number is AS17-152-23279. $400-600

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449

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442 Harrison Schmitt (American, b. 1935) Six views showing the last EVA of Apollo, Ron Evans’s spacewalk in deep space, Apollo 17, December 1972. Numbered “NASA AS17-152-23361,” “NASA AS17-152-23364,” “NASA AS17-152-23373,” “NASA AS17152-23383,” “NASA AS17-152-23387,” and “NASA AS17-152-23391” (NASA MSC), respectively, in red on the recto u.l. margin. Vintage chromogenic prints on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image sizes to 7 1/8 x 7 1/8 in. (18.0 x 18.0 cm), unmatted. Condition: Slight yellowing to sheets, several corners with wear.

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N.B. Evans’s task was to recover film cassettes and conduct an inspection of the spacecraft. The spacewalk took over an hour while the Command Module was approximately 180,000 miles from Earth during the homeward voyage. “You’re not really a spaceman when you’re in the confines of your spaceship,” said Evans. “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!” (Chaikin, Voices, p. 122). $1,500-2,500

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443

443 Eugene Cernan (American, 1934-2017) The Command Spaceship America flying over the Taurus-Littrow Valley landing site as seen from the lunar module on the orbit before final descent to the lunar surface, Apollo 17, December 1972. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 14 x 11 in. (35.5 x 27.7 cm), unmatted. Condition: Minor wear at corners.

N.B. The Command Module with Ron Evans flying solo on board can be seen in the distance (center of image) 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. “The valley of TaurusLittrow is confined by one of the most majestic panoramas within the experience of mankind. The roll of dark hills across the valley floor blends with bright slopes that sweep evenly upward to the rocky tops of the massifs. The Taurus-Littrow Valley does not have the jagged youthful majesty of our Rockies.

Rather it has the subdued and ancient majesty of a valley whose origins appear as one with the Sun. Here Gene and I, who have already transferred to Challenger, view our destination from an altitude of ten miles. On a course that takes it a few thousand feet below us, America continues in lunar orbit; it appears insignificant against a ridge of the South Massif,” remembered Harrison Schmitt (National Geographic (September 1973, p. 292). The NASA negative number is AS17147-22465. $1,500-2,500

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444 Harrison Schmitt (American, b. 1935) Astronaut Eugene Cernan, explorer of another world, EVA 3, Apollo 17, December 1972. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/ sheet size 11 x 13 1/2 in. (27.7 x 34.1 cm), unmatted. Condition: Minor wear at corners.

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N.B. “I believe history will record that America’s challenge of today has forged man’s destiny of tomorrow. And as we leave the Moon at Taurus-Littrow, we leave as we came,” said Cernan at the end of the last lunar surface EVA, “and, God willing, we shall return with peace and hope for mankind” (Apollo 17 air-to-ground transmission). The NASA negative number is AS17-140-21388. $3,000-5,000

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445

445 Harrison Schmitt (American, b. 1935) The lunar farewell of Eugene Cernan, the last man on the Moon, EVA 3, Apollo 17, December 1972. Large-format vintage chromogenic print on fiber-based Kodak paper with “A Kodak Paper” watermark on the verso, image/sheet size 11 x 14 in. (27.7 x 35.5 cm), unmatted. Condition: Dry mounting tissue affixed to the verso.

N.B. Eugene Cernan unveiled a plaque on the lunar module Challenger before climbing the ladder to get back in the capsule for takeoff. On December 14, 1972, he became the last man to walk on the Moon. Left behind on the lunar lander’s descent stage, the plaque read: “Here Man completed his first exploration of the Moon, December 1972 A.D. May the spirit in which we came be reflected in the lives of all mankind.” The NASA negative number is AS17-134-20481. Literature: Chaikin, Voices, p. 74. $1,500-2,500

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453

Viking 1: July 1976

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446 Taken by a Camera Aboard the Robotic Viking 1 Spacecraft The first color photograph taken on the surface of Mars, the Red Planet, Viking 1, July 21, 1976. NASA HQ caption numbered “Viking 1-54” on the verso. Vintage chromogenic print on resin-coated Kodak paper with a “This paper manufactured by Kodak” watermark on the verso, image size 7 1/2 x 8 1/4 in. (18.3 x 20.8 cm), unmatted. Condition: Subtle white mark in l.l. corner.

N.B. Launched on August 20, 1975, Viking 1 became the first unmanned spacecraft to land successfully on Mars eleven months later on July 20, 1976. “Apollo had a reason. It taught us how to go into space and set up our first outpost. Now we go set it up. Now we go to Mars,” said Apollo 15 astronaut David Scott (Chaikin, Voices, p. 192). $800-1,200

End of Sale 3048M

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References Piers Bizony, Moonshots: 50 Years of NASA Space Exploration Seen Through Hasselblad Cameras (Minneapolis: Voyageur Press, 2017) [cited as Bizony]. Andrew Chaikin, A Man on the Moon: Lunar Explorers (Alexandria, VA: Time-Life Books, 1999) [cited as Chaikin, A Man on the Moon]. Andrew Chaikin, Space: A History of Space Exploration in Photographs (London: Carleton Publishing Group, 2002) [cited as Chaikin, Space]. Andrew Chaikin, Voices from the Moon: Apollo Astronauts Describe Their Lunar Experiences (New York: Viking Studio, 2009) [cited as Chaikin, Voices]. Michael Collins, Carrying the Fire: An Astronaut’s Journeys (London: W.H. Allen, 1975) [cited as Collins]. Mike Constantine, Apollo: The Panoramas (moonpans.com, 2015) [cited as Constantine]. Terry Hope, Spacecam: Photographing the Final Frontier from Apollo to Hubble (Newton Abbot: Charles & David, 2005) [cited as Hope]. Robert Jacobs, ed., Apollo: Through the Eyes of the Astronauts (New York: Abrams, 2009) [cited as Jacobs]. Kevin Kelley, The Home Planet (Reading, MA: Addison-Wesley Publishing Company, 1991) [cited as Kelley]. Michael Light, Full Moon (New York: Alfred A. Knopf, 1999) [cited as Light]. Robert Grant Mason, ed., Life in Space (Alexandria, VA: Time-Life Books, 1983) [cited as Mason]. Beaumont Newhall, Airborne Camera: The World from the Air and Outer Space (New York: Hastings House, 1969) [cited as Newhall]. Robert Poole, Earthrise: How Man First Saw the Earth (New Haven, CT: Yale University Press, 2008) [cited as Poole]. David Reynolds, Apollo: The Epic Journey to the Moon (New York: Harcourt Brace, 2002) [cited as Reynolds]. Ron Schick and Julia Van Haaften, The View from Space: American Astronaut Photography 1962-1972 (New York: C.N. Potter, 1988) [cited as Schick and Van Haaften]. Wally Schirra, Schirra’s Space, Quinlan Press, 1988 Davis Thomas, ed., Moon: Man’s Greatest Adventure (New York: Harry N. Abrams, 1972) [cited as Thomas]. Life and National Geographic magazines

NASA publications: Earth Photographs from Gemini III, IV and V, NASA SP-129, 1967 [cited as NASA SP-129]. Edgar M. Cortright, ed., Exploring Space with a Camera, NASA SP-168 [cited as Cortright]. Earth Photographs from Gemini VI through XII, NASA SP-171, 1968 [cited as NASA SP-171]. Analysis of Apollo 8: Photography and Visual Observations, NASA SP-201, 1969 [cited as NASA SP-201]. Apollo 11 Preliminary Science Report, NASA SP-214, 1970 [cited as NASA SP-214]. Oran W. Nicks, ed., This Island Earth, NASA SP-250, 1970 [cited as NASA SP-250]. Apollo 12 Preliminary Science Report, NASA SP-235, 1970 [cited as NASA SP-235]. Analysis of Apollo 10: Photography and Visual Observations, NASA SP-232, 1971 [cited as NASA SP-232]. Robert Musgrove, ed., Lunar Photographs from Apollo 8, 10, and 11, NASA SP-246, 1971 [cited as NASA SP-246]. Apollo 14 Preliminary Science Report, NASA SP-272, 1971 [cited as NASA SP-272]. Apollo 15 Preliminary Science Report, NASA SP-289, 1971 [cited as NASA SP-289]. Apollo 16 Preliminary Science Report, NASA SP-315, 1972 [cited as NASA SP-315]. Apollo 17 Preliminary Science Report t, NASA SP-330, 1973 [cited as NASA SP-330]. Edgar Cortright, ed., Apollo Expeditions to the Moon, NASA SP-350, 1975 [cited as NASA SP-350]. Apollo over the Moon: A View from Orbit, NASA SP-362, 1978 [cited as NASA SP-362].

Online sources: Lunar and Planetary Institute Apollo Lunar Surface Journal (ALSJ), Eric Jones, ed. Apollo Flight Journal, David Woods, ed. March to the Moon (scans of the original films of Mercury, Gemini, and Apollo missions newly made by the University of Arizona) NASA Goddard and other NASA-related websites

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Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold â&#x20AC;&#x153;as is,â&#x20AC;? and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate. 4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale. Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaserâ&#x20AC;&#x2122;s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. Sales in Massachusetts, Florida, and New York are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation. 10. A premium equal to 23% of the final bid price up to and including $100,000, plus 20% of the final bid price from $100,001 up to and including $1,000,000, plus 12% of the final bid price from $1,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit. Revised January 21, 2015

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Phone #

Alternate #

check if change in address

State

Zip Code email

I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalog of this sale. Signature (Required)

Lot #

Date

Description

Bid confirmation via email?

YES

Bid Price

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

Mail

Person

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

www.skinnerinc.com

457

Board of Directors

Departments

Chairman of the Board

20th Century Design

Discovery Auctions

Jane D. Prentiss

Carly Babione

20thcentury@skinnerinc.com

Kyle Johnson

508.970.3253

discovery@skinnerinc.com

Stephen L. Fletcher Richard Albright

508.970.3202

John Deighton Karen M. Keane

American & European Paintings & Prints

Andrew Payne

Robin S.R. Starr Elizabeth C. Haff Michelle LamuniĂ¨re

Executive Management

Kathleen M. Leland paintings@skinnerinc.com 508.970.3206

American Furniture & Decorative Arts President/Chief Executive Officer Karen M. Keane

Stephen L. Fletcher

European Furniture & Decorative Arts Stuart G. Slavid Stephanie Opolski Gwendolyn L. Smith european@skinnerinc.com 508.970.3203

Historic Arms & Militaria Joel Bohy

Chris Barber

militaria@skinnerinc.com

Christopher D. Fox

508.970.3215

americana@skinnerinc.com

Chief Financial Officer Don Kelly

Executive Vice President

508.970.3200

Jewelry Victoria Bratberg

American Indian & Ethnographic Art

John Colasacco

Douglas Deihl

Kaitlin Shinnick

indian@skinnerinc.com

jewelry@skinnerinc.com

Stephen L. Fletcher

508.970.3254

617.874.4313

Managing Director

Antique Motor Vehicles

Judaica

Marie Keep

Jane D. Prentiss

Kerry Shrives

antiquemotorvehicles@skinnerinc.com

judaica@skinnerinc.com

508.970.3253

508.970.3256

Asian Works of Art

Musical Instruments

Senior Vice Presidents Marie Keep Kerry Shrives Stuart G. Slavid

Vice Presidents

Judith Dowling Helen Eagles

music@skinnerinc.com

Suhyung Kim

508.970.3216

asian@skinnerinc.com 508.970.3263

Victoria Bratberg Eric Jones Gloria Lieberman

Lawrence Kearney rugs@skinnerinc.com

Devon Eastland

508.970.3247

books@skinnerinc.com

Jane D. Prentiss

508.970.3293

Robin S.R. Starr

Florida: April L. Matteini, G.G. 305.503.4423 florida@skinnerinc.com

Photographs Michelle LamuniĂ¨re

Ceramics

photographs@skinnerinc.com

Stuart G. Slavid

508.970.3264

ceramics@skinnerinc.com 508.970.3203

New York: Katie Banser-Whittle 212.787.1114 kbanser-whittle@skinnerinc.com

Oriental Rugs & Carpets

Books & Manuscripts

Carol McCaffrey

Regional Directors

Adam Tober

Silver Stuart G. Slavid

Clocks, Watches & Scientific Instruments Jonathan Dowling

silver@skinnerinc.com 508.970.3203

clocks@skinnerinc.com 508.970.3201

Wine, Whisky & Ale Marie Keep

Coins & Currency Kyle Johnson coins@skinnerinc.com 508.970.3191

458

Joseph Hyman Anna Ward finewines@skinnerinc.com 508.970.3296

Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Marketing

Christine E. Finn

Linsey MacDougall

Rachel Kingsley

Jenna Nastri

Samantha Minshull

Laura V. Sweeney Sarah L. Collins Julia M. Dry Benjamin Evans

508.970.3299

Catalog Sales Consignment Services

Linsey MacDougall

Receptionist

508.970.3240

Katrina Wilson

Patricia Walker King

617.350.5400

Tara Lima Carol Zeigler

Advertising/Production

508.970.3204

Pamela Van de Houten Jeffrey R. Antkowiak

Customer Relations/Human Resources Carol McCaffrey

Stanley P. Bystrowski

Marlborough:

Kristina M. Harrison

Warehouse

Kathleen Jones

Frederic Trottier

Cheryl Richards Photography

508.970.3209 Samantha Heighton

508.970.3252

Skinner Online Kerry Shrives Daniel Bar

Accounting

Judie Ochsner

Receptionist Lindsay White 508.970.3000

online@skinnerinc.com

Denise Cheney

508.970.3279

508.970.3269

Transportation Eric Jones

Absentee & Telephone Bidding

William Madden 508.970.3266

508.970.3229

Boston: 617.874.4318

Kevin Rota

Marlborough: 508.970.3211

508.970.3283

Discovery: 508.970.3208

Auctioneers Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

www.skinnerinc.com

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

130 Miracle Mile, Suite 220 Coral Gables, FL 33134 305.503.4423 Fax 305.709.2143

415 Madison Avenue, #1418 New York, NY 10017 212.787.1113 Fax 646.893.0179

459

Discover the Value of Your Collection

April Matteini Southeastern United States florida@skinnerinc.com | 305.503.4423

Katie Banser-Whittle New York/Tri-State Area newyork@skinnerinc.com | 212.787.1113

Helen Frankenthaler (American, 1928-2011), Eve, 1995, color screenprint, sold for $9,840

Skinnerâ&#x20AC;&#x2122;s regional offices provide trusted, professional services and direct access to Skinnerâ&#x20AC;&#x2122;s global marketplace for fine and decorative art and furniture, jewelry, wine, modern design, musical instruments, and more. Streamlined coordination with the Massachusetts team makes the auction process convenient for private individuals, institutions, and estates. Contact your local representative to schedule an evaluation today. We are proud of our sponsorships and collaborations within these regions, including the Coral Gables Museum, Norton Museum of Art, The Jewish Museum of Florida, Palm Beach County Estate Planning Council, Southeast Museum Association, and the Estate Planning Council of Westchester County. For a calendar of local events, please visit www.skinnerinc.com/news

460

Catalog Subscription Form Prices effective January 28, 2016. Catalog subscription price includes quarterly brochure. Subscription effective one year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration. Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com

Please check the appropriate boxes:

U.S. and Canada

Quarterly Brochure (Included with catalog subscription)

No charge

Foreign (USD only)

No charge

American Furniture & Decorative Arts

$105

$200

European Furniture & Decorative Arts

$140

$270

American & European Paintings & Prints

$105

$200

Fine Jewelry

$140

$270

20th Century Design

$70

$135

Asian Works of Art

$105

$200

Fine Oriental Rugs & Carpets

$70

$135

American Indian & Ethnographic Art

$70

$135

Fine Books & Manuscripts

$70

$135

Historic Arms & Militaria

$70

$135

Fine Musical Instruments

$70

$135

Clocks, Watches & Scientific Instruments

$70

$135

Fine Wines & Rare Spirits

$70

$135

All Above Departments

$900

$1725

Subtotal

MA residents 6.25% sales tax

Total

MasterCard/VISA #

Exp. Date

Signature

Check enclosed

Name

Business Name

Mailing Address City email address

State

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)

Please enclose payment with subscription form and mail or fax to: Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100 For questions or single catalog purchase information please contact subscriptions@skinnerinc.com