FOR ALL MANKIND: THE ARTISTIC LEGACY OF EARLY SPACE EXPLORATION: Victor Martin-Malburet Collection

FOR ALL MANKIND

The Artistic Legacy Of Early Space Exploration Victor Martin-Malburet Collection Paris I 14 – 28 avril 2025

The full description of the lot is available on our website: detail lot 73 www.bonhams.com 2 | BONHAMS

The full description of the lot is available on our website: www.bonhams.com

detail lot 2 FOR ALL MANKIND

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The full description of the lot is available on our website: detail lot 5 www.bonhams.com 4 | BONHAMS

The full description of the lot is available on our website: www.bonhams.com

detail lot 1 FOR ALL MANKIND

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The full description of the lot is available on our website: detail lot 4 www.bonhams.com 6 | BONHAMS

FOR ALL MANKIND

The Artistic Legacy Of Early Space Exploration Victor Martin-Malburet Collection Paris I 14 - 28 avril 2025

COMMISSAIRE-PRISEUR HABILITE

LA VENTE

BONHAMS FRANCE SAS N° AGRÉMENT 2007-638

Giacomo Balsamo +44 20 7468 5837 giacomo.balsamo@bonhams.com

Arnaud Cornette de Saint Cyr Catherine Yaiche Constance Rétiveau

6, avenue Hoche 75008 Paris

NUMERO DE LA VENTE 30739 Lots 1 - 449

Pour toutes demandes de rapports de condition ainsi que pour tout renseignement supplémentaire veuillez vous adresser à l’equipe.

Sabine Cornette de Saint Cyr +33 (1) 56 79 12 32 sabine.csc@bonhams-csc.com

ILLUSTRATIONS

Marion Richard +33 1 56 79 12 51 marion.richard@bonhams.com

EXPOSITIONS PUBLIQUES

Chloé Mayot +33 (1) 88 80 00 18 chloe.mayot@bonhams.com

Couverture : Lot 10 Couverture dos : Lot 1

Paris 6, avenue Hoche Paris, 75008

18 Avril 2025, 10h - 18h 22 Avril 2025, 10h - 18h 23 Avril 2025, 10h - 18h MERCI À Jean-Pierre Primault (et son équipe) Laurette Tassin Pierre Simonetta Celine Hersant Natalia Housse Charlotte Guenault

Dominique Ciccolella +33 (1) 88 80 00 19 dominique.ciccolella@bonhams.com FRAIS D’ADJUDICATION

En sus du prix d’adjudication, l’acheteur devra payer sur le prix d’adjudication de chaque lot des frais de vente.

Veuillez consulter les « informations importantes aux acheteurs ».

Ces frais de vente s’appliquent à chaque lot et sont soumis à la TVA. Certains lots sont sujets à la TVA sur le prix d’adjudication en plus de la TVA sur les frais de vente. Ces lots sont marqués d’une étoile (*) à coté du numéro de passage en cas d’importation temporaire ou d’une dague (†) en cas de mise en vente du lot par un assujetti. Ces symboles seront imprimés à coté du numéro du lot correspondant dans le catalogue.

Hommage à William Anders (1933-2024) Cette vente aux enchères rend hommage à l’astronaute d’Apollo 8 William « Bill » Anders, décédé en 2024.

Ses photographies emblématiques du premier lever de Terre, dont l’humanité a été témoin, ont changé à jamais la perception de notre place dans l’univers.

IMPORTANT La vente est soumise aux conditions générales imprimées à la fin du catalogue. Nous conseillons aux enchérisseurs potentiels de prendre connaissance des « informations importantes aux acheteurs » ainsi que de la partie douanes, transport et gardiennage figurant en fin de catalogue.

ENCHÈRES - Enchérir en ligne/APP Inscrivez-vous pour enchérir en ligne en visitant www.bonhams.com/30739 Enchérissez via l’application.

Téléchargez maintenant pour Android et IOS - Enchérissez via téléphone/ par ordre d’achat: en envoyant un formulaire d’enregistrement a bids@bonhams.com Le formulaire se trouve au dos de chaque catalogue et sur notre site Web à l’adresse www.bonhams.com Veuillez noter que nous ne pouvons pas garantir les offres dans les 24h précédant la vente.

- Enchérir en personne Vous pouvez vous pré-inscrire en ligne sur Bonhams.com ou obtenir un paddle à notre bureau d’inscription.

- Nouveaux enchérisseurs un justificatif d’identité vous sera demandé pour pouvoir enchérir.

Une copie d’une pièce d’identité avec photo d’identité conforme (permis de conduire, passeport ou CNI) indiquant votre nom complet et votre date de naissance et, si elle n’apparaît pas sur la pièce d’identité, un justificatif de domicile (facture de services publics ou relevé bancaire).

Pour un compte d’entreprise ou d’autres entités, veuillez nous contacter en ce qui concerne les documents a fournir.

Le non-respect de cette consigne peut entraîner l’annulation de vos enchères.

Pour toutes autres demandes, contactez notre service client au: +33 (0)1 42 61 10 10 ou bids@bonhams.com

Informations sur la Vente ENCHÈRES

+33 (0)1 42 61 10 10 Pour enchérir par internet veuillez visiter www.bonhams.com PAIEMENTS Acheteurs +33 (0)1 42 61 10 10 Vendeurs +33 (0)1 42 61 10 10 TRANSPORT

Pour toute information ou estimation concernant les transports nationaux et internationaux ainsi que les licences d’exportation, contactez Bonhams Paris au +33 (0)1 42 61 10 10 paris@bonhams.com ASSURANCE APRÈS LA VENTE

Dès l’adjudication, tous les risques afférant au lot seront transférés à l’acheteur dans leur intégralité et sans la moindre réserve. A charge pour l’acheteur de faire assurer ses achats. Bonhams décline toute responsabilité quant aux dommages que l’achat pourrait encourir, dés l’adjudication prononceé.

RÉCUPÉRATION ET STOCKAGE DES ŒUVRES APRÈS LA VENTE Tous les lots seront stockés dans notre bureau au 6 Av. Hoche, Paris 75008. Le retrait pourra s’effectuer UNIQUEMENT sur rendez-vous dont la demande par e-mail aura été faite au MINIMUM 24h à l’avance. Adresse e-mail : paris@bonhams.com Une pièce d’identité nationale sera demandée. Si un tiers collecte le lot à votre place, sa pièce d’identité ainsi qu’une autorisation écrite de votre part lui seront également demandées.

Veuillez noter que certains lots peuvent nécessiter un certificat d’exportation de bien culturel et une licence d’exportation.

Veuillez contacter Kimly Ek pour tout renseignement kimly.ek@bonhams.com COÛTS DE STOCKAGE Stockage

Le stockage sera gratuit pour les premiers 14 jours suivant la vente.

Coûts de stockage

Chaque lot: 42 euros TTC par semaine.

Symbols

AR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d’auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.

W Les objets portant la mention W seront stockés à l’entrepôt et ne pourront être retirés qu’à cet endroit.

TVA Les symboles suivants, figurant à côté du numéro de Lot, indiquent que la TVA est due sur le Prix d’adjudication et la Commission d’achat : † TVA au taux en vigueur sur le Prix d’adjudication et la Commission d’achat * TVA sur les articles importés à un taux préférentiel de 5.5 % sur le Prix d’adjudication et au taux en vigueur sur la Commission d’achat

Avis important à tous les acheteurs Etat L’état du lot n’est pas mentionné dans le catalogue. L’absence d’une telle mention n’implique pas que le lot soit en bon état ou exempt de défauts. Les acheteurs potentiels doivent s’assurer eux-mêmes de l’état de chaque lot suite à une inspection. Des rapports d’état peuvent être fournis sur demande, mais ils ne sont donnés qu’à titre indicatif et sont nécessairement subjectifs. Dans la mesure du possible, veuillez prévoir un délai de 24h avant de recevoir les rapports demandés.

FOR ALL MANKIND

The Artistic Legacy Of Early Space Exploration Victor Martin-Malburet Collection Paris I 14 - 28 April 2025

AUCTIONEER

ENQUIRIES

BONHAMS FRANCE SAS N° AGRÉMENT 2007-638

Giacomo Balsamo +44 20 7468 5837 giacomo.balsamo@bonhams.com

Arnaud Cornette de Saint Cyr Catherine Yaiche Constance Rétiveau

6, avenue Hoche 75008 Paris

SALE NUMBER 30739 Lots 1 - 449

ILLUSTRATIONS

Front Cover: Lot 10 Back Cover: Lot 1 VIEWING

Paris 6, avenue Hoche Paris, 75008 18 April 2025, 10h - 18h 22 April 2025, 10h - 18h 23 April 2025, 10h - 18h THANKS TO Jean-Pierre Primault (et son équipe) Laurette Tassin Pierre Simonetta Celine Hersant Natalia Housse Charlotte Guenault

For all condition reports and other enquires please contact our team.

Sabine Cornette de Saint Cyr +33 (1) 56 79 12 32 sabine.csc@bonhams-csc.com Marion Richard +33 1 56 79 12 51 marion.richard@bonhams.com Chloé Mayot +33 (1) 88 80 00 18 chloe.mayot@bonhams.com Dominique Ciccolella +33 (1) 88 80 00 19 dominique.ciccolella@bonhams.com BUYER’S PREMIUM (NOTICE TO BUYERS)

IMPORTANT

The sale is conducted according to the general conditions printed at the back of this catalogue. We advise potential bidders to familiarise themselves with the “Important Information for Buyers” regarding customs, transport and storage.

BIDS - Bid online/APP Register to bid online by visiting www.bonhams.com/30739 Bid through the app. Download now for android and iOS - Bid by telephone/absentee We require a completed Bidder Registration Form returned by email to bids@bonhams.com.

The form can be found at the back of every catalogue and on our website at www.bonhams.com

Bonhams charge a buyer’s premium.

Please note we cannot guarantee Please see “Important Information bids within 24 hours of the sale. for Buyers”. This applies to each lot purchased and is subject to TVA. Some lots may be subject to TVA on the hammer price as well as the premium. These lots will be marked with an star sign (*) in relation to temporary imported items or a dagger sign (†) in relation to TVA charged by a business. Such signs will be printed beside the relevant lot number in the catalogue.

A tribute to William Anders (1933-2024) This auction pays homage to Apollo 8 astronaut William ‘Bill’ Anders, who passed away in 2024.

His iconic photographs of the first Earthrise witnessed by humanity forever changed our perception our ourselves and our place in the universe.

- Bid in person You can pre-register online at Bonhams.com or obtain a paddle at our Registration Desk.

- New Bidders You must provide proof of identity when submitting bids. A copy of a government- issued photo identification (driving licence or passport) showing your full name and date of birth, and, if not shown on the ID document, proof of your current address (utility bill or bank statement).

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Sale Information BIDS +33 (0)1 42 61 10 10 To bid via the internet please visit www.bonhams.com PAYMENTS Buyers +33 (0)1 42 61 10 10 Sellers Payment of sale proceeds +33 (0)1 42 61 10 10 SHIPPING For information and estimates on domestic and international shipping as well as export licenses please contact Bonhams Paris at +33 (0)1 42 61 10 10 or paris@bonhams.com INSURANCE AFTER THE SALE Buyers are reminded that their purchases are their responsibility from the fall of the auction hammer. it is your responsibility to have adequate insurance covre in place.

Neither Bonhams, nor their agents will be liable for any damage or loss that the Lot may suffr from the fall of the auction hammer.

BUYERS COLLECTION & STORAGE AFTER SALE

All lots will be stored in our office at 6 av Hoche 75008, Paris. Please email paris@bonhams.com at least 24 hours in advance to book in a collection Photographic ID will be required at time of collection. If a third party is collecting for you written authorisation is required in advance from you and photographic ID of the third party is requested at the time of collection.

Please note that certain items require French passports for export out of France. Please contact Kimly Ek by email for further details. kimly.ek@bonhams.com STORAGE AND HANDLING CHARGES Storage Charges Storage will be free of charge for 14 days following the auction.

Each lot: 42 euros per week. (please note that charges apply every day including weekend and public holidays)

Symbols AR An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.

W Objects with a W symbol will be transfered to a an office location following the sale and will only be available for collection from this location.

VAT The following symbols are used to denote that VAT is due on the hammer price and buyer’s premium. † VAT 20% on hammer price and buyer’s premium

* VAT on imported items at a preferential rate of 5% on hammer price and the prevailing rate on buyer’s premium

Important Notice To All Buyers Condition Condition is not stated in the catalogue. The absence of such reference does not imply that the lot is in good condition or free from faults. Prospective buyers should satisfy themselves by inspection as to the condition of each lot.

Condition reports can be provided on request, but are for general guidance only and such reports are of necessity, subjective. Wherever possible please allow at least 24 hours for reports to be compiled.

Nous tenions à dédier ce catalogue à Marc Martin-Malburet, dont la culture empreinte d’une passion contagieuse, la finesse et l’humilité nourrirent le cœur de son fils, Victor.

This catalogue is dedicated to Marc Martin-Malburet, whose erudition—imbued with contagious passion, refinement, and humility—nourished the very soul of his son, Victor.

detail lot 7

Introduction L’apparition vespérale de ce fragment d’opale inspire un chant, un poème, une prière, aux hommes depuis l’aube de l’humanité. Complice infertile de la Terre, si son origine demeure toujours un mystère, le temps, en elle, fut absorbé dans son manteau de lumière. La lune, de nos rêves en est le gardien, de même qu’elle veille, mutine, sur la moiteur de nos nuits.

Les penseurs de l’Antiquité, Georges Méliès, Victor Hugo, Jules Verne, Lucien de Samosate, Cyrano de Bergerac, Franck Sinatra, David Bowie, Stanley Kubrick, Salvador Dalí, Jacques Offenbach, Camille Saint-Saëns, Franz Schubert, Giulio Turcato, Anna-Eva Bergman, Alain Jacquet, Fritz Lang, Hergé et tant d’autres, gravèrent le long de leurs vers, de leurs notes, ou croquèrent, sur un morceau de toile, de papier ou de film, l’inaccessible étoile dont Thomas Harriot (1560-1621) fit le premier dessin.

Déesse ensorcelante, cette reine de la nuit longtemps fut ambivalente dans le cœur troublé des hommes, étant tour à tour le sépulcre élégiaque des âmes qui ont manqué leurs vœux (Dante) ou le refuge féérique de nos secrets (l’Arioste, dans son Chant XXXIV de Roland Furieux fait de l’astre lunaire le dépositaire des choses perdues sur Terre : les réputations, la beauté des femmes, les soupirs des amants, etc.).

La quête, en cette nuit du 20-21 juillet 1969, devint une conquête, lorsqu’Apollo 11 alunit sur la mer de la Tranquillité, effleurant du bout du pied le rêve de l’humanité : « un petit pas pour l’Homme … », étreignant le cœur de plus de cinq cents millions de terriens, qui communièrent au même rêve dans une irréelle et sublime synchronicité.

Avaient-ils seulement songé, en refermant le module qui les emportait, que le ciel de l’espace n’est empreint que de nuit et le temps affranchi de toute hâte et mesures allait désorienter ces héros, qui furent au nombre de douze à fouler le sol de l’astre lumineux, comme autant d’apôtres ? Un repère pourtant guidait leurs sens, cette raison intime ignorée du courage qui les habitait alors, comme une pensée d’amour : la vue d’une planète, celle de la Terre.

Le premier geste, inaugural, du premier homme, fut iconoclaste. Neil Armstrong, mû par une émotion indicible devant cette beauté virginale, prit une photographie fût-ce au péril de la mission ou de sa vie, posant inconsciemment un acte symbolique fort : la première activité humaine sur une autre planète fut artistique !

Dès lors, ce qui fut un combat politique, une prouesse scientifique, un événement historique devint un véritable héritage artistique, ces tirages photographiques ayant bouleversé notre perception de la place de l’Homme dans l’univers. L’infiniment grand et l’infiniment petit (Pascal) au sein de ces œuvres s’incarnent, tant cet art visuel révèle de notre humanité, en ce qu’elle a de plus fragile et de plus conquérant.

La collection de photographies vintage de la NASA que nous avons le bonheur de proposer en vente est l’une des plus belles au monde.

Victor Martin-Malburet, véritable historien de l’espace, a consacré sa vie à la recherche de ces fragments de rêve, depuis près de vingt-cinq ans,

The full description of the lot is available on our website: www.bonhams.com detail lot 6 12 | BONHAMS

depuis ce jour de ses quinze ans où il accompagna son père lors d’un tour de salle du célèbre hôtel des ventes de Drouot. Un petit ensemble de photographies, dérobé aux regards, attira alors son attention : de battre, ce jour-là, son cœur s’est arrêté…

Avec la précision d’un moine copiste, ce collectionneur, dans le calme feutré de ses nuits s’est attaché à retranscrire le récit complet du moment le plus disruptif de l’humanité, en rassemblant et en archivant ces photographies, comme autant de parchemins d’une contrée qui nous était jusqu’alors inconnue, mais également en reportant tous les « transcripts » des missions Apollo. A chaque trouvaille (certains tirages ont mis plusieurs années à rejoindre sa précieuse collection), son âme, habitée d’un bonheur homérique, s’ouvre et tressaille. Car Victor Martin-Malburet est de ces êtres qui ne cherche que l’infini sous l’ombre de ses cils et renouvelle, sans cesse, le combat de Jacob avec l’ange.

Lors de l’immense exposition que le Grand Palais à Paris organisa pour les cinquante ans du premier pas de l’homme sur la lune, Philippe Malgouyres, conservateur général et conservateur du patrimoine au musée du Louvre qualifia sa collection comme étant « sans égale ». Les photographies de ce dernier ont été exposées dans les plus grandes institutions (Kunsthaus à Zürich, the Museum der Moderne à Salzburg, the Louisiana Museum of Modern Art à Copenhague, au Henie Onstad Kunstsenter à Oslo, etc.), tandis que les plus grands musées européens s’intéressent à sa collection, qui offre une compréhension inégalée des missions Apollo.

Dans une actualité brûlante, la NASA et Space X accélèrent l’exploration spatiale (le programme Artémis III prévoit une mission, la première mission habitée depuis 1972, où des astronautes iront sur la lune – son nom, Artémis, sœur jumelle du dieu Apollon, fait écho au célèbre programme Apollo –), aussi, nul doute que la collection de Victor Martin-Malburet saura attirer tous les regards…

Le nom de cette vacation, en référence à l’inscription gravée sur la plaque que les astronautes d’Apollo 11 laissèrent sur la lune : “Here men from the planet Earth first set foot upon the Moon July 1969, A.D. We came in peace for all mankind”, n’est pas sans évoquer ce qui reste de l’homme après son passage : l’empreinte.

Ces photographies, d’une poésie déchirante (le premier Earthrise de William Anders, à qui est dédiée la vente, fit la couverture du magazine Life consacré aux cent photographies qui changèrent le monde), révèlent de l’homme son héroïsme, mais également le don de soi, sa capacité à embrasser l’inexplicable, l’étrange et le merveilleux dans le tissu humble de son être.

Si l’espace dilate le temps, l’alpha qu’est l’art pariétal à l’oméga répond dans cet art sidéral aux clartés éternelles, d’une nouvelle dimension.

The vesperal rise of that opal fragment has inspired humans with a song, a poem, a prayer since the dawn of time. Though the origin of Earth’s barren consort remains unknown, Time is absorbed within its mantle of light.

The moon, of our dreams is the guardian, just as it keeps a mischievous watch over the moist tangle of our nights.

Ancient thinkers as well as Georges Méliès, Victor Hugo, Jules Verne, Lucian of Samosata, Cyrano de Bergerac, Franck Sinatra, David Bowie, Stanley Kubrick, Salvador Dalí, Jacques Offenbach, Camille Saint-Saëns, Franz Schubert, Giulio Turcato, Anna-Eva Bergman, Alain Jacquet, Fritz Lang, Hergé and so many others, embedded their verses, their notes, or sketched on a piece of canvas, paper or film, the inaccessible star of which Thomas Harriot (1560-1621) made the first drawing.

A bewitching goddess, the queen of shadows has long been ambivalent in the troubled hearts of men, in turn the elegiac sepulchre of souls who have failed their vows (Dante) or the enchanting refuge for our secrets (Ariosto, in his Canto XXXIV of Orlando Furioso, sees the lunar star as the repository for things lost on Earth: reputations, the beauty of women, the sighs of lovers, etc.).

On the night of 20-21 July 1969, the quest became a conquest when Apollo 11 landed in the Sea of Tranquillity, caressing the dream of humanity with the tip of its toe and embracing the hearts of over five hundred million earthlings, which all vibrated with an unreal and sublime synchronicity.

Had it ever occurred to them, as they closed their space capsule, that spatial sky is filled with nothing but night and that time, free of all haste and measures, would disorientate these heroes, twelve of whom, like as many apostles, would tread the ground of the luminous star? Yet there was one guiding light for their senses, unbeknownst to them, an intimate reason for their courage: the ideation of love, the sight of a planet, the Earth.

The first man’s inaugural gesture was iconoclastic. Neil Armstrong, moved by an indescribable emotion as he beheld such virginal beauty, even at the risk of his mission or his life, took a photograph, unconsciously performing a powerful symbolic act: the first human activity on another planet was artistic!

Instantly, the political competition, the scientific feat and the historic event became a truly artistic legacy since these photographic prints revolutionised our perception of man’s place in the universe. The infinitely large and the infinitely small (Pascal) are embodied in these works, so much so that the visual art reveals at once our humanity at its most fragile and most conquering.

The collection of vintage NASA photographs we are delighted to offer on sale is one of the finest in the world. Victor Martin-Malburet, a true space historian, has devoted his life to finding these fragments of the dream, and has done so for almost twenty-five years, ever since the day, at fifteen, he accompanied his father on a tour of the famous Drouot auction house in

Paris. A small group of inconspicuous photographs caught his attention: ‘twas the day his heart skipped a beat...

With the precision of a clerical scribe, in the hushed calm of his nights, the collector has endeavoured to document the full story of humanity’s most disruptive moment by compiling and archiving these photographs, like as many scrolls from a land that was hitherto unknown to us, including the relevant ‘transcripts’ of the Apollo missions. With each find (some prints took several years to enter his precious collection), his soul, filled with Homeric happiness, surrendered to the thrill. Indeed, Victor MartinMalburet is one of those beings who only seek the infinite beneath the shadow of his eyelashes, constantly reliving Jacob’s struggle with the angel.

At the huge exhibition organised by the Grand Palais in Paris to mark the fiftieth anniversary of mankind’s first step on the moon, Philippe Malgouyres, general curator and heritage curator at the Musée du Louvre, described Victor Martin-Mazalburet’s collection as “unequalled”. His photographs have been exhibited in the greatest institutions (Kunsthaus in Zürich, the Museum der Moderne in Salzburg, the Louisiana Museum of Modern Art in Copenhagen, the Henie Onstad Kunstsenter in Oslo, etc.); while Europe’s leading museums are interested in his collection, which offers an unrivalled understanding of the Apollo missions.

With NASA and Space X speeding up space exploration (the Artemis III programme includes a mission, the first manned mission since 1972, in which astronauts will travel to the moon— its name, Artemis, twin sister of the god Apollo, echoes the famous Apollo programme), Victor MartinMalburet’s collection is certain to draw global attention…

The name of this session, a reference to the inscription engraved upon the plaque left on the moon by the Apollo 11 astronauts: “Here men from the planet Earth first set foot upon the Moon July 1969, A.D. We came in peace for all mankind”, evokes what remains of man after his passage: the footprint.

These heartbreakingly poetic photographs (the first Earthrise by William Anders, to whom this sale is dedicated, was on the cover of the Life magazine issue dedicated to the one hundred photographs that changed the world), bear witness to the man’s heroism, to his capacity at selfsacrifice and ability to embrace the inexplicable, the strange and the marvellous despite the humble fabric of his being.

If space dilates time, then the alpha of parietal art is echoed by the omega of sidereal art’s eternal clarity of a new dimension.

Sabine Cornette de Saint Cyr

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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The full description of the lot is available on our website: details lots 157 & 219 www.bonhams.com 14 | BONHAMS

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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L’hEritage Artistique Des DEbuts De L’exploration Spatiale (1961-1972) Preface du catalogue “La lune - Du voyage reel aux voyages imaginaires”, 2019 Avant l’invention de la photographie, les hommes comptaient sur le langage, l’écriture, la peinture et autres moyens de représentation pour rendre compte d’événements historiques ou d’explorations pionnières.

C’est depuis deux cents ans seulement que la photographie permet de s’emparer de la lumière de ces événements pour les figer dans le temps.

C’est aussi la photographie qui a permis à l’astronomie de se développer, en capturant une information lumineuse jusque-là non disponible et en tissant dès ses débuts des liens étroits avec l’espace.

En mai 1961, Alan Shepard devenait le premier Américain à accéder à l’espace, tandis que le président Kennedy décidait « d’envoyer un homme sur la Lune et de le ramener sain et sauf sur Terre avant la fin de la décennie».

La période d’exploration la plus disruptive de l’histoire de l’humanité était lancée, qui devait se conclure par l’alunissage de six missions Apollo de juillet 1969 à décembre 1972. Les astronautes rapportèrent deux trésors de leur voyage dans l’espace: des échantillons de roche lunaire et des photographies.

Dans notre ère digitale, il est difficile de se souvenir que l’âge d’or de la conquête spatiale, avec ses incroyables avancées techniques, correspond à une époque où la photographie était encore analogique, ce qui nécessitait des supports chimiques, films et papiers, sensibles à la lumière, et que le support papier restait le moyen de prédilection pour la diffusion des images et leur étude scientifique.

Ainsi, chacun des films exposés dans l’espace était développé, une fois la mission revenue sur Terre, par le laboratoire de technologie photographique du Manned Spacecraft Center à Houston. Dupliqué sous forme de « master» - selon la terminologie en vigueur -, le précieux film original était quant à lui immédiatement archivé et préservé pour les générations futures. À partir des « masters», les photographies étaient tirées, numérotées et analysées par les spécialistes de la NASA. Ces tirages, maillon final de la chaîne photographique, étaient des documents tout à la fois d’étude, de présentation et de communication.

Témoignages esthétiques et artefacts historiques dotés de numéros de négatifs, de légendes, de logos de la NASA, de tampons « contrôle qualité» et de marques de tirage de laboratoires, ces photographies constituent le legs visuel d’une époque qui a vu l’homme quitter pour la première fois les limites de sa planète, explorer un autre monde et inaugurer le processus de colonisation de l’espace, ainsi qu’une nouvelle période de l’histoire de la photographie.

Tandis que les explorateurs et les photographes étaient jusque-là restés confinés dans les limites de la Terre, les premiers astronautes firent une expérience entièrement nouvelle et bénéficièrent d’un éclairage inédit sur le monde (dans l’espace, en effet, la gravité disparaît, ainsi que la notion d’horizontalité et de verticalité, il n’y a plus de jour ou de nuit, et rien ne vient filtrer la lumière du Soleil...).

Chacune des photographies rapportées par ces voyageurs privilégiés était l’occasion d’une nouvelle révélation, et certaines d’entre elles figurent parmi les plus célèbres de l’histoire de la discipline.

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Cependant, le public n’eut pas connaissance de toutes ces images: après chaque mission, le Public Affairs Office (qui gérait la diffusion de l’information et la communication de la NASA) ne publiait qu’une sélection des photographies prises par les astronautes (de préférence celles qui avaient un fort impact visuel et célébraient les réussites de l’agence), et en les sortant de leur contexte. Destinées à la diffusion scientifique et à la parution dans les médias et les livres d’histoire, nombre de ces photographies sont devenues des icônes et appartiennent à notre culture visuelle.Sans cesse réutilisées et réinterprétées, elles font partie des images les plus reproduites de l’histoire.

Quant aux photographies non publiées, elles n’étaient accessibles qu’aux chercheurs accrédités dans les archives des différents centres de la NASA (en particulier celui du Manned Spacecraft Center à Houston).

Pendant trente ans, jusqu’à leur diffusion virtuelle et leur mise en ligne progressive sur Internet (sites du Lunar and Planetary Institute et du Apollo Lunar Surface Journal), ces « photographies inédites» sont restées quasiment inconnues du grand public, comme de spectaculaires séquences panoramiques prises en orbite et sur la surface de la Lune.

Cette sélection a eu pour conséquence une compréhension incomplète des réalisations photographiques de l’agence.

D’autre part, la NASA n’a pas non plus saisi à l’époque l’occasion qui lui était offerte de construire un récit sur le voyage dans l’espace, comme l’avaient fait les photographes explorateurs qui avaient voyagé dans l’Ouest américain et en Antarctique.

La plupart du temps, les photographies étaient sorties du contexte de la mission et n’étaient pas créditées à l’astronaute qui les prenait mais à la NASA elle-même.

En combinant les photographies publiées à l’époque et les photographies « inédites» et en les replaçant dans leur contexte originel, il est possible de mieux appréhender la richesse du patrimoine photographique de la NASA et de donner une nouvelle lecture des premières incursions dans le cosmos.

«Objectif» Lune Comme dans d’autres domaines, la NASA a été à l’avant-garde de la technologie en matière de photographie. Sa division de technologie photographique spatiale a été fondée en partenariat étroit avec Kodak, Hasselblad et Zeiss. Pour toutes ces firmes, les exploits extraordinaires de la NASA et de ses astronautes étaient une source incomparable de publicité et leurs meilleurs ingénieurs collaboraient pour fabriquer les films, les appareils et les objectifs adaptés aux contraintes extrêmes de l’espace.

Tout a été mis en place pour que les astronautes, même en état d’apesanteur et revêtus d’une combinaison spatiale encombrante, puissent capturer des images de précision dans l’espace. Les appareils Hasselblad ont été modifiés et automatisés de façon à accélérer et faciliter les prises de vues.

Ils ont été équipés de films moyen-format 70 mm de haute résolution, spécialement conçus par Kodak sur un support en polyester Estar très fin permettant de prendre plus d’images par pellicule. L’émulsion a elle aussi été spécialement adaptée au vacuum spatial et lunaire. Sur la Lune elle-même, un mécanisme amovible (une contribution à la photographie de Neil Armstrong) permettait aux astronautes de fixer leur Hasselblad sur leur poitrine et d’actionner l’appareil plus facilement tout en se consacrant à d’autres activités. Enfin, une plaque de verre avec des croix de repérage placée juste devant le film permettait aux scientifiques d’extraire par la suite des informations sur les distances lunaires.

Au sein de la division de technologie photographique, un personnel spécialisé se chargeait de qualifier les appareils et les films pour le vol spatial et assurait un « contrôle qualité» à tous les stades de la chaîne photographique. Grâce au travail de cette division, les photographies réalisées lors du programme lunaire se caractérisent par leur unité, depuis la première mission dans l’espace d’Alan Shepard et la décision du président Kennedy d’envoyer des hommes sur la Lune en mai 1961 jusqu’au dernier pas sur la Lune d’Eugene Cernan en décembre 1972.

Si la photographie s’est révélée un outil fondamental pour atteindre et explorer la Lune, la NASA s’est vite rendu compte qu’elle était un atout exceptionnel pour promouvoir son programme spatial et imposer le voyage lunaire aux Américains et au reste du monde (la course à l’espace avec les Soviétiques allait mobiliser 4% du budget fédéral pendant dix ans et les efforts combinés de quatre cent mille ingénieurs et ouvriers).

La beauté des images de l’espace allait justifier le voyage lui-même.

Au début du programme spatial, ce furent d’abord les images stylisées de décollages de fusées ou d’astronautes qui illustrèrent les journaux. Le public se passionnait pour les astronautes, de véritables stars qui étaient sous contrat avec Life Magazine.

Le 20 février 1962, John Glenn devint le premier humain à prendre des photographies dans l’espace en même temps que le premier Américain en orbite à bord de son vaisseau Friendship 7. Le fait de prendre ces premiers clichés depuis l’orbite constituait une simple expérimentation, car personne n’était certain que l’apesanteur permettrait à un astronaute de bouger, de voir et de respirer. Il s’agissait d’abord de le ramener vivant. Mais les photographies de Glenn parurent en couleurs dans Life et National Geographic et révélèrent aux Terriens la beauté de l’espace.

«C’était génial de pouvoir rapporter ces images à tous ceux qui ne pouvaient pas être là-haut en orbite et voir tout cela», raconta Gordon Cooper, qui fit vingt-deux fois le tour de la Terre lors de la mission Mercury Atlas 9 en mai 1963 et valida l’utilisation des appareils Hasselblad pour la prise de vue dans l’espace. «Je pense que la NASA a définitivement compris l’importance de la photographie; même les plus récalcitrants ont admis que rien n’avait plus d’impact.»

Chaque mission était l’occasion de nouvelles expériences qu’il fallait photographier pour la postérité, et les astronautes furent entraînés a la photographie par des spécialistes de la NASA et de Hasselblad, lesquels passaient en revue les clichés qu’ils avaient pris pour leur permettre de s’améliorer à bord de leurs avions T-38 ou lors de leurs vacances. Ils furent également conseillés par des photographes de Life ou de National Geographic qui couvraient le programme spatial au sol, comme Ralph Morse ou Dean Conger.

Alors que les artistes de l’époque privilégiaient le noir et blanc (les tirages couleurs étaient très coûteux et les photographes n’avaient pas de contrôle sur leurs films, lesquels étaient envoyés directement chez Kodak), les astronautes, épaulés par les meilleurs techniciens de laboratoire et développeurs photos à la NASA, utilisèrent systématiquement la couleur.

Dès lors, des images sublimes virent le jour, comme les photographies de Jim McDivitt montrant son collègue Ed White flottant librement dans l’espace lors de la mission Gemini 4 en juin 1965 (première sortie extra-véhiculaire américaine). Ces photographies, les toutes premières montrant « l’homme dans l’espace», firent la une des journaux du monde entier, marquant un tournant dans la course engagée avec les Soviétiques.

Les astronautes rivalisèrent alors pour rapporter les meilleurs clichés de l’inconnu et «décrocher une autre couverture de Life». Le chef de la photographie à la NASA, Richard Underwood, leur répétait d’ailleurs: «Vous savez, quand vous rentrerez, vous serez des héros nationaux, mais ces photographies, si vous prenez de belles photos, elles vivront éternellement.

Votre passeport pour l’éternité est la qualité de vos photographies et rien d’autre!»

Scientifiques et pilotes de formation, les astronautes trouvèrent dans la photographie le meilleur support pour transcrire à destination du reste de l’humanité la magie et l’exaltation du voyage dans l’espace, leur perception de la beauté irréelle d’un autre monde et le sens profond de leur exploration de l’inconnu.

La photographie d’un autre monde L’exploration de ce nouveau monde, la Lune, combinée à la technologie photographique la plus sophistiquée de l’époque et à l’inspiration des astronautes-photographes de la NASA, fut à l’origine d’un vocabulaire visuel absolument nouveau.

Entre décembre 1968 et décembre 1972, les vingt-quatre astronautes des missions Apollo 8 à Apollo 17 furent les seuls hommes de l’histoire à quitter le champ gravitationnel de la planète Terre et à voyager vers la Lune.

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Depuis leur vaisseau en orbite lunaire, ils passèrent de précieux moments à observer un monde jusque-là seulement rêvé et imaginé et prirent en photo les différents «états» de la Lune. Ils photographièrent ainsi sa face visible (depuis la Terre) avec une résolution et un angle de vue radicalement différents de ceux de l’observation terrestre, révélant des paysages fantomatiques de cratères, de plaines et de montagnes dont l’apparence était menaçante ou séduisante suivant l’inclinaison de la lumière solaire. Les photographies du terminateur (ligne de séparation entre la partie éclairée et la partie obscure d’un astre), étaient particulièrement saisissantes.

Les astronautes dévoilèrent sur pellicule les détails de la face cachée de la Lune, divulguant finalement aux Terriens les secrets et les trois dimensions de cet astre pourtant familier; notamment un paysage tourmenté très distinct de la face visible, avec une surface bombardée par les météorites et très peu de mers lunaires.

Ils photographièrent également une pleine lune comme on ne la voit pas depuis la Terre (puisqu’elle n’expose qu’une seule face) et rapportèrent des clichés montrant d’autres hémisphères lunaires.

Ils virent pour la première fois la Terre comme une sphère dans l’espace.

Pour leurs yeux seulement, la Terre devenait un corps céleste comme un autre, seul îlot de vie au milieu du noir profond de l’espace.

Peu de visions dans l’histoire de l’humanité furent aussi exaltantes et émouvantes que le lever de Terre sur l’horizon lunaire. Les photographies du nouveau monde lunaire et de sa face cachée étaient déjà fascinantes, mais les photographies du « spaceship Earth » furent une révélation imprévue de ce voyage.

Finalement, les douze astronautes qui explorèrent la surface de la Lune écrivirent une nouvelle page de l’histoire humaine.

Cinq cents millions de Terriens suivirent en direct à la télévision le premier pas de Neil Armstrong sur la Lune lors de la mission Apollo 11.

C’était «un pas vers l’immortalité», déclara Wernher von Braun, le génie scientifique à l’origine du programme Apollo, «car l’homme prouvait désormais qu’il pouvait atterrir sur d’autres corps célestes, y vivre et y travailler».

Tandis qu’une nouvelle gravité s’emparait d’eux, les astronautes découvrirent et photographièrent un monde brut et vierge, avec des canyons, des montagnes, des plaines mais aussi une poussière étrange.

C’était un monde étranger, hostile, privé d’air, silencieux et vide.

Un monde dont le ciel est noir en plein jour car il s’agit du ciel de l’espace, mais un ciel dépourvu d’étoiles car le soleil brille si fort sur la poussière lunaire que son rayonnement masque la lumière des autres astres, excepté la Terre. Un monde rapetissé où l’horizon paraît tout proche (le globe terrestre possède un diamètre près de quatre fois plus grand que celui du globe lunaire et la Terre pourrait contenir cinquante Lunes).

Un monde d’une clarté absolue (pas d’atmosphère pour filtrer, adoucir ou colorer la lumière du Soleil). Un monde dépourvu de couleurs si ce n’est des nuances de gris suivant l’inclinaison des rayons du Soleil. Un monde désolé et sans vie où l’absence de végétation, d’érosion ou d’édifice humain entraîne chez l’explorateur une perte totale des notions de distance, d’échelle ou d’horizon:« Vous vous tenez là et vous vous dites simplement, je ne crois pas ce que je vois!», expliquait Eugene Cernan, astronaute d’Apollo 17 et dernier homme sur la Lune.

Un monde où la notion du temps lui-même se trouble puisque le jour et la nuit lunaires durent chacun quatorze jours terrestres.Pour les cerveaux humains inadaptés, un seul point de repère dans ce monde irréel: la planète Terre, toujours fixe dans le ciel lunaire, comme veillant sur ses explorateurs. Selon Cernan, «regarder la Terre, c’était le seul moyen de se raccrocher à la réalité. C’est là d’où vous venez, c’est votre chez vous…

Je me demande ce que ça aurait été de marcher sur la Lune et de ne pas avoir la Terre dans le ciel». detail lot 286

Dans ce monde déroutant et dangereux, les astronautes euxmêmes ressemblaient à des extraterrestres avec leurs combinaisons encombrantes et leurs casques aux visières dorées. La gravité 1/6 rendait leurs mouvements gauches et lents, en même temps qu’aériens; leurs photographies enregistraient des poses inhabituelles pour nos yeux terrestres. À pied ou à bord de leur Jeep lunaire, ils exploraient des contrées inconnues. À chacun de leurs arrêts, appelés « stations lunaires», ils mettaient en place des expériences scientifiques ou collectaient des échantillons de roche, documentant leurs activités au moyen de l’appareil Hasselblad fixé sur leur poitrine.

Ces stations étaient également l’occasion de faire des prises de vues panoramiques. «Nous avions pratiqué ces panoramas sans relâche sur Terre», se rappelait Charles Duke, d’Apollo 16. «Je me tenais dans une direction et cliquais, puis je tournais en suivant un cercle tous les 20 ou 30 degrés, je me stabilisais bien avant chaque photographie et je pressais le bouton.» Les photographies individuelles composant les mosaïques panoramiques étaient ensuite tirées et assemblées pour former l’image finale.

Initialement réalisés afin que les scientifiques sur Terre puissent reconstituer la localisation et les caractéristiques géologiques des stations lunaires, ces panoramas révèlent la beauté surréaliste des paysages de la Lune.

Lors des trois dernières missions lunaires, les astronautes utilisèrent également un objectif télescopique 500 mm pour détailler la topographie du paysage, créant des images composites des lieux qu’ils ne pouvaient explorer.

Les photographies des astronautes, encore étudiées aujourd’hui par les géologues et les planétologues, fournirent de précieuses informations et donnèrent à l’agence un long héritage scientifique. Mais leur impact dépasse de loin le cadre scientifique.

Ainsi, du point de vue de leur impact social et historique, ces images peuvent être comparées à celles des grands photographes américains Mathew Brady, Margaret Bourke-White, Dorothea Lange et Ansel Adams.

Lorsqu’elles furent publiées dans la période turbulente de la fin des années 1960 et du début des années 1970, les photographies des astronautes transcendèrent immédiatement les barrières culturelles, politiques et étatiques. C’est toujours le cas de nos jours, et elles continuent de constituer une grande source de prestige pour la NASA. Leur pénétration dans l’inconscient collectif et leur capacité à communiquer sur les exploits de l’agence spatiale américaine sont fascinantes. À l’opposé, le programme spatial soviétique, dont les responsables n’ont pas compris que des réalisations spatiales extraordinaires exigeaient des photographies extraordinaires, occupe une place réduite dans notre mémoire collective, et ce en dépit de ses grandes premières; à tel point que l’on peut se demander si la NASA n’a pas décroché la Lune grâce à ses fusées, certes, mais aussi grâce à ses photographies.

L’art a toujours célébré le pouvoir de l’exploration et le triomphe du génie humain.Aujourd’hui, le talent des photographes explorateurs du XIXe siècle est reconnu. Ils ont produit des images nouvelles et d’une qualité technique supérieure, qui étaient aussi l’expression de leur perception et de leur interprétation face aux paysages qu’ils découvraient.

Les astronautes photographes, quant à eux, « ont transporté l’intellect humain, sa vision du monde, sa manière de penser, à 380000 km de son camp de base. Ce fut cela l’importance du voyage», rappelait Frank Borman, de la mission Apollo 8.

Au croisement de l’investigation scientifique et de l’inspiration créatrice, les photographies des astronautes sont une expression de la curiosité humaine, du désir de l’homme d’explorer, de questionner ses origines et de repousser ses limites.

Et elles ont changé notre compréhension de la condition humaine et de notre place dans l’univers.

The Artistic Legacy of Early Space Exploration (1961-1972) Foreword to the catalogue ‘La lune - Du voyage reel aux voyages imaginaires’, 2019 Before the invention of photography, men relied on language, writing, painting and other means of representation to report on historical events or pioneering explorations. The advent of photography, only two hundred years ago, has enabled us to capture light and freeze such events forever in time. It is also photography that has allowed astronomy to develop, by capturing light information hitherto unavailable and by establishing close ties with space from its inception.

In May 1961, Alan Shepard became the first American to enter space, while President Kennedy announced that the US “should commit itself to achieving the goal, before this decade is out, landing a man on the Moon and returning him safely to the Earth.”

The most transformative period of exploration in the history of mankind was launched, which was to conclude by the landing of six Apollo missions from July 1969 to December 1972.The astronauts brought back treasures from their voyages into the unknown: samples of lunar rock, scientific data, historic words, and photographs.

In our digital age, 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 analogue, requiring light-sensitive chemistry, film and photographic papers. Paper was still the preferred medium for the dissemination of images and their scientific study. Each film exposed in space was developed, once the mission returned to Earth, by the photographic technology laboratory of the Manned Spacecraft Centre in Houston. Duplicated in the form of a “master”—according to the operative terminology—the precious original film was immediately archived and preserved for future generations. From the “masters”, the photographs were printed, numbered and analysed by NASA specialists.

These prints, final products of the photographic chain, were documents for study, presentation and communication.

At once aesthetic testimonials and historical artefacts they are marked with the number of the negative , a caption, NASA logos, quality control stamps and print marks from the photographic laboratories, these photographs constitute the visual legacy of an era that saw man leave the limits of our planet for the first time, explore another world and initiate the process of space colonization; as well as a new period in the history of photography.

While explorers and photographers had hitherto remained confined within the limits of Earth, the first astronauts benefitted from entirely new sensory experiences and lighting conditions: in space, the notion of horizontality and verticality disappears with gravity, there is no longer day or night, and nothing filters the sunlight...).

Each of the photographs brought back by these privileged voyagers was an opportunity for a new revelation, and some of them are among the most famous in the history of that art..

However, the public was not aware of all these images: after each mission, NASA’s Public Affairs Office (or PAO, which managed the information and the communication of the agency) released only a selection of the photographs taken by the astronauts for publication (preferably those which had a strong impact and celebrated the mission’s success), publishing them out of context. Intended for scientific circulation and publication in the media and history books, many of these PAO photographs have become icons and belong to our visual culture. Constantly reused and reinterpreted, they are among the most reproduced images in history.

As for the unreleased photographs, they were accessible only to accredited researchers in the archives of the various NASA centres (in particular the Manned Spacecraft Centre in Houston). For thirty years, until their progressive publication on the Internet (websites of the Lunar and Planetary Institute and the Apollo Lunar Surface Journal), these “unreleased photographs” remained almost unknown to the general public, like the spectacular Hasselblad panoramic views taken in orbit and on the surface of the Moon.

The initial selection resulted in a partial understanding of the agency’s photographic achievements.

Furthermore , NASA did not take the opportunity offered at the time to create a narrative on space flight, as had done the explorer-photographers who had travelled to the American West or to Antarctica.

Most of the time, there was no indication as to when in the mission the photograph was taken and the photograph was not credited to the astronaut who took it but to NASA itself.

By combining the photographs published at the time and the “unreleased” photographs and by placing them in their original context, it is possible to better apprehend the wealth of NASA’s photographic heritage and to offer a new reading of man’s first forays into the cosmos.

(The Moon in the lens) Focus: The Moon As in other areas, NASA was at the forefront of photographic technology. Its space photographic technology division was founded in close partnership with Kodak, Hasselblad and Zeiss. For all these firms, the extraordinary exploits of NASA and its astronauts were an incomparable source of publicity and their best engineers collaborated to manufacture films, cameras and lenses adapted to the extreme constraints of space.

Everything was put in place so that the astronauts, even in a state of weightlessness and wearing a bulky space suit, could capture precision images in space. Hasselblad cameras were modified and automated to speed up and facilitate shooting. They were fitted with high-resolution 70mm medium format films, specially designed by Kodak on a very fine Estar polyester support allowing them to take more pictures per film.

The emulsion was also specially adapted for the vacuum of space. On the Moon itself, a removable mechanism (a contribution to photography

by Neil Armstrong) made it easier for astronauts to fix the Hasselblad on their chest and operate the camera while engaging in other activities.

Finally, a glass Reseau plate engraved with a grid of crosses placed just in front of the film allowed scientists to subsequently extract information on lunar distances.

Within the photographic technology division, specialized personnel were responsible for qualifying cameras and films for spaceflight and provided “quality control” at all stages of the photographic chain. Thanks to the work of this division, the photographs taken during Project Mercury, Gemini and Apollo have been characterized by their unity, from Alan Shepard’s first mission into space and President Kennedy’s decision to land men on the Moon in May 1961 until Eugene Cernan’s last step on the lunar surface in December 1972.

If photography proved to be a fundamental tool in reaching and exploring the Moon, NASA quickly realized that it was an exceptional asset to promote its space program and impose the lunar goal to the Americans and the rest of the world (the Space Race with the Soviets was to mobilize 4% of the federal budget for ten years and the combined efforts of 400,000 engineers and workers).

The beauty of the images from space would justify the voyage itself.

At the start of the space program, stylized images of astronauts or rocket liftoffs illustrated the newspapers. The public was passionate about astronauts, real stars who were under contract with LIFE Magazine.

On February 20, 1962, John Glenn became the first human to take photographs in space and the first American to orbit the Earth on board Friendship 7. Taking these first shots from orbit was an experiment, as no one knew for sure that weightlessness would even allow an astronaut to move, see and breathe. The priority was to bring him back alive. But Glenn’s photographs appeared in colour in LIFE Magazine and National Geographic and revealed to the people of Earth the beauty of space.

“It was great to be able to bring home some of these images to people who couldn’t be up there in orbit and see those kind of things,” remembered Gordon Cooper, who circled the Earth twenty-two times during the Mercury Atlas 9 mission in May 1963 and validated the use of Hasselblad cameras for taking pictures in space. “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.”

Each mission provided new firsts to be photographed for posterity, and the astronauts were trained in photography by NASA and Hasselblad specialists, who reviewed their pictures taken from their T-38 planes or on vacation. They were also advised by LIFE or National Geographic photographers covering the space program on the ground, like Ralph Morse or Dean Conger. While artists of the time favoured black and white (colour prints were very expensive and the photographers had no control over their films which were sent directly to Kodak), the astronauts, supported by the best laboratory technicians and photo developers at NASA, extensively used colour.

From then on, sublime images were created, like the photographs of Jim McDivitt showing his colleague Ed White floating freely in space during the Gemini IV mission in June 1965 (first American Extravehicular Activity).

These photographs, the very first showing “man in space”, appeared on front pages of newspapers around the world, marking a turning point in the race with the Soviets.

The astronauts competed to bring back the best shots from the unknown and “get another cover of LIFE”.

NASA chief of photography Richard Underwood kept telling them, “You know, when you get back, you’re going to be a national hero… But those photographs, if you get great photos, they’ll live forever. Your key to immortality is in the quality of the photographs and nothing else.”

Scientists and pilots by training, the astronauts found in photography the best medium for transcribing to the rest of humanity the magic and exaltation of space travel, the profundity of their experience in space, their perception of the unreal beauty of another world and the meaning of their exploration of the unknown.

Photography of Another World The exploration of this new world, the Moon, combined with the most sophisticated photographic technology of the time and the inspiration of the astronaut-photographers of NASA, was at the origin of an absolutely new visual vocabulary.

Between December 1968 and December 1972, twenty-four astronauts from the Apollo 8 and Apollo 10 to 17 missions were the only humans in history to leave the gravitational field of planet Earth and travel to the Moon. From their spacecraft in lunar orbit, they spent precious moments to observe a world hitherto only dreamed and imagined. They photographed the visible face from Earth with a resolution and an angle of view radically different from those from Earth, revealing ghostly landscapes of craters, plains, and mountains whose appearance was threatening or appealing depending on the inclination of sunlight. The photographs of the terminator, the dividing line between the light and dark part of a planetary body, were particularly striking.

The astronauts captured on film the dramatic moonscape of the far side, eventually unveiling to earthlings the secrets and the three dimensions of this so far familiar celestial companion; notably a tortured landscape, unlike the visible face, with a surface bombarded by meteorites and very few lunar Seas. They also photographed a full Moon as it cannot be seen from Earth (since the Moon only shows us one face) and returned pictures showing other lunar hemispheres.

They saw the Earth for the first time as a sphere in space. For their eyes only, the Home Planet became a celestial body like any other, the only island of life in the middle of the dark void of space.

Few visions in the history of mankind were as exhilarating and moving as the Earth rising over the lunar horizon. The photographs of the new lunar world and its hidden side were already fascinating, but the photographs of the “spaceship Earth” were an unexpected revelation from the voyage.

Finally, the twelve astronauts who explored the surface of the Moon wrote a new page of human history. Five hundred million people on Earth followed live on television Neil Armstrong’s first step on the Moon during the Apollo 11 mission. It was “a step towards immortality,” wrote Wernher von Braun, the scientific genius behind Project Apollo, “for man now showed that he could land on other heavenly bodies and that he could live and work there.”

As a new gravity took hold on them, astronauts discovered and photographed a raw and virgin world, with canyons, mountains, plains but also a strange dust. A world whose sky is black in broad daylight because it is the sky of space; but it is a black sky devoid of stars for the Sun shines so brightly on the lunar dust that its radiation masks the light of other stars, except the Earth.A shrunk world where the horizon seems very close (the Moon’s diameter is almost four times smaller than that of the Earth which could contain fifty Moons in volume). A world with absolute clarity (there is no atmosphere to filter or soften sunlight).

A colourless world, with only shades of grey depending on the inclination of the Sun’s rays. A desolate and lifeless world where the absence of vegetation, erosion or human structure causes the explorer to completely lose the notions of distance, scale or horizon: “You stand there and you just say, I can’t believe what I’m looking at”, said Eugene Cernan, Apollo 17 astronaut and the last man on the Moon.A world where the notion of time itself is clouded since the lunar day and night each last fourteen Earth days.

In this unreal world, only one beacon reassured the maladjusted human brains: the Planet Earth, always still and serene in the lunar sky, as if it was watching over its explorers. According to Cernan: “Looking back at the Earth is your identity with reality. It’s home. It’s where family and love and life really is, viewed from a vantage point a quarter of a million miles out in space where reality itself is almost a dream, a dream in which you

are a very vulnerable character. I wonder what it would have been like to walk on the Moon and not have the Earth in the sky.”

In this disorienting and dangerous world, the astronauts themselves looked like aliens with their bulky spacesuits and their gold-plated visors. The one-sixth gravity made their movements awkward and slow, as well as aerial; their photographs recorded unusual poses for our earthly eyes.

On foot or on board the Lunar Rover, they explored unknown lands. At each of their stops, called “stations”, they set up scientific experiments or collected rock samples, documenting their activities thanks to the Hasselblad camera mounted on their chest. These stations were also an opportunity to take panoramic shots. “We had practiced and practiced these panoramas back on Earth,” recalled Charles Duke of Apollo 16.

“I would set up facing one direction and click. Then I would move in 20 or 30 degrees increments around in a circle, stabilize before each photograph, and squeeze.”

The individual frames making up the panoramic mosaics were later printed and assembled to form the final image. Initially made so that scientists on Earth could reconstruct the location and geological characteristics of the stations, these panoramas reveal the surreal beauty of the landscapes of the Moon. During the last three lunar missions, the astronauts also used a telephoto 500mm lens to detail the topography of the landscape, creating composite images of the places they could not explore.

The photographs of the astronauts, still studied today by geologists and planetologists, offered valuable data and a long scientific legacy to the agency. But their impact far exceeds the scientific framework.

From the point of view of their social and historical impact, these images can be compared to those of the great American photographers Mathew Brady, Margaret Bourke-White, Dorothea Lange and Ansel Adams. When published in the turbulent period of the late 1960s and early 1970s, the

detail lot 445

photographs of the astronauts immediately transcended terrestrial, cultural and political barriers. It’s still the case today, and they continue to be a great source of prestige for NASA. Their penetration into the collective unconscious and their ability to communicate about the exploits of the American space agency are fascinating.

In contrast, the Soviet space program, whose officials did not understand that extraordinary space achievements required extraordinary photographs, occupies a reduced place in our collective memory, despite its great firsts; so much so that we can wonder whether NASA landed on the Moon not only thanks to its rockets, of course, but also thanks to its photographs.

Art has always celebrated the power of exploration and the triumph of human genius.

Today, the talent of 19th century explorer-photographers is recognized.

They produced new images of superior technical quality, which were also the expression of their perception and of their interpretation vis-a-vis the landscapes they discovered.

The astronaut-photographers, for their part, “transported the human intellect and the human vision, the human mind, 380,000 km away from home. That was the importance”, reminded Frank Borman, Commander of the Apollo 8 mission.At the crossroads of scientific investigation and creative inspiration, the photographs of the astronauts are an expression of human curiosity, of man’s desire to explore, to question its origins and to push its limits. And they have changed our understanding of the human condition and our place in the universe.

Préface du catalogue “La lune - Du voyage réel aux voyages imaginaires”, Exposition aux Galeries nationales du Grand-Palais, Paris, du 3 avril au 22 juillet 2019 par Victor Martin Malburet.

Exposition commémorant les cinquante ans du premier pas sur la lune.

Global Timeline US Manned Space Missions

MERCURY REDSTONE 3 Crew: Alan Shepard May 5, 1961 Spacecraft: Freedom 7 Launch vehicle: Redstone

GEMINI III Crew: Gus Grissom and John Young March 23, 1965 Spacecraft: Molly Brown Launch Vehicle: Titan II

GEMINI IV Crew: James McDivitt and Edward White June 3-7, 1965 Spacecraft: Gemini IV Launch Vehicle: Titan II

MERCURY REDSTONE 4 Crew: Gus Grissom July 21, 1961 Spacecraft: Liberty Bell 7 Launch Vehicle: Redstone

GEMINI V Crew: Gordon Cooper and Pete Conrad August 21-29, 1965 Spacecraft: Gemini V Launch Vehicle: Titan II

GEMINI VII Crew: Frank Borman and James Lovell December 4-18, 1965 Spacecraft: Gemini VII Launch Vehicle: Titan II

GEMINI VI-A Crew: Walter Schirra and Thomas Stafford December 15-16, 1965 Spacecraft: Gemini VI-A Launch Vehicle: Titan II

MANNED SPACE LUNAR ORBIT AND SURFACE MISSIONS

MANNED SPACE EARTH AND CISLUNAR MISSIONS (APOLLO 7 to APOLLO 10)

APOLLO 7 Crew: Walter Schirra (Commander), Walter Cunningham (Lunar Module Pilot) and Donn Eisele (Command Module Pilot) October 11-22, 1968 Spacecraft: Apollo 7 CSM Launch Vehicle: Saturn IB

MERCURY ATLAS 6 Crew: John Glenn February 20, 1962 Spacecraft: Friendship 7 Launch Vehicle: Atlas D

THE DISCOVERY OF A NEW WORLD (APOLLO 11 to APOLLO 14)

APOLLO 8 Crew: Frank Borman (Commander), James Lovell (Command Module Pilot) and William Anders (Lunar Module Pilot) December 21-27, 1968 Spacecraft: Apollo 8 CSM Launch Vehicle: Saturn V

APOLLO 9 Crew: James McDivitt (Commander), David Scott (Command Module Pilot) and Russell Schweickart (Lunar Module Pilot) March 3-13, 1969 Spacecraft: Apollo 9 (CSM Gumdrop and LM Spider) Launch Vehicle: Saturn V

APOLLO 10 Crew: Thomas Stafford (Commander), John Young (Command Module Pilot) and Eugene Cernan (Lunar Module Pilot) May 18-26, 1969 Spacecraft: Apollo 10 (CSM Charlie Brown and LM Snoopy) Launch Vehicle: Saturn V

APOLLO 11 Crew: Neil Armstrong (Commander), Michael Collins (Command Module Pilot), Buzz Aldrin (Lunar Module Pilot) July 16-24, 1969 Spacecraft: Apollo 11 (CSM Columbia and LM Eagle) Launch Vehicle: Saturn V

APOL Crew: Pe (Command Gordon (Com Pilot), Alan Modu November Spacecraf (CSM Yanke LM In Space Vehi

MERCURY ATLAS 7 Crew: Scott Carpenter May 24, 1962 Spacecraft: Aurora 7 Launch Vehicle: Atlas D

GEMINI VIII Crew: Neil Armstrong and David Scott March 16-17, 1966 Spacecraft: Gemini VIII Launch Vehicle: Titan II

LLO 12 ete Conrad der), Richard mmand Module n Bean (Lunar ule Pilot) r 14-24, 1969 ft: Apollo 12 ee Clipper and ntrepid) icle: Saturn V

MERCURY ATLAS 8 Crew: Walter Schirra October 3, 1962 Spacecraft: Sigma 7 Launch Vehicle: Atlas D

GEMINI IX-A Crew: Thomas Stafford and Eugene Cernan June 3-6, 1966 Spacecraft: Gemini IX-A Launch Vehicle: Titan II

GEMINI X Crew: John Young and Michael Collins July 18-21, 1966 Spacecraft: Gemini X Launch Vehicle: Titan II

MERCURY ATLAS 9 Crew: Gordon Cooper May 15-16, 1963 Spacecraft: Faith 7 Launch Vehicle: Atlas D

GEMINI XI Crew: Pete Conrad and Richard Gordon September 12-15, 1966 Spacecraft: Gemini XI Launch Vehicle: Titan II

GEMINI XII Crew: James Lovell and Buzz Aldrin November 11-15, 1966 Spacecraft: Gemini XII Launch Vehicle: Titan II

THE GREAT VOYAGES OF EXPLORATION (APOLLO 15 to APOLLO 17)

APOLLO 13 Crew: James Lovell (Commander), Jack Swigert (Command Module Pilot), Fred Haise (Lunar Module Pilot) April 11-17, 1970 Spacecraft: Apollo 13 (CSM Odyssey and LM Aquarius) Launch Vehicle: Saturn V

APOLLO 14 Crew: Alan Shepard (Commander), Stuart Roosa (Command Module Pilot), Edgar Mitchell (Lunar Module Pilot) January 31-February 9, 1971 Spacecraft: Apollo 14 (CSM Kitty Hawk and LM Antares) Launch Vehicle: Saturn V

APOLLO 15 Crew: David Scott (Commander), James Irwin (Lunar Module Pilot), Alfred Worden (Command Module Pilot) July 26-August 7, 1971 Spacecraft: Apollo 15 (CSM Endeavour and LM Falcon) Launch Vehicle: Saturn V

APOLLO 16 Crew: John Young (Commander), Ken Mattingly (Command Module Pilot), Charles Duke (Lunar Module Pilot) April 16-27, 1972 Spacecraft: Apollo 16 (CSM Casper and LM Orion) Launch Vehicle: Saturn V

APOLLO 17 Crew: Eugene Cernan (Commander), Ronald Evans (Command Module Pilot), Harrison Schmitt (Lunar Module Pilot) December 7-19, 1972 Spacecraft: Apollo 17 (CSM America and LM Challenger) Launch Vehicle: Saturn V

L’AUTHENTIFICATION DES PHOTOGRAPHIES VINTAGE DE LA NASA En règle générale, les photographies originales vintage de la NASA étaient tirées sur du papier photographique à bords blancs, dans un format standard d’environ 20,3 x 25,4 cm. Au verso, elles portent parfois - souvent imprimé à l’encre violette, bleue ou noire - le logo de la NASA, le centre émetteur, un numéro d’identification, la date à laquelle la photo a été prise et une légende explicative. Souvent la présence d’une légende indique que le tirage faisait partie de la sélection officielle du service des affaires publiques de la NASA, mais pas toujours. Des tirages spécialement produits pour des études scientifiques peuvent également comporter une légende explicative préparée par la NASA. Les différents centres et sous-traitants de la NASA avaient chacun leur propre type de légende et de tampon de crédit au dos des tirages. Certains tirages réalisés pour un usage interne, par des sous-traitants ou à d’autres fins (souvent inconnues) ne portent pas ces marques au verso, bien qu’ils soient parfaitement authentiques. Il est évident que les reproductions lithographiques ou les photographies destinées à des fins commerciales, telles que les tirages 20,3 x 20,3 cm produits par Meisel Photochrome Corporation sur papier Kodak après les missions Apollo 11 et 12, ne doivent pas être confondues avec les tirages originaux de la NASA. La NASA a également parfois produit des photographies grand format, destinées à des études scientifiques (comme les tirages 40,5 x 51 cm ou 51 x 61,2 cm des missions Lunar Orbiter, ou les tirages 9 x 9 ou 10 x 10 pouces issus pour les photographies prises grâce à l’appareil photo Metric lors des missions Apollo) ou à être présentées à des haut-dignitaires ou corps institutionnels, généralement dans des formats allant de 27,9 x 35,5 cm à 50,8 x 61 cm et parfois montées sur carton.

Selon le programme (Mercury, Gemini ou Apollo), certaines grandes lignes émergent. Les clichés des missions Mercury pris avant le décollage, par exemple, sont presque tous en noir et blanc. Les photographies prises par les sondes et satellites étaient également, la plupart du temps, monochromes. Les premières photographies en couleur du disque

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terrestre transmises par le satellite géostationnaire révolutionnaire ATS-3 constituent une exception notable.

Pendant Gemini et Apollo, le noir et blanc était couramment utilisé pour l’entraînement avant les missions, tandis que la couleur était généralement réservée aux décollages et pour les photographies prises dans l’espace.

Pour déterminer si un tirage de la NASA est vintage ou non, les collectionneurs peuvent se référer à plusieurs critères clés.

Le numéro d’identification des photographies de la NASA prises par les astronautes dans l’espace est le numéro de série officiel attribué par le NASA Manned Spacecraft Center de Houston au film original. Ce centre était le principal centre pour la photographie spatiale. D’autres centres pouvaient attribuer des identifiants différents aux mêmes images.

Le centre émetteur détermine également les caractéristiques générales des tirages.

Concernant le recto : À partir de 1962-1963, les tirages produits par le NASA Manned Spacecraft Center à Houston portaient souvent la mention « NASA » suivi du numéro d›identification dans la marge supérieure - en noir pour les tirages argentiques vintage (également appelés tirages black number, par exemple « NASA AS8-13-2312 ») issus de films N&B, et en rouge, bleu, vert ou noir pour les tirages chromogènes vintage (également appelés tirages red, blue, green or black number, par exemple « NASA AS11-40-5905 ») issus de films couleur.

Ces numéros d’identification au recto des tirages vintage sont révélateurs.

Par exemple, un tampon rouge indiquant « NASA AS11-40-5905 » fait référence à Apollo 11, pellicule couleur 40, image 5905. Ces numéros, attribués à l’origine par le Manned Spacecraft Center de la NASA, correspondent aux négatifs originaux pris avec des appareils photo Hasselblad pendant les missions et permettent d’authentifier les tirages.

Entre 1958 et 1962-1963 (avant la création du Manned Spacecraft Center à Houston), les tirages portant ce type d’identification au recto provenaient souvent du siège (Headquarters) de la NASA à Washington, D.C., mais pas exclusivement.

Le NASA Goddard Space Flight Center de Greenbelt, dans le Maryland, utilisait aussi parfois ce type d’identification au recto, dans la marge inférieure, avec « NASA » et le numéro d’archive propre à Goddard en noir, ou simplement le numéro d’identification officiel (par exemple « NASA G-69-434 » ou simplement « AS8-13-2244 »). Le centre de recherche Lewis de la NASA, dans l’Ohio, pouvait également produire des tirages avec ce type d’identification au recto et leur propre numéro d’archive.

Les tirages émis par d’autres centres ou sous-traitants ne portent généralement pas ces marques au recto.

Concernant le verso, plusieurs critères peuvent être utilisés : L’un des outils les plus fiables pour l’authentification est le type de papier (y compris le filigrane au verso).

Les tirages noir et blanc vintage gélatino-argentiques de la NASA sont généralement tirés sur du papier à base de fibres non marqué (sans filigrane du fabricant), bien qu›il existe des exemples avec le filigrane « A Kodak Paper ». Un test simple consiste à utiliser un crayon HB standard : si on peut écrire facilement au verso, le papier est à base de fibres. Le papier à base de résine (resin coated) résiste aux marques de crayon et n›est devenu courant pour les tirages en noir et blanc qu›à partir du milieu des années 1970.

Les tirages chromogènes couleur Kodak d’époque de la NASA suivent une chronologie claire en termes de filigrane et de type de papier : jusqu’en 1961-1962, le papier photographique couleur Kodak portait généralement le filigrane « EKC » au verso et était à base de fibres. De 1961-1962 à 1972, le filigrane standard de l’industrie est devenu « A KODAK PAPER », imprimé sur une seule ligne. Ce papier, d’une qualité exceptionnelle, était à base de fibres et constituait le principal support des photographies couleur vintage de la NASA issues du programme Apollo.

En 1968-1969, Kodak a introduit les premiers papiers couleur à base de résine (resin coated), mais ils ont été rarement utilisés par la NASA. En mai 1972, Kodak a commencé à introduire le filigrane « This Paper Manufactured By Kodak », imprimé sur deux ou trois lignes, coïncidant avec la généralisation du papier couleur à base de résine (RC) dans l’industrie photographique. Ce filigrane est resté en usage jusqu’aux années 1990, ce qui rend ces tirages difficiles à dater.

De plus, la NASA a continué à privilégier les tirages couleur sur papier à base de fibres pendant toute la période du programme spatial habité Apollo (y compris la dernière mission Apollo 17), ne passant au papier RC qu’au milieu des années 1970. Il est important de noter que tout tirage de la NASA de l’époque d’Apollo portant le filigrane « This paper manufactured by Kodak » n’est pas considéré comme vintage par les connaisseurs, à moins qu’il ne puisse être prouvé qu’il s’agit d’un tirage sur papier à base de fibres, ce qui le qualifie alors comme vintage.

Les tirages couleur chromogènes vintage de la NASA provenant des missions Mercury, Gemini et Apollo sont donc presque toujours tirés sur du papier à base de fibres avec le filigrane « A KODAK PAPER » au verso.

Très rarement, les tirages couleur vintage de la NASA ont pu être tirés sur du papier ANSCO / GAF (un autre fabricant de films et de papiers photographiques). Ce papier n›avait pas de filigrane au verso jusqu›en 1970 et était à base de fibres ; en 1971-1972, un filigrane « GAF » est apparu sur le papier qui pouvait être soit à base de fibres ou de résine (RC).

Le style et le contenu des tampons de crédit et marquages au verso sont également révélateurs. Le logo de la NASA est passé du « meatball » au « worm » en 1975, de sorte que la présence du logo « worm » indique un retirage. Le type de légendes et de tampons de crédit, les adresses et numéros de téléphone des centres et sous-traitants de la NASA, etc., peuvent tous aider à déterminer la date de tirage. Certaines photographies portent également des tampons de contrôle qualité de laboratoires photo tels que RCA ou Technicolor, notamment pour le centre de la NASA à Cap Canaveral (Kennedy Space Center). Enfin, une petite marque de crayon, utilisée pour guider le développement, apparaît souvent au verso des tirages près du bord.

En résumé, authentifier une photographie vintage de la NASA est un processus simple et direct en utilisant ces critères- une combinaison claire d’analyse visuelle, technique et contextuelle : taille du tirage, logos et tampons, type de papier et filigrane, légendes de la mission corrélés à la date de prise de vue. Lorsque ces éléments concordent, il en résulte un artefact photographique d’une importance historique et esthétique majeure — faisant partie du corpus rare des tirages vintage originaux de la NASA, qui constitue l’un des héritages visuels les plus importants de l’histoire de l’humanité.

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Authenticating vintage NASA photographs

As a general rule, vintage original NASA photographs were printed on photographic paper with white borders, in a standard format approximately 8 x 10 inches or 20.3 x 25.4 cm. On the reverse, they sometimes bear— often printed in purple, blue, or black ink—the NASA logo, the issuing centre, an identification number, the date the photograph was taken, and an explanatory caption. The presence of a caption often indicates that the print was part of NASA’s Public Affairs official selection—but not always.

Prints produced upon request for scientists could also have an explanatory caption prepared by NASA. The different NASA centres and contractors each had their own type of caption and credit stamp. Some prints produced for internal agency use, contractors, or other (often unknown) purposes don’t have these markings on the reverse—though they remain authentic. Obviously, lithographic reproductions or photographs issued for commercial purposes—such as 8 x 8 in (20.3 x 20.3 cm) prints produced

by Meisel Photochrome Corporation on Kodak paper after Apollo 11 and 12—are not to be confused with original NASA-issued prints.

To determine whether a NASA print is vintage or not, collectors can refer to several key criteria.The ID number of NASA photographs taken by astronauts in space is the official serial number assigned by the NASA Manned Spacecraft Centre in Houston to the original film. This centre was the principal hub for space photography. Other centres could assign different IDs to the same images.

The issuing centre also determines the general characteristics of the prints.

NASA also sometimes produced large-format photographs, destined for scientific study—such as Lunar Orbiter 16 x 20 in (40.5 x 51 cm) or 20 x 24 in (51 x 61.2 cm) prints, Apollo metric camera 9 x 9 or 10 x 10 in prints—or for presentation to dignitaries or institutions, generally in formats ranging from 11 x 14 to 20 x 24 in and sometimes flush-mounted on boards.

These ID numbers on the front of vintage prints are revealing. For example, a red stamp reading “NASA AS11-40-5905” refers to Apollo 11, colour film roll 40, frame 5905. These numbers, originally assigned

by NASA’s Manned Spacecraft Centre, match the original negatives shot with Hasselblad cameras during the missions and help authenticate the image’s provenance.

Depending on the program—Mercury, Gemini, or Apollo—certain patterns emerge. Mercury pre-launch images, for instance, are nearly all black and white. Photographs from probes and satellites were also, most of the time, monochrome. A notable exception is the first colour photographs of the full Earth transmitted by the revolutionary geostationary satellite ATS-3.

During Gemini and Apollo, black and white was commonly used for training and mission documentation, while colour prints were reserved for launches and in-flight photography.

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Concerning the recto: From 1962–1963 onwards, prints produced by the NASA Manned Spacecraft Centre in Houston often bore “NASA” followed by the identification number in the upper margin—in black for vintage gelatin silver prints (also known as black number prints, for example “NASA AS8-13-2312”) issued from B&W film, and in red, blue, green, or black for vintage chromogenic prints (also known as red, blue, green, or black number prints, for example “NASA AS11-40-5905”) issued from colour film.

Between 1958 and 1962–1963 (before the creation of the Manned Spacecraft Centre in Houston), prints with this type of identification on the recto often came from NASA Headquarters in Washington, D.C., though not exclusively.

NASA Goddard Space Flight Centre in Greenbelt, Maryland, also sometimes used this kind of identification on the recto in bottom margin, with “NASA” and Goddard’s own archival number in black, or just the official ID number (for example “NASA G-69-434” or simply “AS8-13-2244”). NASA Lewis Research Centre in Ohio could also produce prints with this type of recto identification and their own archival number.

Prints issued by other centres or contractors generally do not have these markings on the recto. Concerning the verso, several criteria can be used: One of the most reliable tools for authentication is the paper type (including the watermark on the verso).

Vintage gelatin silver black-and-white NASA prints are generally printed on unmarked fibre-based paper (without a manufacturer watermark), although examples with the “A Kodak Paper” watermark do exist. A simple test involves using a standard HB pencil: if it writes easily on the verso, the paper is fibre-based. Resin-coated paper resists pencil markings and became more common for B&W prints only from the mid-1970s onward.

Vintage NASA colour chromogenic Kodak prints follow a clear timeline in terms of watermark and paper type chronology: until 1961–1962, Kodak colour photographic paper typically bore the watermark “EKC” on the verso and was fibre-based. From 1961–1962 to 1972, the industry standard watermark became “A KODAK PAPER”, printed on a single line.

This paper—of exceptional quality—was fibre-based and was the primary medium for vintage NASA colour photographs from the Apollo program.

In 1968–1969, Kodak introduced transitional early resin-coated colour papers, but they were rarely used by NASA. In May 1972, Kodak began introducing the watermark “This paper manufactured by Kodak”, printed on two or three lines, coinciding with the generalization of resin-coated (RC) colour paper in the photographic industry. This watermark remained in use through the 1990s, making such prints difficult to date.

Vintage chromogenic colour Kodak prints from Mercury, Gemini, and Apollo are thus almost always printed on fibre-based paper watermarked “A KODAK PAPER” on the reverse. Rarely, NASA vintage colour prints were printed on ANSCO / GAF paper (another photographic film and paper manufacturer). This paper had no watermark on the reverse until 1970 and was fibre-based; in 1971–1972, a “GAF” watermark appeared on both fibre-based and early resin-coated paper.

The style and content of the stamps and markings on the back are also revealing. The NASA logo changed from the “meatball” to the “worm” in 1975—so the presence of the “worm” logo indicates a reprint. The type of captions and credit stamps, the addresses and telephone numbers of NASA centres and contractors, etc., can all help determine the date of the print. Some photographs also bear quality control stamps from photo laboratories such as RCA or Technicolour, particularly for NASA’s centre at Cape Canaveral (Kennedy Space Centre). Finally, a small pencil mark, used to guide the processing, often appears on the versos of the prints near the edge.

In sum, authenticating a vintage NASA print is an easy and straightforward process when guided by the right criteria—a clear combination of visual, technical, and contextual analysis: print size, logos and stamps, paper type and watermark, mission data, and printing era. When these elements align, the result is a historically and aesthetically significant artifact—part of the rare body of original vintage NASA prints that has come to define one of the most important visual legacies in the history of mankind.

Moreover, NASA continued to favour fibre-based colour prints throughout the manned spaceflight Apollo era (including the final Apollo 17 mission), only transitioning to RC paper in the mid-1970s. It is important to note that any Apollo-era NASA print bearing the “This paper manufactured by Kodak” watermark is not considered vintage by connoisseurs—unless it can be proven to be on fibre-based paper, which then qualifies it as vintage.

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A Step Toward Immortality “On the evening of July 20, 1969, when Neil Armstrong set his foot on the lunar surface, several hundred million people witnessed on their television screens an epoch-making step- in the evolution of man. The importance of this event can only be compared with that moment in evolution when aquatic life came crawling up onto the land.

Since the dawn of history man had been chained to this planet. No matter what the species of Homo sapiens would accomplish, it seemed to be preordained to share the ultimate fate of its earthly abode — extinction. With the flight of Apollo 11 the fateful chain was broken. For man now showed that he could land on other heavenly bodies and that he could live and work there.

This first step of a manned landing on another planet in our solar system marks the beginning of man’s long-dreamed-of journey into outer space. In time, this journey will take man to other, more distant planets and perhaps eventually to other planetary systems as well. When this is achieved, sometime during the five billion years remaining to life on Earth, the human race will have achieved immortality.”

Wernher von Braun, chief architect of the Apollo Saturn V rocket (Moon: Man’s Greatest Adventure, Davis Thomas, ed., New York: Harry N. Abrams, 1970, p. 179)

1 [Apollo 11] THE FOOTPRINT ON THE MOON Buzz Aldrin, July 16-24, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5877].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A step toward immortality.

After first photographing the pristine lunar soil, untouched for billions of years, Buzz Aldrin captured this iconic image of his footprint pressed into the fine lunar dust.

This photograph has become a lasting symbol of human space exploration. Like the haunting footprints left by early humans in caves during the Ice Age, Aldrin’s boot print is expected to endure for thousands of years, carrying the same timeless message: “We were here.” (Reynolds, p. 260) NASA often presented this iconic footprint in black-and-white, making this stunning colour print even rarer.

“A step toward immortality.”

—Wernher von Braun, chief architect of the Apollo Saturn project (Thomas, p. 179) “The most iconic image is the mark of a boot on a surface unlike any found at home.

Not a rocket, dazzling in its technology and power; not some beautiful, distant nebula; but a simple sign of man’s arrival on a surface beyond the Earth. Evidence that we have walked further. A step into that magnificent desolation.”

—Buzz Aldrin (Foreword, Space: The First 50 Years, Mitchell Beazley, Octopus Publishing Group, London, 2007) EUR5,000 - 7,000 £4,200 - 5,800 US$5,400 - 7,600

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2 [Gemini IV] FIRST U.S. SPACE WALK: Ed White floating in space over New Mexico James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30433].

Numbered “NASA S-65-30433” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This sublime photograph, bursting with vivid colours, captures Ed White during his historic spacewalk outside the Gemini spacecraft. Suspended between the infinite blackness of space and the vibrant blue expanse of Earth, White’s relaxed yet purposeful posture conveys the awe and exhilaration of floating freely in zero gravity.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 30 | BONHAMS

FOR ALL MANKIND

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3 [Apollo 8] THE FIRST PHOTOGRAPH (large format) OF THE WHOLE PLANET EARTH TAKEN BY HUMANS William Anders, 21–27 December 1968 Printed 1968.

Large format vintage chromogenic print on fibre-based Kodak paper, flush-mounted on original NASA card [NASA image AS8-16-2593, reversed].

With NASA caption numbered “NASA AS8-16-2593” and Technicolor photo laboratory quality control stamp on the reverse (issued by NASA Kennedy Space Centre, Florida).

Sheet: 28 x 35,6 cm. (11 x 14 in.)

Card: 28 x 35,6 cm. (11 x 14 in.)

Historical context One of the most important images of space exploration. The Apollo 8 astronauts became the first humans to see the Earth as a sphere hanging in space. William Anders captured this awe-inspiring first human-taken photograph of the whole Earth just 4 hours and 36 minutes after launch, from a distance of approximately 27,000 km (16,777 miles).

On December 25, 1968, poet Archibald MacLeish captured the meaning of this moment in The New York Times: “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.”

The photograph later graced the cover of LIFE magazine (“The Incredible Year 1968”, January 10, 1969) EUR5,000 - 7,000 £4,200 - 5,800 US$5,400 - 7,600

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FOR ALL MANKIND

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4 [Apollo 4] THE HISTORIC FIRST LIFTOFF OF THE SATURN V ROCKET: NASA’s crucial milestone for the Moon landing NASA, 9 November 1967 Printed 1967.

Vintage chromogenic print on fibre-based Kodak paper [NASA image 107-KSC-67PO-435].

With NASA-US Air Force caption numbered “107-KSC-67PO-435”, RCA photo laboratory quality control stamp and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Center, Florida).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 34 | BONHAMS

Historical context Apollo 4 marked the historic first flight of the Saturn V rocket, engineered by its chief architect, Wernher von Braun. This image conveys the immense power and capability of the rocket destined to carry humans to the Moon. Symbolically, it represents humanity’s ambition to push boundaries and achieve the extraordinary.

“The [Saturn V] rocket will free man from his remaining chains, the chains of gravity which still tie him to this planet. It will open to him the gates of heaven.”

—Wernher von Braun EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

5 [Apollo 17] HARRISON SCHMITT, EARTH, AND THE U.S. FLAG: the first photograph of a human with his home planet Eugene Cernan, 7-19 December 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS17134-20384].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-134-20384” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An incredible visual milestone: the first photograph of a human on another world with their home planet visible in the background.

This iconic photograph of Harrison Schmitt standing proudly next to the U.S. flag at Taurus-Littrow Base, with the distant Earth framed against the blackness of space, was captured by Eugene Cernan during the final Apollo 17 mission in December 1972. Cernan took great care in framing this exceptional shot (“I want to get the Earth,” see mission transcript).

The delicate balance of elements in this composition—including the reflection of Cernan and the flag in Schmitt’s gold-plated visor—creates a visual narrative that connects the journey from Earth to the Moon and back. The flag points toward the fragile image of Earth, symbolizing both the pinnacle of human exploration and our enduring connection to our home planet.

The South Massif, a prominent lunar mountain at the TaurusLittrow landing site, provides a dramatic backdrop, amplifying the grandeur of the scene.

Cernan’s meticulous efforts resulted in a timeless photograph that encapsulates not only the scientific triumph of Apollo 17 but also the profound significance of humanity’s exploration of space. As he later reflected, “I captured the Earth, the Moon, the man, and the country all in one. I’m proud of this picture.”

NASA’s chief of photography, Richard “Dick” Underwood, praised it as “one of the great photos ever to come out of the space program.”

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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6 [Mercury Atlas 6] FIRST SPACE SUNSET: captured by the first human to photograph from space John Glenn, 20 February 1962 Printed 1962.

Vintage chromogenic print on early fibre-based Kodak paper [NASA image MA-6-40452-053].

Annotated in blue pencil “MA-6 hand held camera” with “EKC” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the first and extremely rare full-colour photographs taken by John Glenn, the first American to orbit Earth and the first human to capture photographs from space. Overwhelmed by the breathtaking view of a sunset from orbit—a scene that has inspired countless science-fiction stories—Glenn captured this stunning image during the first orbit of Friendship 7. He described the scene: “Orbital sunset is tremendous... a truly beautiful, beautiful sight, [...] Setting sun wraps a scarf around

The full description of the lot is available on our website: www.bonhams.com 36 | BONHAMS

Earth’s curving face.” The photograph reveals a thin layer of Earth’s atmosphere illuminated by the setting Sun, sandwiched between the dark Earth below and the black expanse of space above. At the capsule’s incredible speed, the Sun sets 18 times faster than on Earth. Unlike the gradual darkening sky on Earth, the horizon in space is marked by a vivid striped ribbon of light extending from north to south. Glenn’s images, published in National Geographic in June 1962, offered humanity its first glimpse of the awe-inspiring beauty of space.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

7 [Apollo 11] LM EAGLE AND EARTHRISE: the only photograph in history showing every human in the universe except the photographer Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-44-6642].

Numbered “NASA AS11-44-6642” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context A photographer’s dream: Michael Collins is the only person in history to photograph every human being in the universe—his home planet Earth and the two astronauts in Eagle—except himself, the photographer. This iconic photograph, taken

by Collins from the orbiting Command Module (Columbia), captures Earthrise over the Moon along with the Lunar Module (Eagle) returning from the lunar surface, carrying Neil Armstrong and Buzz Aldrin, all in a single frame.

*”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. 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.”* —Michael Collins *”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 able to convey crewmen from lunar orbit to the surface of the Moon and back to lunar orbit. As the LM was unable to return through the Earth’s atmosphere, it had to rendezvous and dock with the Command Module, where the crew could transfer for the return to their Home Planet.”* —Neil Armstrong (Jacobs, p. 65) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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8 [Apollo 15] JAMES IRWIN’S SALUTE AT HADLEY BASE, BESIDE THE LM FALCON AND THE FIRST LUNAR ROVER David Scott, 26 July - 7 August 1971, EVA 3 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-88-11866].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS15-88-11866” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A timeless icon: saluting humanity’s greatest exploration.

Few Apollo photographs have been reproduced as often as this image of James Irwin saluting the American flag, standing alongside the first Lunar Rover and the Falcon Lunar Module at Hadley Base. Captured at the beginning of EVA 3, this moment was part of a series of “tourist” photographs taken by Irwin and Scott, celebrating their unprecedented mission amid one of the most breathtaking landscapes ever explored by humans.

The imposing slopes of Hadley Delta, rising approximately 3,600 meters (11,800 feet) above the plain, form a majestic backdrop, with its base stretching 5 kilometres (3 miles) away. The rugged lunar terrain, framed by mountains and the deep Hadley rille canyon to the west, evoked a profound sense of solitude and wonder in Irwin: “I felt like I was an alien as I travelled through space. When I got on the Moon, I felt at home. We had mountains on three sides and had the deep canyon to the west, a beautiful spot to camp. I felt in a way Adam and Eve must have felt, as they were standing on the Earth and they realized that they were all alone. I talk about the Moon as a very holy place.”

—James Irwin (Kelley, plate 46) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 38 | BONHAMS

FOR ALL MANKIND

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9 [Apollo 11] THE ONLY PHOTOGRAPH OF NEIL ARMSTRONG ON THE MOON Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5886].

Numbered “NASA AS11-40-5886” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A legendary rarity: the only photograph of Neil Armstrong on the Moon—a timeless and unique icon of the first man in history to step onto another world.

For nearly two decades, NASA believed that no photographs of Armstrong were taken on the lunar surface. As a result, this image was excluded from NASA’s official selection and remained largely unknown to the public. Vintage prints of this photograph are extraordinarily rare.

“The problem was that NASA kept putting out that there weren’t any pictures of me. Because they believed that. But they didn’t know... I don’t think they probably ever asked Buzz or I. As a matter of fact, I think a lot of them didn’t know that you (Buzz) ever took pictures with the Hasselblad. I don’t know why they wouldn’t; because if they looked through the dialog where you made that statement (about taking the panorama), NASA wouldn’t have made that (mistake).”

—Neil Armstrong (ALSJ mission transcript) EUR18,000 - 25,000 £15,000 - 21,000 US$19,000 - 27,000

The full description of the lot is available on our website: www.bonhams.com 40 | BONHAMS

FOR ALL MANKIND

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10 [Apollo 8] FIRST EARTHRISE: the iconic first color photograph of Earthrise taken by humans William Anders, 21–27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2383].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A superb printing of this iconic photograph, taken by astronaut William Anders on December 24, 1968 during the Apollo 8 mission, showing Earth rising above the lunar horizon as seen from the spacecraft in orbit around the Moon. It was the first time humans saw Earth from this perspective, and the first colour photograph taken during the event.

It shifted humanity’s view of our planet, inspiring the environmental movement and reinforcing the idea of Earth as a small, interconnected, and fragile home for all life. Seeing Earth from this distance brought a new awareness of the planet’s vulnerability and its unity, transcending borders, politics, and divisions.

It became the cover photo of TIME’s Great Images of the 20th Century and the central image on the cover of LIFE’s 100 Photographs That Changed the World.

Different versions of the image, with varying contrasts and tones, were released by NASA at the time, including this magnificent version, which closely matches the one published in LIFE Magazine on January 10, 1969.

“The happy combination of a long lens, colour film, my varying f-stops as I shot, and a much cleaner window on my side of the spacecraft, all resulted in one of the pictures from my camera’s magazine being selected by NASA as what has since become the iconic ‘Earthrise.”

—William Anders (Jacobs, p. 33) EUR6,000 - 8,000 £5,000 - 6,700 US$6,500 - 8,700

The full description of the lot is available on our website: www.bonhams.com 42 | BONHAMS

FOR ALL MANKIND

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11 [Apollo 9] OUTER-SPACE VIEW OF DAVID SCOTT TAKING PHOTOGRAPHS FROM THE SPACECRAFT HATCH Russell Schweickart, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-20-3069].

Numbered “NASA AS9-20-3069” in black in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Russell Schweickart captured this famous photograph of the first two-man EVA in NASA’s space program, showing David Scott’s stand-up EVA in the open hatch of the Command Module Gumdrop as it remained docked with the Lunar Module Spider in Earth orbit.

The full description of the lot is available on our website: www.bonhams.com 44 | BONHAMS

Schweickart took this image with the Hasselblad Super Wide camera and its 38mm lens, while performing his own spacewalk, standing on Spider’s front porch with his feet secured in the gold-painted foot restraints known as “Golden Slippers.” In the open hatch of Gumdrop, Scott is also photographing Schweickart with his Hasselblad camera.

“I took this shot of Dave Scott taking a picture of me at the beginning of my EVA on Apollo 9. It captures just a bit of the fantastic beauty of the Earth juxtaposed against the infinite black of space. In the foreground is that amazing combination of human and machine that is enabling us to emerge into the universe out of the womb of Earth.”

—Russell Schweickart (Jacobs, p. 42) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

12 [Gemini VI-A] FIRST RENDEZVOUS IN SPACE: Gemini VII spacecraft above the blue Earth Thomas Stafford, 15-16 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-63221].

With NASA caption numbered “NASA S-65-63221” and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first rendezvous in space, performed by Gemini VI-A and Gemini VII in December 1965, allowed the crew to capture the incredible first photographs of spacecraft against the backdrop of our Home Planet. This iconic image marvellously describes the graceful dance performed by two small spacecraft in orbit around the blue Earth, about 160 miles below. The two spacecraft are just 37 feet apart here.

“We reviewed the pictures after we got back. 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.”

— Thomas Stafford (Schick and Van Haaften, p. 50) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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13 [Apollo 8] THE FIRST PHOTOGRAPH (large format) OF THE WHOLE MOON TAKEN BY HUMANS FROM A PERSPECTIVE OTHER THAN EARTH William Anders, 21–27 December 1968 Printed 1968.

Large format vintage chromogenic print on fibre-based Kodak paper, flush-mounted on original NASA card [NASA image AS8-14-2506, reversed].

With NASA caption numbered “NASA AS8-14-2506” and Technicolor photo laboratory quality control stamp on the reverse (issued by NASA Kennedy Space Centre, Florida).

Sheet: 28 x 35.6 cm. (11 x 14 in.)

Card: 28 x 35.6 cm. (11 x 14 in.)

The full description of the lot is available on our website: www.bonhams.com 46 | BONHAMS

Historical context This is the first-ever photograph taken by humans of the whole Moon revealing a hemisphere never visible from Earth, as seen only by lunar voyagers.

It was only after performing the first-ever trans-Earth injection manoeuvre—gaining altitude above the lunar surface—that the Apollo 8 astronauts became the first humans to witness this breathtaking entire view of the Moon. Seen from above its eastern limb, this perspective is one never visible from Earth.

Between December 1968 and December 1972, only the 24 Apollo Moon voyagers would ever witness such whole-Moon views.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

14 [Gemini XII] BUZZ ALDRIN RIDING ABOVE EARTH: stand-up EVA through the open spacecraft hatch NASA, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-63536].

Numbered “NASA S-66-63536” in the red top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking view of the fifth American spacewalker, Buzz Aldrin, standing on his seat with his upper body emerging into space during his first stand-up EVA. Captured by a 16mm Maurer camera he had mounted outside the spacecraft, this image shows Aldrin installing a handrail between Gemini XII and the Agena Target Vehicle—an EVA task he had meticulously rehearsed in underwater training. Gemini XII remains docked to the Agena in the background, with the breathtaking blue Earth below.

“One thing I know about Buzz—he’s one of these guys that’s a lot smarter than most of us. He had a nickname: Dr. Rendezvous.”

—Apollo 12 astronaut Alan Bean (In the Shadow of the Moon, 2007) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

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15 [Project Mercury] THE “RIGHT STUFF”: NASA’s first three astronauts poised for launch before the Redstone rocket Ralph Morse, February 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image S-61239 or 61-MR3-52].

With NASA caption numbered “61-MR3-52” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 48 | BONHAMS

Historical context The first three Americans to fly in space—John Glenn, Virgil “Gus” Grissom, and Alan Shepard (left to right)—stand proudly in their Mercury pressure suits in front of a Redstone rocket at Cape Canaveral, anticipating their historic missions. These astronauts embodied the “Right Stuff,” a term coined by Thomas Wolfe, symbolizing the bravery and skill of the Mercury Seven. This iconic photograph, taken by long-time LIFE photographer Ralph Morse, captures the spirit of America’s early space program.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

16 [Apollo 8] HUMANITY’S FIRST ORBIT OF THE MOON: stunning view of Goclenius Crater William Anders [Apollo 8], 21-27 December 1968 Printed 1968.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-132225].

Numbered “AS8-13-2225” in black in the lower margin, with NASA caption on the reverse (issued by NASA Space Science Data Centre, NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

The 70-km-wide Crater Goclenius (latitude/longitude: 10.0°S, 45.0°E) lies on the southern edge of the Sea of Fertility, its floor etched with numerous rilles. One prominent rille extends across the entire crater floor, over the central peak, and across the rim into the smooth mare. In the background, the two large craters with smooth floors are Colombo A (41 km, left) and Magelhaens, while Magelhaens A, with its irregular floor, spans approximately 35 km (20 statute miles) in diameter.

EUR600 - 800 £500 - 670 US$650 - 870

Historical context A striking frame from the first photographic sequence captured

by William Anders during Apollo 8’s historic first orbit around the Moon, as the crew encountered the eerie, otherworldly lunar landscape. Taken with the 250mm telephoto lens and B&W magazine 13/E, this oblique view looks southeast into the Sea of Fertility, revealing remarkable lunar features in unprecedented detail.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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17 [Apollo 11] A MAN ON THE MOON: portrait of Buzz Aldrin with the photographer, LM Eagle and Earth reflected in his gold-plated sun visor Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5903].

Numbered “NASA AS11-40-5903” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An exceptionally sharp print of the most famous image of a man on the Moon—an iconic photograph etched into our collective visual memory.

Aldrin’s gold-plated visor reflects his photographer Neil Armstrong, the Eagle, the American flag, the Solar Wind Collector, and even Earth itself—a tiny dot at the top centre of the visor. This remarkable composition encapsulates the spirit of the Apollo 11 mission in a single frame.

Neil Armstrong captured this legendary full-length portrait of Buzz Aldrin, widely known as the “Visor Shot,” using the 70mm Hasselblad 500 EL Data Camera mounted on the Remote-Control Unit on his chest. In the photograph, Aldrin stands beside one of the golden landing pads of the Lunar Module (Eagle). *”Nothing prepared me for the starkness of the Moon. The barren terrain was a dusty grey with many little craters in every direction. The sky was utter blackness, void of any stars. As I walked away from the Eagle Lunar Module, Neil said, ‘Hold it, Buzz.’ So, I stopped and turned around, and then he took what has become known as the ‘Visor’ photo.

I like this photo because it captures the moment of a solitary figure against the horizon of the Moon, along with a reflection in my helmet’s visor of our home away from home, the Eagle, and of Neil snapping the photo.”* —Buzz Aldrin (Jacobs, p. 63) EUR5,000 - 7,000 £4,200 - 5,800 US$5,400 - 7,600

The full description of the lot is available on our website: www.bonhams.com 50 | BONHAMS

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18 [Apollo 11] BUZZ ALDRIN POSING FOR A ‘TOURIST’ PHOTOGRAPH AT THE FIRST SCIENTIFIC SITE ON THE MOON Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5947].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell Downey, California).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A rare “tourist” moment on the Moon.

Neil Armstrong called out to Buzz Aldrin to capture this posed photograph while he was setting up the seismic experiment (see mission transcript). Aldrin, momentarily pausing his work at the scientific site, looks toward Armstrong.

He stands next to the Passive Seismic Experiment (PSE), working to level the instrument. The west-side solar array has just deployed automatically, while the east-side array remains folded.

Behind him, the Laser Ranging Retroreflector (LRRR) and the stereo close-up camera are visible. The TV camera and the LM Eagle are in the background.

This photograph, both candid and carefully directed, is a testament to humankind’s first scientific exploration of another world.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com 52 | BONHAMS

19 [Apollo 12] ALAN BEAN STRIDES ACROSS THE SUNLIT SEA OF STORMS (large format) Pete Conrad, 14-24 November 1969 Printed 1969.

Large format vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6806].

With “A Kodak Paper” watermark on the reverse (issued NASA Manned Spacecraft Centre, Houston, Texas).

28 x 35 cm. (11x 14 in.)

Historical context This striking large-format photograph, a frame from the ALSEP panoramic sequence, captures Alan Bean striding across the sunlit lunar surface, kicking up dust with each step. The rays of light and patches of colour lens aberrations caused by the direct and blinding sunlight create a strange, unreal atmosphere to the image.

Bean carries a package of scientific instruments using a “barbell” carry, transporting it to the scientific site—also known as the Apollo Lunar Surface Experiments Package (ALSEP) site—located about 500 feet northwest of the Intrepid Lunar Module. In the background, the LM, the American flag, and the S-band antenna stand as symbols of Apollo 12’s presence.

At the upper left of the photograph, a bright sun glare glint is visible. Without an atmosphere to filter it, the Sun appears far more intense on the Moon than on Earth, creating dazzling visual effects. Sunlight played unexpected tricks on the astronauts, and this image captures unusual, unexplained light formations appearing on the lunar surface.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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20 [Apollo 16] LUNAR F1 GRAND PRIX: John Young puts the Rover through a speed workout Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-37002].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-37002” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The iconic image of the F1 Grand Prix on the Moon.

In a spectacular test of lunar mobility, John Young takes the Lunar Rover for a high-speed run at the end of the first EVA at the Descartes landing site. Kicking up rooster tails of dust, Young pushes the limits of driving in the Moon’s one-sixth gravity, manoeuvring the vehicle toward the Lunar Module (out of view to the right) with Smoky Mountain on the horizon.

This frame is taken from motion picture film exposed by a handheld 16mm Maurer camera operated by Charles Duke. Watching the spectacle unfold, Duke couldn’t help but remark: “Man, I’ll tell you, Indy (meaning the Indianapolis 500)’s never seen a driver like this!” (See mission transcript.)

The sequence captures the Rover skidding, bouncing, and even briefly lifting off the ground as Young navigates the rugged terrain—demonstrating both the vehicle’s agility and the Moon’s low gravity effects.

“I didn’t get up to any great speed – maybe 10 clicks at the most – but the terrain around there was too rough and too rocky for that kind of foolishness.”

—John Young (1972 Technical Debrief, ALSJ mission transcript, 124:59:32 GET) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 54 | BONHAMS

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21 [Apollo 15] LUNAR SURFACE PANORAMA: the majestic Hadley-Apennine valley, station 6a James Irwin, 26 July - 7 August 1971, EVA 2 Printed 1971.

Original montage comprising six vintage gelatin silver prints on fibrebased paper collaged together [NASA image AS15-90-12180 to AS15-90-12190].

Numbered between “NASA AS15-90-12180” and “NASA AS15-9012190” in black in the top margin, blank on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Overall size: 30 x 85 cm.

The full description of the lot is available on our website: www.bonhams.com 56 | BONHAMS

Historical context Lunar beauty.

“I guess the most impressive moment I can remember is standing up on Hadley mountain - Hadley Delta, and looking back at the plain and seeing the LM and the rille and Mount Hadley, and the whole big picture in one - one swoop. And I think we’ve got some pictures for you from up there, and I believe the TV was running at the same time, and I think that was probably the most impressive sight that I’ve ever seen.”

David Scott, (from the AFJ mission transcript at 270:24:03 GET) This spectacular panorama was created by the astronauts so that geologists and scientists on Earth could precisely reconstruct the location and the characteristics of the stations visited by the astronauts on the Moon.

Station 6A was located about 5 km southeast of the LM, an incredible site on the North facing and steep slope of Mount Hadley Delta and the high point explored by the astronauts, about 100 m high above the Valley.

From there the crew had a magnificent view on the HadleyApennine Valley and the landing site. Station 6A was marked by a boulder (foreground) which had a greenish tinge, later found to come from magnesium oxide.

From left to right: Hill 305, Hadley Canyon, the North Complex, Mount Hadley (about 17 km away) and the Swann Range are in the background.

Mount Hadley rises 4,200m over the valley.

The green boulder is in the foreground.

Pluton Crater is located halfway between Hadley Canyon to the left and the base of Mount Hadley to the right, in the so-called North Complex.

The LM Facon is visible in the far background as a tiny dot in a slightly lighter area in front of Pluton Crater.

On the lunar surface, the astronauts’ movements were encumbered by spacesuits and they were unable to align the cameras with a view-finder. Because they were wearing helmets, the cameras were mounted on the chests of the spacesuits. Without the benefit of a view-finder, crews were trained how to point, shoot, turn slightly, point and shoot again until a panorama of overlapping photographs was generated.

Once the crews returned to Earth, the images captured with this technology had to be printed and then hand-assembled into David Hockney-like panoramic collages that provide a spectacular boots-on-the-ground view of the lunar landscape.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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22 [Gemini IV] FIRST U.S. SPACEWALK: Ed White Floating Above the Clouds Over Southern California James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30427].

Numbered “NASA S-65-30427” in red the top margin, with “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A fabulous photograph of Ed White in outer space, the third taken by James McDivitt from the Gemini spacecraft during the first US spacewalk. 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 manoeuvred 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 spacewalker “had little sensation of speed and no sensation of falling, only a feeling of accomplishment” (National Geographic, September 1965, p.

440). McDivitt was eager to capture this extraordinary scene: “I ought to be getting some tremendous pictures of you. Let me try again with the Hasselblad.”

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 58 | BONHAMS

FOR ALL MANKIND

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23 [Apollo 11] BUZZ ALDRIN SALUTING THE FIRST U.S. FLAG ON THE MOON Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5874].

Numbered “NASA AS11-40-5874” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context In one of the 20th century’s most iconic images, Buzz Aldrin salutes the American flag at Tranquillity Base, his right hand clearly visible beside his helmet. To the left, the Lunar Module Eagle is partially in view, while the first human footprints on another world stand out sharply in the foreground.

While this salute honoured the nation that sent him to the Moon, Aldrin later reflected that it was, in a way, a salute for all mankind—the countless people who had contributed to this achievement and the millions watching back on Earth: “Being able to salute the flag was one of the humbler yet proud experiences I’ve ever had. 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.”

—Buzz Aldrin (LIFE magazine, August 22, 1969, p. 26) EUR2,000 - 3,000 £2,200 - 3,000 US$2,800 - 3,900

The full description of the lot is available on our website: www.bonhams.com 60 | BONHAMS

24 [Apollo 14] THE CSM KITTY HAWK TRIUMPHANTLY PARACHUTING BACK TO EARTH NASA, 9 February 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-18753].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-18753” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The capsule splashed down at 3:04:39 p.m. (CST), approximately 765 nautical miles south of American Samoa.

Shortly after landing, astronauts Alan Shepard, Stuart Roosa, and Edgar Mitchell were retrieved by helicopter and flown to the USS New Orleans, the prime recovery ship. With this mission, Alan Shepard—America’s first astronaut—completed his long-awaited journey to the Moon, while Mitchell and Roosa contributed valuable scientific exploration and lunar surface experiments at Fra Mauro.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

Historical context One of the most striking images of humanity’s return from another world.

Suspended beneath three large orange-and-white parachutes, the Apollo 14 Command Module drifts toward the Pacific Ocean, moments before splashdown on February 9, 1971. The successful conclusion of this ten-day lunar landing mission marked NASA’s return to the Moon after the harrowing ordeal of Apollo 13.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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Project Mercury Manned Space Missions

MERCURY ATLAS 6

MERCURY REDSTONE 3 Crew: Alan Shepard

Crew: John Glenn

May 5, 1961 Spacecraft: Freedom 7 Launch vehicle: Redstone MISSION OVERVIEW Suborbital flight that successfully put the first American in space. The period of weightlessness lasted for approximately 5 minutes.

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Redstone 3 mission were an automatic 70 mm Maurer 220G camera with a General Scientific 75 mm f/2.8 Finitar lens and a Pilot Observer movie camera. Fllm: GAF Super Anscochrome T-100 Superior ASA 64 color reversal.

MISSION PARAMETERS Duration: 15 minutes 22 seconds Orbits completed: none Range: 263.1 nautical miles (302.8 statute miles, 487.3 km) Apogee: 101.2 nautical miles (116.5 statute miles, 187.5 km) MERCURY REDSTONE 4 Crew: Gus Grissom July 21, 1961 Spacecraft: Liberty Bell 7 Launch Vehicle: Redstone

February 20, 1962 Spacecraft: Friendship 7 Launch Vehicle: Atlas D MISSION OVERVIEW The mission was successful. The first American in orbit. Total time weightless was 4 hours, 48 minutes, 27 seconds. During the flight only two major problems were encountered: (1) a yaw attitude control jet apparently clogged at the end of the first orbit, forcing the astronaut to abandon the automatic control system for the manual-electrical fly-by wire system; and (2) a faulty switch in the heat shield circuit indicated that the clamp holding the shield had been prematurely released - a signal later found to be false. During reentry, however, the retropack was not jettisoned but retained as a safety measure to hold the heat shield in place in the event it had loosened.

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Atlas 6 mission were a NASAmodified 35mm Ansco Autoset camera with a 50 mm f/2.8 lens and a Pilot Observer movie camera. Film: Eastman Color Negative Film 5250.

MISSION PARAMETERS Duration: 4 hours 55 minutes 23 seconds Orbits completed: 3 Perigee altitude: 80 nautical miles (150 km) Apogee altitude: 134 nautical miles (248 km) Distance travelled: 65,763 nautical miles (121,793 km)

MISSION OVERVIEW The MR-4 flight plan was very much the same as that for MR-3. The period of weightlessness lasted for approximately 5 minutes. Suborbital flight successful but the spacecraft sank shortly after splashdown.

MERCURY ATLAS 7 Crew: Scott Carpenter

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Redstone 4 mission were an automatic 70 mm Maurer 220G camera and a Pilot Observer movie camera. The film was not recovered as the spacecraft was lost during the post landing recovery period.

Spacecraft: Aurora 7 Launch Vehicle: Atlas D

MISSION PARAMETERS Duration: 15 minutes 37 seconds Orbits completed: none Range: 262.5 nautical miles (486.2 km) Apogee: 102.8 nautical miles (190.3 km)

May 24, 1962

MISSION OVERVIEW Spacecraft overshot intended target area by 250 nautical miles. Total time weightless was 4 hours, 39 minutes, 32 seconds. The performance of the Mercury spacecraft and Atlas launch vehicle was excellent in nearly every respect. All primary mission objectives were achieved. The flight further qualified the Mercury spacecraft systems for manned orbital operations and provided evidence for progressing into missions of extended duration and consequently more demanding systems requirements.

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Atlas 7 mission were a 35mm Rebot Recorder 36 camera with a Schneider Xenar 45 mm f/2.8 lens, and a Pilot Observer movie camera. Film: Eastman Color Negative Film 5250.

MISSION PARAMETERS Duration: 4 hours 56 minutes 5 seconds Orbits completed: 3 Perigee altitude: 154 km (83 nautical miles) Apogee altitude: 259 km (140 nautical miles) Distance travelled: 122,344 km (76,021 miles)

62 | BONHAMS

MERCURY ATLAS 8 Crew: Walter Schirra October 3, 1962 Spacecraft: Sigma 7 Launch Vehicle: Atlas D MISSION OVERVIEW The mission was successful. Total time weightless was 8 hours, 56 minutes, 22 seconds.

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Atlas 8 mission were a NASAmodified 70 mm Hasselblad camera 500C with a standard 80mm Zeiss lens, and a Pilot Observer movie camera. Fllm: GAF Super Anscochrome D-200 color reversal.

MISSION PARAMETERS Duration: 9 hours 13 minutes 15 seconds Orbits completed: 6 Perigee altitude: 156 km (84 nmi) Apogee altitude: 285 km (154 nmi) Distance travelled: 143,983 statute miles MERCURY ATLAS 9 Crew: Gordon Cooper May 15-16, 1963 Spacecraft: Faith 7 Launch Vehicle: Atlas D MISSION OVERVIEW The mission was successful. Total time weightless was 34 hours, 3 minutes, 30 seconds. The last Mercury mission completed 22 orbits to evaluate effects of one day in space.

CAMERAS AND ACCESSORIES The onboard cameras for the Mercury Atlas 9 mission were a NASAmodified 70 mm Hasselblad camera 500C with a standard 80mm Zeiss lens, a 35mm Rebot recorder 36 camera with a high speed lens system f/0.95, a Slow Scan TV camera, and a Pilot Observer movie camera.

Film: GAF Ultraspeed Anscochrome FPC-289 D-200 color reversal (Hasselblad), Eastman Kodak infrared film (Hasselblad), Ansco H 529 ASA 200 (Robot Recorder 36).

MISSION PARAMETERS Duration: 1 day 10 hours 19 minutes 49 seconds Orbits completed: 22 Perigee altitude: 163 km (88 nautical miles) Apogee altitude: 265 km (143 nautical miles) Distance travelled: 546,167 statute miles

FOR ALL MANKIND

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“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. No single space project in this period will be more impressive to mankind, or more important for the long-range exploration of space; and none will be so difficult or expensive to accomplish.”

President John Kennedy (addressing Congress on May 25, 1961)

25 THE OPENING OF THE FINAL FRONTIER: First U.S. rocket, V2 No. 3, reaches outer space US Army, 10 May 1946 Printed 1946.

Vintage gelatin silver print on fibre-based paper, captioned on the front below image “V-2 leaving ground after being ignited 10 May 1946” and “US Army Ordnance Proving Ground White Sands, N. M.”, with an ID reference stamp numbered “2V22” on the front, with two restored filing holes to the top (issued by US Army Ordnance Proving Ground, White Sands, New Mexico).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The dawn of the U.S. space program. This exceptionally rare photograph captures the launch of V-2 No. 3 from White Sands Missile Range, New Mexico, on May 10, 1946. Using a V-2 rocket captured from Germany after WWII, this historic flight marked the first American rocket to reach outer space, soaring to an altitude of 70 miles and opening the Final Frontier.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 64 | BONHAMS

FOR ALL MANKIND

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26 [Project Mercury] THE ICONIC MERCURY SEVEN: NASA’s first astronauts introduced to the world NASA, 30 April 1959 Printed 1959.

Vintage gelatin silver print on fibre-based paper [NASA image B-5941].

With NASA caption on the reverse, numbered “NASA B-59-41” in black in the lower margin (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 66 | BONHAMS

Historical context One of NASA’s earliest images, this historic portrait was taken

by Bill Taub, NASA’s first senior photographer, on April 30, 1959, during the first training period of the Mercury Seven with the Space Task Group at the Langley Research Centre in Hampton, Virginia.

EUR600 - 800 £500 - 670 US$650 - 870

27 [Project Mercury] PIONEERING ZERO-GRAVITY TRAINING: Mercury astronauts floating in simulated weightlessness for the man-in-space program NASA, 1959 Printed 1959.

Vintage gelatin silver print on fibre-based paper [NASA image B-59349].

With NASA caption on the reverse, numbered “NASA B-59-349” in black in the lower margin (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This remarkable photograph from 1959 captures two Mercury astronauts floating inside a specially modified aircraft, experiencing simulated weightlessness as part of NASA’s pioneering zero-gravity training for the Man-in-Space program.

Dressed in their early silver pressure suits, the astronauts practice maneuvering and adapting to the sensation of freefall—an essential skill for their upcoming missions in space.

This image is a testament to the early days of human spaceflight, where every step—no matter how small—was a leap into the unknown.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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28 [Project Mercury] STUNNING PORTRAIT OF THE FIRST THREE AMERICANS IN SPACE: Gus Grissom, John Glenn and Alan Shepard NASA, March 1961 Printed 1961.

Vintage chromogenic print on early fibre-based Kodak paper.

With traces of previous mounting and “EKC” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 68 | BONHAMS

Historical context This striking early colour photograph captures Virgil “Gus” Grissom, John Glenn, and Alan Shepard (left to right), NASA’s first space pioneers, dressed in their iconic silver pressure suits as they prepared for America’s first ventures into space. These suits, engineered for survival and mobility, became an enduring visual emblem of the Space Age. This image stands as a symbol of technological innovation, human ingenuity, and the courage that launched humanity’s journey into the cosmos.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

29 [Project X-15] ICONIC PORTRAIT OF NEIL ARMSTRONG, THE FIRST MAN ON THE MOON, AS A YOUNG NASA X-15 PILOT NASA, 30 November 1960 Printed 1960.

Vintage gelatin silver print on fibre-based paper.

Numbered “NASA F-6286” in black in the top margin (issued by NASA’s Flight Research Centre, Edwards Air Force Base, California).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This early portrait marks the beginning of Neil Armstrong’s illustrious NASA career. Just nine years after this photograph was taken, he would secure his place in history as the first human to walk on the Moon during the Apollo 11 mission in July 1969. The image captures his remarkable journey from a daring research pilot to one of humanity’s most celebrated explorers, embodying the enduring spirit of curiosity and the relentless drive to push the boundaries of the unknown.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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30 [Project Mercury] NIGHT VIEW OF A PRECURSOR TO HUMAN SPACEFLIGHT: early Atlas missile (9B) on the launch stand at Cape Canaveral DeFillips / US Army, 17 November 1958 Printed 1958.

Vintage gelatin silver print on fibre-based paper [NASA image PL-5848084].

With USAF caption on the reverse numbered “PL-58-48084” (issued

by US Air Force, Patrick Air Force Base, RCA photo laboratory).

20.3 x 25.4cm. (8 x 10 in.)

Historical context This striking night photograph captures the Atlas 9B missile standing tall on its launch stand at Cape Canaveral on November 17, 1968 bathed in artificial light against the darkness of the sky. The Atlas series, originally developed as an intercontinental ballistic missile (ICBM), became a critical stepping stone in the early days of Project Mercury, the United States’ first human spaceflight program.

The full description of the lot is available on our website: www.bonhams.com 70 | BONHAMS

This particular early Atlas missile, seen here in its prespaceflight era configuration, represents the technological foundation that would soon launch the first American astronauts into orbit. The Atlas rocket family evolved to carry John Glenn aboard Friendship 7 in 1962, making him the first American to orbit the Earth.

More than just an engineering marvel, this image symbolizes the dawn of human spaceflight, marking the transition from military missile technology to peaceful exploration of the cosmos. The Atlas rocket, once a weapon of war, became a vehicle for discovery, pushing humanity toward the stars.

EUR400 - 600 £330 - 500 US$430 - 650

31 [Project Mercury] THE MERCURY SEVEN’S ICONIC PORTRAIT AT LANGLEY AIR FORCE BASE: from test pilots to space pioneers Bill Taub, 20 January 1961 Printed 1961-1963.

Vintage chromogenic print on fibre-based Kodak paper, with “A Kodak Paper” watermark on the reverse, numbered “NASA S-61-1250” in red in the top margin, with a later-added NASA caption on the reverse indicating the situation of the astronauts in 1970 (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Historical context Taken early in the U.S. human spaceflight program, this image symbolizes the pioneering spirit of NASA’s first astronauts, who were tasked with taking America’s first steps into space during the intense Space Race of the Cold War era. The presence of the F-102 aircraft underscores their backgrounds as elite military test pilots, a key qualification for selection into NASA’s fledgling astronaut program.

EUR600 - 800 £500 - 670 US$650 - 870

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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32 [Mercury Redstone 2] HAM, THE FIRST CHIMPANZEE IN SPACE NASA, January 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image 61-MR25].

With NASA caption numbered “61-MR2-5” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 72 | BONHAMS

Historical context Ham the Astrochimp was the first non-human great ape launched into space. The four-year-old male chimpanzee is shown here in a moment of relaxation at Cape Canaveral, Florida, during his training for spaceflight in a Mercury spacecraft as part of the Mercury-Redstone 2 mission. This photograph captures the pioneering spirit of NASA’s early missions, a time when it was still uncertain if humans could survive space travel.

EUR500 - 700 £420 - 590 US$540 - 760

33 [Project Mercury] ICONIC PORTRAIT OF THE MERCURY SEVEN: NASA’s first astronauts, in silver spacesuits Ralph Morse, July 1960 Printed 1962.

Vintage gelatin print on fibre-based paper [NASA image B-60-1587].

With NASA caption on the reverse, numbered “NASA B-60-1587” in black in the top margin (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Possibly the most famous portrait of any astronaut crew in the history of space exploration, this photograph, taken by renowned LIFE photographer Ralph Morse in July 1960, symbolizes the dawn of the U.S. human spaceflight program and the relentless determination to conquer space during the Cold War’s Space Race.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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34 [Project Mercury] PIONEERING ASTRONAUT TRAINING: Walter Schirra entering the centrifuge trainer NASA, 1960 Printed 1959.

Vintage gelatin silver print on fibre-based paper [NASA image G-602451].

Blank on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic 1960 photograph captures Mercury astronaut Walter Schirra, dressed in his iconic silver pressure suit, preparing to enter the U.S. Navy Centrifuge Trainer, a massive device designed to simulate the intense G-forces astronauts would endure during launch and re-entry. The centrifuge worked by spinning the astronaut at high speeds, gradually increasing acceleration to several times the force of gravity (G-forces). This allowed NASA to study how astronauts would physically and mentally withstand extreme forces while also testing their ability to operate spacecraft controls under stress.

The training was critical in preparing Mercury astronauts for the powerful Atlas rocket launches that would propel them into orbit.

This image represents the pioneering spirit of early spaceflight, where astronauts pushed the limits of human endurance in preparation for the unknown challenges of space.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com 74 | BONHAMS

35 [Mercury Redstone 3] THE LAUNCH OF THE FIRST AMERICAN IN SPACE: Alan Shepard Gazing Up at the Redstone Rocket on the Pad (diptych) Bill Taub, 5 May 1961 Printed 1961.

Two vintage gelatin silver prints on fibre-based paper [NASA images 61-MR3-53 and 61-MR3-79].

With NASA captions numbered “61-MR3-53” and “61-MR3-79” on the reverses (issued by NASA Headquarters, Washington, D.C.).

Historical context On the morning of May 5, 1961, Shepard was transported in a special van from his isolated living quarters at Cape Canaveral to Launch Complex 5, where the Mercury-Redstone 3 awaited.

These photographs dramatically capture the anticipation of Alan Shepard’s historic first journey into space, marking the true beginning of America’s space program.

EUR600 - 800 £500 - 670 US$650 - 870

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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36 [Mercury Redstone 3] ALAN SHEPARD READY TO MAKE HISTORY: the first American in space minutes before launch aboard Freedom 7 Bill Taub, 5 May 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image S-612333].

Numbered “NASA S-61-2333” in black in the top margin (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 76 | BONHAMS

Historical context A Historic Moment Captured: Alan Shepard Ready to Make History. This iconic photograph immortalizes astronaut Alan Shepard lying in the tight confines of his Mercury spacecraft Freedom 7 on May 5, 1961. Technical problems delayed the launch for nearly four hours, testing Shepard’s patience and prompting his legendary quip: “Why don’t you fix your little problem and light this candle?”

EUR500 - 700 £420 - 590 US$540 - 760

37 [Mercury Redstone 3] THE HISTORIC LIFTOFF OF THE FIRST AMERICAN IN SPACE ALAN SHEPARD ABOARD FREEDOM 7 NASA, 5 May 1961 Printed 1961.

Vintage chromogenic print on early fibre-based Kodak paper [NASA image S-61-1927].

With “EKC” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4cm. (8 x 10 in.)

Historical context On May 5, 1961, the United States ignited the first candle of its human spaceflight program with the historic launch of MercuryRedstone 3 from Cape Canaveral, Florida. This majestic photograph captures the 33-ton rocket as it begins its ascent from Pad 5, its alcohol-and-oxygen flame burning cleanly.

The image symbolizes a transformative moment in U.S. space exploration, marking humanity’s transition from Earth’s surface to the vastness of space.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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38 [Mercury Redstone 3] THE BIRTH OF MISSION CONTROL: NASA legend Chris Kraft overseeing America’s first manned space mission Bill Taub, 5 May 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper.

Labeled “FI” in black in the top margin, blank on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 78 | BONHAMS

Historical context This early photograph captures Christopher C. Kraft Jr., NASA’s first Flight Director, standing intently at his console in Mission Control during Mercury-Redstone 3, the historic first U.S. space flight on May 5, 1961. The image encapsulates the essence of NASA’s Mission Control ethos: calm under pressure, unwavering precision, and an unrelenting drive to push the boundaries of human exploration.

EUR300 - 500 £250 - 420 US$320 - 540

39 [Mercury Redstone 3] COVER OF LIFE: ‘A-OK!’ THE U.S. IS IN SPACE, iconic helicopter recovery of the first American in space Alan Shepard Dean Conger, 5 May 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image S-612718].

Numbered “NASA S-61-2718” in black in the top margin, with NASA credit stamp on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking photograph captures the recovery of Alan Shepard and the Freedom 7 capsule, marking the triumphant culmination of America’s first manned spaceflight. “Everything AOK [all perfect]. Dye marker out”, Shepard reported after the capsule safely splashed down in the Atlantic Ocean. The recovery operation, lasting only four minutes and witnessed by millions on television and 500,000 spectators at the launch site, symbolized a monumental achievement in space exploration history.

EUR600 - 900 £500 - 750 US$650 - 970

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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40 [Mercury Redstone 3] ‘MAN, WHAT A RIDE!’: the triumphant return of the first American in space Alan Shepard after his historic mission aboard Freedom 7 Dean Conger, 5 May 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image 61-MR3105].

With NASA caption numbered “61-MR3-105” on the reverse (issued

by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10in.)

The full description of the lot is available on our website: www.bonhams.com 80 | BONHAMS

Historical context On May 5, 1961, Alan Shepard became the first American in space. Just half an hour after liftoff, the space pioneer returned triumphantly aboard the carrier USS Lake Champlain, after the recovery helicopter had deposited both him and the Freedom 7 capsule on deck. Stepping out, his first words were, “Man, what a ride!” This photograph published both in LIFE and National Geographic symbolizes the United States’ official entry into the manned Space Race with the Soviet Union.

EUR500 - 700 £420 - 590 US$540 - 760

41 [Mercury Redstone 4] PORTRAIT OF GUS GRISSOM IN FRONT OF THE ILL-FATED LIBERTY BELL 7 BEFORE LAUNCH NASA, 21 July 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image 61-MR476].

With NASA caption numbered “61-MR4-76” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Ready for launch: on level three of the gantry at Pad 5, “Gus” Grissom pauses briefly for a striking portrait while fellow astronaut John Glenn and a technician complete final adjustments inside the Liberty Bell 7 spacecraft before liftoff.

The mission was successful, with Grissom flying 118 miles into space, but tragedy struck when the Liberty Bell 7 sank upon landing. Grissom was rescued, exemplifying the extraordinary courage and resilience of the early space pioneers.

Unfortunately, six years later, Grissom lost his life in the Apollo 1 fire.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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42 [Mercury Redstone 4] THE ILL-FATED LIBERTY BELL 7 PREPARED FOR THE LAUNCH OF THE SECOND U.S. SPACE MISSION NASA, July 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image S-612852].

Numbered “NASA S-61-2852” in black in the top margin, with NASA caption on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in).

The full description of the lot is available on our website: www.bonhams.com 82 | BONHAMS

Historical context This photograph shows the Liberty Bell 7 capsule mounted atop the Redstone Rocket on the launch pad at Cape Canaveral, ready for the United States’ second crewed space mission as part of NASA’s Mercury program. The sleek Redstone Rocket, marked by its iconic “UNITED STATES” lettering, stands tall against the bright sky, a testament to the country’s commitment to pushing the boundaries of human exploration during the Space Race.

EUR400 - 600 £330 - 500 US$430 - 650

43 [Mercury Redstone 4] COUNTDOWN TO LAUNCH: Capcom Astronauts John Glenn and Alan Shepard at Mission Control for the Second U.S. Space Mission NASA, 21 July 1961 Printed 1961.

Vintage gelatin silver print on fibre-based paper [NASA image 61-MR484].

With NASA caption numbered “61-MR4-84” on the reverse (issued by NASA Cape Canaveral, Florida).

Historical context The photograph captures the intense activity at Mission Control, alongside the camaraderie and shared confidence of the pioneering astronauts, during humanity’s first space missions.

EUR300 - 500 £250 - 420 US$320 - 540

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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44 [Mercury Redstone 4] NEAR-TRAGIC RECOVERY OF LIBERTY BELL 7 (diptych): Gus Grissom, second U.S.. man in space, rescued after almost drowning NASA, 21 July 1961 Printed 1961.

Two vintage gelatin silver prints on fibre-based paper [NASA images S-61-2818 and 61-MR4-108].

The first numbered “NASA S-61-2818” in black in the top margin, with NASA caption and credit stamp on the reverse, the second with NASA caption numbered “61-MR4-108” on the reverse (both issued by NASA Headquarters, Washington, D.C.).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 84 | BONHAMS

Historical context The photographs illustrate a dramatic moment in the early American space program as astronaut Gus Grissom, the second U.S. spaceman, narrowly escaped death following the unsuccessful helicopter recovery of the Liberty Bell 7 spacecraft after its splashdown in the Atlantic Ocean. A Marine helicopter lowered a harness to Grissom after he successfully exited Liberty Bell 7 (first photograph). Minutes after he was safely inside the helicopter, the spacecraft sank. Grissom was then welcomed by a relieved crew on the deck of the USS Randolph (second photograph).

EUR500 - 700 £420 - 590 US$540 - 760

45 [Mercury Atlas 4] LAUNCH OF THE FIRST U.S. UNMANNED ORBITAL MISSION NASA, 13 September 1961 Printed 1961.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-61-3249].

With Aerospace Corporation credit stamp and “A Kodak Paper” watermark on the reverse (issued by NASA / Aerospace Corporation, Los Angeles, California).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A superb early colour photograph of the launch of MercuryAtlas 4, the first successful American unmanned orbital mission. This historic flight demonstrated the Atlas rocket’s ability to lift the Mercury capsule into orbit, validated the capsule’s autonomous systems, and successfully captured images of Earth from space. The spacecraft completed one orbit before returning safely to Earth.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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46 [Mercury Atlas 5] PIONEERING ORBITAL VIEW OF EARTH CAPTURED FROM THE CAPSULE CARRYING ENOS, THE FIRST CHIMPANZEE IN ORBIT NASA, 29 November 1961 Printed 1961.

Historical context This rare and early colour photograph of Earth from orbit, captured through the window of the Mercury-Atlas 5 spacecraft carrying the chimpanzee Enos, marks the infancy of space photography. The clock for the automatic sequence camera is visible at the bottom right.

Vintage chromogenic print on early fibre-based Kodak paper.

With “EKC” watermark on the reverse (issued by NASA Cape Canaveral, Florida).

EUR500 - 700 £420 - 590 US$540 - 760

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 86 | BONHAMS

47 [Mercury Atlas 6] THE LAUNCH OF THE FIRST AMERICAN IN ORBIT: John Glenn boarding Friendship 7 NASA, 20 February 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper.

With NASA caption numbered “62-MA6-108” and dated “February 20, 1962” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This superb photograph, taken by NASA’s first senior photographer Bill Taub on February 20, 1962, shows John Glenn in his silver pressure suit boarding the Friendship 7 capsule to become the first American to orbit Earth. The image captures the tension before this crucial milestone in NASA’s space exploration efforts.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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48 [Mercury Atlas 6] THE HISTORIC LIFTOFF OF THE FIRST AMERICAN IN ORBIT JOHN GLENN ABOARD FRIENDSHIP 7 NASA, 20 February 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA image S-62363].

Numbered “NASA S-62-363” in black in the top margin, with NASA caption on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 88 | BONHAMS

Historical context Taken on February 20, 1962, this photograph captures the dramatic liftoff of the Atlas rocket from Launch Complex 14 at Cape Canaveral, Florida, enveloped in smoke and steam as its engines ignite. Atop the towering rocket sits the sleek Friendship 7 capsule, carrying John Glenn on the first U.S. orbital spaceflight, with the emergency escape tower and rocket secured above it. This moment marked the culmination of intense engineering innovation and determination and a pivotal step in the United States’ efforts in the Space Race, following the Soviet Union’s orbital achievements.

EUR600 - 800 £500 - 670 US$650 - 870

49 [Mercury Atlas 6] THE HISTORIC FIRST HUMAN-TAKEN PHOTOGRAPH FROM SPACE: Earth’s Horizon Above the African Coast, Captured from Friendship 7 John Glenn, 20 February 1962 Printed 1962.

Vintage chromogenic print on fibre-based Kodak paper [NASA image MA-6-40452-044, reversed].

With editorial notes and “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The dawn of humanity’s visual legacy in space. This historic photograph of North Africa from space, captured by John Glenn during Friendship 7’s first orbit on February 20, 1962, marks a pivotal moment in space exploration: Glenn became the first American to orbit the Earth and the first human to take photographs from space. His photographs appeared in National Geographic in June 1962, offering humanity an unprecedented view of Earth’s beauty and mystery.

At the time, photography in space was merely experimental— NASA had no dedicated space photography department yet.

Glenn even purchased his own camera for the mission, making these vintage photographs extraordinarily rare.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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50 [Mercury Atlas 6] HUMANITY’S SPACE JOURNEY BEGINS: John Glenn orbits Earth Aboard Friendship 7 NASA, 20 February 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA image 62-MA6168].

With NASA caption numbered “62-MA6-168” on the reverse (issued

by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This image is a still frame exposed by the automatic pilot observer motion picture camera inside the Friendship 7 spacecraft during John Glenn’s historic Mercury-Atlas 6 mission, where he became the first American astronaut to orbit the Earth on February 20, 1962.

The full description of the lot is available on our website: www.bonhams.com 90 | BONHAMS

It represents some of the very first human visuals of space exploration. Glenn is seen in a state of weightlessness traveling at 17,500 mph. The tight quarters of the Mercury capsule are apparent, with various instruments and equipment surrounding Glenn as he operates within the small confines of Friendship 7. This image emphasizes the triumph of venturing alone into space, offering an intimate glimpse into what it meant to be the first American to orbit the Earth. Beyond mere scientific and historical documentation, this image brought the human experience of spaceflight to audiences on Earth, symbolizing the dawn of a new era in human evolution.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

51 [Mercury Atlas 6] PRESIDENT KENNEDY CELEBRATES THE FIRST US ORBITAL SPACEFLIGHT AT MISSION CONTROL NASA, 23 February 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA image 62-MA6127].

With NASA caption numbered “62-MA6-127” on the reverse (issued

by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

“We choose to go to the Moon. We choose to go to the Moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.”

— President John F. Kennedy, Rice University, September 12, 1962 EUR500 - 700 £420 - 590 US$540 - 760

Historical context President Kennedy discusses at Mission Control with NASA legends Alan Shepard, first American in space, John Glenn, first American in orbit and NASA’s first Flight Director Chris Kraft.

Glenn’s successful orbital flight, accomplished just ten months after Yuri Gagarin’s, affirmed President Kennedy’s vision for the nation’s space program—goals he would outline six months later in his iconic “Moon speech” at Rice University.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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52 [Saturn I SA-1] DAWN OF PROJECT APOLLO: first launch of the Saturn space vehicle (diptych) NASA, 27 October 1961 Printed 1961.

Two vintage gelatin silver prints on fibre-based paper [NASA images 61-SA1-14 and 61-SA1-14].

With NASA captions numbered “61-SA1-12” and “61-SA1-14” on the reverses (issued by NASA Headquarters, Washington, D.C.).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context The First Launch of Project Apollo: The Saturn I space vehicle, designed by Wernher von Braun’s team, was launched on October 27, 1961, at 10:06 a.m. from Cape Canaveral’s Launch Complex 34. Standing 163 feet tall, the Saturn I booster marked a significant leap in size and power over earlier NASA rockets, paving the way for the monumental Saturn V Moon rocket.

The full description of the lot is available on our website: www.bonhams.com 92 | BONHAMS

This revolutionary rocket was three times taller, required six times more fuel, and produced ten times more thrust than the Jupiter-C rocket that launched America’s first satellite, Explorer 1, into orbit in 1958.

At the time, NASA opted against all-up testing—where an entire system is tested at once—choosing instead to test each rocket stage incrementally. For the SA-1 mission, only the S-I first stage was live, while the upper stages were water-filled dummies.

“The uncrewed suborbital flight used a Saturn I first stage to carry water-filled dummy upper stages to an altitude of 136.5 km and a downrange distance of 345.7 km. The flight accomplished its objective of verifying the aerodynamical and structural design of the Saturn I booster.”

EUR400 - 600 £330 - 500 US$430 - 650

53 [Mercury Atlas 7] PORTRAIT OF A SPACE PIONEER: Scott Carpenter with NASA’s insignia before the Aurora 7 mission NASA, early 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA image S-621560].

Numbered “NASA S-62-1560” in black in the top margin (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This very fine portrait captures astronaut Scott Carpenter proudly standing next to NASA’s insignia in front of the Mercury Control Centre at Cape Canaveral, wearing his iconic silver Mercury pressure suit. Taken during preparations for the Aurora 7 mission, the image embodies the pioneering spirit of the early space program. The determination on Carpenter’s face reflects the excitement and ambition of an era defined by the Space Race with the Soviet Union.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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54 [Mercury Atlas 8] SPACE AND PHOTOGRAPHY PIONEER: Walter Schirra inspecting the first Hasselblad camera for use in space aboard Sigma 7 NASA, 20 September 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA - USAF image LOC 62-7273].

With NASA / USAF caption numbered “LOC 62-7273 (issued by NASA Cape Canaveral, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Walter Schirra is briefed on the use of the first hand-held Hasselblad 500C flight camera by Roland “Red” Williams, who oversaw its modification. Left to right are Paul Becker of McDonnell Aircraft Corporation, Mercury-Atlas 8 pilot Walter Schirra, astronaut Donald “Deke” Slayton, and Roland “Red” Williams of RCA. The full description of the lot is available on our website: www.bonhams.com 94 | BONHAMS

Although Schirra couldn’t capture high-quality photographs during the Sigma 7 mission, he validated the use of the Hasselblad camera, which represented the pinnacle of photographic technology at the time. The Hasselblad quickly became the instrument of choice, enabling Mercury, Gemini, and Apollo astronauts to produce the iconic images that now belong to humanity’s collective memory.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

55 [Project Apollo] THE LEGENDARY NEW NINE: portrait of NASA’s second group of astronauts NASA, September 1962 Printed 1962.

Vintage gelatin silver print on fibre-based paper [NASA image S-623982].

Numbered “NASA S-62-3982” in black in the top margin, with NASA caption on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A historic portrait of the nine new members of the astronaut corps (Astronaut Group 2, selected on September 17, 1962), also known as the New Nine. Seated from left to right are: Pete Conrad, Frank Borman, Neil Armstrong and John Young.

Standing from left to right are: Elliot See, James McDivitt, James Lovell, Edward White and Thomas Stafford. With the announcement of the Gemini program, which laid the groundwork for the Apollo program, the New Nine were selected to augment the Mercury Seven and included many of the most famous astronauts in history. Together, these two groups represented the foundation of NASA’s journey to the Moon and beyond.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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56 [Mercury Atlas 9] THE LAST SPACE PIONEER: Gordon Cooper’s final solo and first day-long U.S. space mission aboard Faith 7 (diptych) NASA, January - May 1963 Printed 1963.

Two vintage gelatin silver prints on fibre-based paper [NASA images S-63-4005 and S-63-7851].

Numbered “NASA S-63-4005” and “S-63-7851” in black in the top margin, with NASA captions on the reverses (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context Faith 7: The Pinnacle of Project Mercury. The first photograph presents astronaut Gordon Cooper, clad in his iconic silver pressure suit and helmet, preparing for the Mercury-Atlas 9 mission. His calm focus reflects the confidence and determination that defined this era of space exploration. The second photograph showcases the Atlas 130D launch vehicle standing within the service gantry at Pad 14, with the Faith 7 spacecraft poised for liftoff. This mission, launched on May 15, 1963, was the first U.S. spaceflight to last over a full day and the last solo mission of the American space program.

Aboard Faith 7, Cooper not only set endurance records but also made history by capturing the first high-resolution photographs from space using a Hasselblad camera—a precursor to the stunning imagery later achieved in the Gemini and Apollo programs.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com 96 | BONHAMS

57 [Mercury Atlas 9] FIRST HIGH-RESOLUTION HASSELBLAD PHOTOGRAPH FROM SPACE: Earth’s horizon over Western Tibet and Kashmir Gordon Cooper, 15-16 May 1963 Printed 1963.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-63-6444].

Numbered “NASA S-63-6444” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Mercury-Atlas 9 mission marked a breakthrough in human space photography. Equipped with the NASA-modified Hasselblad 500C, an 80mm lens, and 70mm GAF Anscochrome reversal film, astronaut Gordon Cooper had the time and tools to carefully frame his shots, producing groundbreaking results and convincing NASA of photography’s importance. This stunning photograph captures the delicate, fragile blue layer of Earth’s atmosphere on the horizon, contrasting beautifully with the infinite darkness of space. In the foreground, lakes, landscapes, and intricate cloud patterns are revealed in unprecedented detail from orbit.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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58 [Mercury Atlas 9] GORDON COOPER EMERGES FROM FAITH 7, GLORIOUSLY CONCLUDING PROJECT MERCURY (diptych) NASA, 16 May 1963 Printed 1963.

Two vintage gelatin silver prints on fibre-based paper [NASA image 63-MA9-166].

The first numbered “NASA S-63-7701” in black in the top margin, with NASA caption on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas), the second with NASA caption numbered “63-MA9-166” on the reverse (issued by NASA Headquarters, Washington, D.C.).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 98 | BONHAMS

Historical context Gordon Cooper’s Faith 7 mission was the culmination of Project Mercury. Total time weightless was 34 hours, 3 minutes, 30 seconds. Faith 7 completed 22 orbits, with a perigee of 161 km and an apogee of 267 km, and splashed down 7,000 yards from the waiting USS Kearsarge. The capsule was lowered to the deck of the carrier southeast of Midway Island in the Pacific. Cooper was still inside ‘Faith 7’ after he travelled nearly 875,000 km. He was reported in good condition, making history with the first one-day mission along with the last solo flight of the US space program.

EUR400 - 600 £330 - 500 US$430 - 650

59 [Mercury Atlas 9] FIRST HIGH-RESOLUTION HASSELBLAD PHOTOGRAPH FROM SPACE: great Indian desert with abstract cloud patterns Gordon Cooper, 15-16 May 1963 Printed 1963.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-63-6447].

Numbered “NASA S-63-6447” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Mercury-Atlas 9 mission marked the official birth of NASA’s space photography. Prior to the introduction of the Hasselblad camera, NASA lacked a defined photographic program. This began to change when Walter Schirra, an avid camera enthusiast, sought a precision instrument for his Mercury-Atlas 8 mission. Though Schirra’s experiments yielded mostly overexposed photographs, they laid the foundation for Gordon Cooper’s more refined use of the same NASA-modified Hasselblad camera during Mercury-Atlas 9. This beautifully composed photograph above the Great Indian Desert is one of his greatest results. From this point onward, the Hasselblad camera became the preferred tool for NASA’s space explorers.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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“I think [my experience of being the first photographer from space] put to rest forever the idea that the astronaut is going to get so disconcerted by a camera being aboard that he or she is going to be taking pictures when they should be doing other things. Certainly during the emergencies of the flight I was not out taking pictures, jazzing around.”

John Glenn, Mercury Atlas 6 (Schick and Van Haaften, p. 16)

60 [Project Apollo] THE VISIONARIES OF THE MOON LANDING: Dr. Wernher von Braun Briefs President Kennedy on the Saturn Rocket NASA, November 1963 Printed 1963.

Vintage gelatin silver print on fibre-based paper [NASA image LOC 63P-147].

With NASA-USAF caption numbered “LOC 63P-147” and RCA photo laboratory quality control stamp on the reverse (issued by NASA Kennedy Space Centre.)

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captures two key visionaries behind the U.S. Moon landing: President John F. Kennedy and Project Apollo chief architect Wernher von Braun, during a briefing on the Saturn launch system at Cape Canaveral on November 16, 1963. Kennedy’s bold goal, articulated in his iconic 1962 “Moon speech” at Rice University, was realized on July 20, 1969, when Apollo 11 commander Neil Armstrong set foot on the Moon, fulfilling the President’s vision and cementing the legacy of the Apollo program.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 100 | BONHAMS

FOR ALL MANKIND

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The Gemini Era MANNED SPACE MISSIONS GEMINI III Crew: Gus Grissom and John Young March 23, 1965 Spacecraft: Molly Brown Launch Vehicle: Titan II MISSION OVERVIEW First crewed Gemini flight and first two-crew American spaceflight, three orbits.

GEMINI V Crew: Gordon Cooper and Pete Conrad August 21-29, 1965 Spacecraft: Gemini V Launch Vehicle: Titan II MISSION OVERVIEW First week-long spaceflight; first use of fuel cells for electrical power; evaluated guidance and navigation system for future rendezvous missions.

Completed 120 orbits.

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini III mission were a NASA-modified 70 mm Hasselblad camera 500C with a standard 80mm Zeiss lens, and a 16mm McDonnell sequence camera. Film: Kodak Ektachrome SO-217 medium speed ASA 64 color reversal.

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini V mission were a NASA-modified 70 mm Hasselblad camera 500C with a standard 80mm Zeiss lens, a Zeiss Contarex 35mm camera with a 50mm Zeiss lens, and a 16 mm McDonnell. Film: Kodak Ektachrome SO-217 medium speed ASA 64 color reversal (Hasselblad), GAF Anscochrome. D-50 (Hasselblad).

MISSION PARAMETERS Duration: 4 hours 52 minutes 31 seconds Orbits completed: 3 Distance travelled: 128,748 km (80,000 miles) Perigee altitude: 161 km (87 nautical miles) Apogee altitude: 225 km (121 nautical miles)

MISSION PARAMETERS Duration: 7 days 22 hours 55 minutes 14 seconds Orbits completed: 120 Distance travelled: 5,242,682 km (3,257,652 miles) Perigee altitude: 170 km (92 nautical miles) Apogee altitude: 330 km (180 nautical miles)

GEMINI IV Crew: James McDivitt and Edward White

GEMINI VII Crew: Frank Borman and James Lovell

June 3-7, 1965

December 4-18, 1965

Spacecraft: Gemini IV Launch Vehicle: Titan II

Spacecraft: Gemini VII Launch Vehicle: Titan II

MISSION OVERVIEW Included first extravehicular activity (EVA) by an American; White’s “spacewalk” was a 22-minute EVA exercise on the third orbit.

MISSION OVERVIEW When the original Gemini VI mission was scrubbed because the launch of the Agena docking target failed, Gemini VII was used as the rendezvous target instead. Primary objective was to determine whether humans could live in space for 14 days.

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini IV mission were a NASA-modified 70 mm Hasselblad camera 500C with a standard 80mm Zeiss lens, a Zeiss Contarex 35mm camera with a 50mm Zeiss lens, and a 16 mm McDonnell sequence camera. Film: Kodak Ektachrome SO-217 medium speed ASA 64 color reversal (Hasselblad), GAF Anscochrome D-200 color (Contarex).

MISSION PARAMETERS Duration: 4 days 01 hour 56 minutes 12 seconds Orbits completed: 62 Distance travelled: 2,590,600 km (1,398,800 nautical miles) Perigee altitude: 165 km (89 nautical miles) Apogee altitude: 289 kilometers (156 nautical miles)

102 | BONHAMS

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini VII mission were a 70mm NASAmodified Hasselblad 500C camera fitted with a standard 80mm Zeiss lens and a telephoto 250mm Zeiss lens, and a 16mm Maurer sequence camera. Film: Eastman Kodak Ektachrome, MS (S.0. 217), Eastman Kodak Ektachrome, Infrared Type-8443, Eastman Kodak Pan-Atomic-X Type 3400.

MISSION PARAMETERS Duration: 13 days 18 hours 35 minutes 01 second Orbits completed: 206 Distance travelled: 9,030,000 km (4,876,000 nautical miles) Altitudes in nautical miles: Revs. 3 to 44 (120 to 174); Revs. 45 to 75 (128 to 171); Revs. 76 to 206 (161)

GEMINI VI-A Crew: Walter Schirra and Thomas Stafford

GEMINI IX-A Crew: Thomas Stafford and Eugene Cernan

December 15-16, 1965

June 3-6, 1966

Spacecraft: Gemini VI-A Launch Vehicle: Titan II

Spacecraft: Gemini IX-A Launch Vehicle: Titan II

MISSION OVERVIEW Rescheduled from October to rendezvous with Gemini VII after the original Agena Target Vehicle launch failed; renamed Gemini VI-A. First space rendezvous accomplished, station-keeping for over five hours at distances from 1 to 300 feet (0.3 to 91 m).

MISSION OVERVIEW Rescheduled from May to rendezvous and dock with the Augmented Target Docking Adapter (ATDA) after the original Agena Target Vehicle launch failed. The ATDA shroud did not completely separate, making docking impossible. Three different types of rendezvous and two hours of EVA were completed.

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini VI-A mission were a NASA-modified 70 mm Hasselblad 500C camera fitted with a standard 80mm Zeiss lens, and two 16mm Maurer sequence cameras. Film: Eastman Kodak Ektachrome, MS (S.0. 217).

MISSION PARAMETERS Duration: 1 day 1 hour 51 minutes 24 seconds Orbits completed: 16 Distance travelled: 694,415 km (374,954 nautical miles) Perigee altitude: 270 km (150 nautical miles) Apogee altitude: 274 km (148 nautical miles) GEMINI VIII Crew: Neil Armstrong and David Scott March 16-17, 1966

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini IX-A mission were a NASA-modified 70 mm Super-Wide-Angle Hasselblad camera fitted with a 38mm ZeissBiogon lens, a NASA-modified 70mm Hasselblad 500C camera fiited with a standard 80mm Zeiss lens, a 70mm Maurer Space Camera fitted with a 80mm Xenotar lens and two 16mm Maurer sequence cameras. Film: Eastman Kodak Ektachrome, MS (S.0. 217).

MISSION PARAMETERS Duration: 3 days 0 hour 20 minutes 50 seconds Orbits completed: 44 Distance travelled: 2 020 741 km Initial apogee 144 nautical miles, initial perigee 86 nautical miles; apogee during rendez-vous 162 nautical miles, perigee during rendezvous 161 nautical miles; later apogee 157 nautical miles, later perigee 146 nautical miles.

Spacecraft: Gemini VIII Launch Vehicle: Titan II

GEMINI X Crew: John Young and Michael Collins

MISSION OVERVIEW Accomplished first docking with another space vehicle, an uncrewed Agena Target Vehicle. While docked, a Gemini spacecraft thruster malfunction caused near-fatal tumbling of the craft, which, after undocking, Armstrong was able to overcome; the crew effected the first emergency landing of a crewed U.S. space mission.

July 18-21, 1966 Spacecraft: Gemini X Launch Vehicle: Titan II

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini VIII mission were a NASA-modified 70 mm Hasselblad 500C camera fitted with a standard 80mm Zeiss lens, and a 16mm Maurer sequence camera. Film: Eastman Kodak Ektachrome, MS (S.0. 217).

MISSION OVERVIEW Docking with the Agena 10 and first use of the Agena Target Vehicle’s propulsion systems. The spacecraft also rendezvoused with the Agena 8 Target Vehicle from Gemini VIII. Collins had 49 minutes of EVA standing in the hatch and 39 minutes of EVA to retrieve experiments from the Agena 8; he demonstrated the ability of an astronaut to travel to another spacecraft and back.

MISSION PARAMETERS Duration: 10 hours 41 minutes 26 seconds Orbits completed: 6 Distance travelled: 293,206 km (158,319 nautical miles) Initial perigee 87 nautical miles, Initial apogee 146 nautical miles; circular 161 nautical miles

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini X mission were a NASA-modified 70 mm Super-Wide-Angle Hasselblad camera fitted with a 38mm ZeissBiogon lens, a 70mm Maurer Space Camera fitted with a 80mm Xenotar lens and a 16mm Maurer sequence camera. Film: Eastman Kodak Ektachrome, MS (S.0. 217).

MISSION PARAMETERS Duration: 2 days 22 hours 46 minutes 39 seconds Orbits completed: 43 Distance travelled: 1 968 823 km Altitude during revolutions 2-4: apogee 161 nautical miles, perigee 161 nautical miles; altitude during revolutions 4-13: apogee 410 nautical miles, perigee 161 nautical miles, altitude during revolutions 14-43 (splashdown): apogee 209 nautical miles, perigee 209 nautical miles FOR ALL MANKIND | 103

GEMINI XI Crew: Pete Conrad and Richard Gordon September 12-15, 1966 Spacecraft: Gemini XI Launch Vehicle: Titan II MISSION OVERVIEW Gemini record altitude with apogee of 740 nautical miles (1,369 km) reached using the Agena Target Vehicle propulsion system after first orbit rendezvous and docking. Gordon made a 33-minute EVA and two-hour standup EVA. CAMERAS AND ACCESSORIES The onboard cameras for the Gemini XI mission were a NASA-modified 70 mm Super-Wide-Angle Hasselblad camera fitted with a 38mm ZeissBiogon lens, a 70mm Maurer Space Camera fitted with a 80mm Xenotar lens and a 16mm Maurer sequence camera. Film: Eastman Kodak Ektachrome, MS (S.0. 368).

MISSION PARAMETERS Duration: 2 days 23 hours 17 minutes 9 seconds Orbits completed: 44 Distance travelled: 1 983 585 km Orbit altitudes: Revolutions 1 through 25 are about 160 nautical miles (290 km) circular. Revolutions 26 and 27 about 740 nautical miles (1340 km) and perigee of 160 nautical miles. Revolutions 28 through 44 (splashdown) are essentially 160 nautical miles circular.

GEMINI XII Crew: James Lovell and Buzz Aldrin November 11-15, 1966 Spacecraft: Gemini XII Launch Vehicle: Titan II MISSION OVERVIEW Final Gemini flight. Rendezvoused and docked manually with the target Agena and kept station with it during EVA. Aldrin set an EVA record of 5 hours and 30 minutes for one space walk and two stand-up exercises, and demonstrated solutions to previous EVA problems.

CAMERAS AND ACCESSORIES The onboard cameras for the Gemini XII mission were a 70mm Super-Wide Hasselblad camera fitted with a 38mm Zeiss-Biogon lens, a 70mm Maurer Space Camera fitted with a 80mm Xenotar lens and a 16mm Maurer sequence camera. Film: Eastman Kodak Ektachrome, MS (S.0. 368).

MISSION PARAMETERS Duration: 3 days, 22 hours, 32 minutes and 33 seconds Orbits completed: 59 Distance travelled: 2 574 950 km Orbit altitudes: revolution 1 (insertion): apogee 146 nautical miles, perigee 87 nautical miles; revolution 3 (before rendezvous) apogee 152 nautical miles and perigee 147 nautical miles; revolution 3 (after rendezvous) to 24 are essentially 160 nautical miles circular; revolutions 24 through 59 (splashdown) apogee about 160 nautical miles perigee about 140 nautical miles.

104 | BONHAMS

detail lot 71 FOR ALL MANKIND

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“Our God-given curiosity will force us to go there [to the Moon] ourselves because in the final analysis, only man can fully evaluate the Moon in terms understandable to other men.”

Gus Grissom, Gemini 3 (Jacobs, p. 129)

61 [Gemini III] THE FIRST GEMINI ASTRONAUTS: pioneers of the first U.S. two-man space mission NASA, April 1964 Printed 1964.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-64-19432].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

21.8 x 27.8 cm. (8.5 x 11 in.)

Historical context A striking portrait of the first Gemini astronauts, selected for the inaugural U.S. two-man space mission, wearing the advanced Gemini G3C pressure suit with its silver aluminized covering. Left to right: John W. Young, Virgil I. Grissom, Walter M. Schirra Jr. and Thomas P. Stafford. Young and Grissom were selected as the prime astronauts and Schirra and Stafford as the back-up pilots.

Project Gemini, NASA’s second human spaceflight program, bridged the gap between Mercury and Apollo, laying the groundwork for landing on the Moon.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 106 | BONHAMS

FOR ALL MANKIND

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62 [Gemini I] FIRST UNMANNED LAUNCH OF THE TWO-MAN GEMINI SPACECRAFT NASA, 8 April 1964 Printed 1964.

Vintage chromogenic print on fibre-based Kodak paper [NASA image KSC-640-1068].

With NASA caption numbered “KSC-640-1068” and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 108 | BONHAMS

Historical context Paving the way for multi-crew space exploration.

This striking photograph captures the moment Gemini I lifted off from Launch Complex 19 at Cape Kennedy on April 8, 1964, marking the first unmanned launch of the two-man Gemini spacecraft. The rocket, seen here 12 feet above the launcher, was powered by a Titan II GLV (Gemini Launch Vehicle), the modified intercontinental ballistic missile (ICBM) that would serve as the backbone of the Gemini program.

The mission’s primary goal was to test the structural integrity of the new Gemini spacecraft and its launch vehicle in preparation for future manned missions.

Although it never carried astronauts, Gemini I successfully validated the design of the Gemini spacecraft and Titan II booster, paving the way for the pioneering two-man missions that would follow, culminating in the advanced techniques that made the Apollo Moon landings possible.

EUR600 - 800 £500 - 670 US$650 - 870

63 [Ranger VII] FIRST LUNAR IMPACT: captured by the first spacecraft to photograph another world up close NASA, 31 July 1964 Printed 1964.

Vintage gelatin silver print on fibre-based paper [NASA image 64-H2189].

With NASA caption numbered “64-H-2189” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context NASA’s lunar assault began with a spectacular breakthrough: the “crashlander” Ranger VII was the first space probe to send close-up pictures of the Moon before it impacted the lunar surface. This historic final photograph was transmitted by the F-A camera and its 25mm, f/1 lens some 2.3 seconds before Ranger VII’s impact on the lunar surface, from an altitude of about three miles. The image achieved an incredible resolution of 0.5 meters, with the smallest craters visible measuring approximately 30 feet in diameter and 10 feet deep. The spacecraft was destroyed during transmission, resulting in the receiver noise pattern.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 109

64 [Gemini II] THE FIRST COLOUR IMAGE OF ATMOSPHERIC RE-ENTRY CAPTURED FROM A MAN-RATED SPACECRAFT NASA, 19 January 1965 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-13171].

Numbered “NASA “S-65-13171” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20 x 25.4 cm. (8 x 10 in.)

Historical context The thrill of re-entry: a fiery return to Earth This exceptionally rare colour image captures the intense and dramatic forces of atmospheric re-entry as seen from inside the unmanned Gemini II spacecraft. Taken from a 16mm motion picture camera mounted in the hatch window, this frame offers a unique perspective on the spacecraft’s return from space.

At peak heating, as the capsule plunged through Earth’s atmosphere, friction generated a blazing envelope of ionized gases, seen here as a brilliant white glow. The distinct greenish hue is likely due to the ablative material from the heat shield, which burns away during re-entry to protect the spacecraft and dissipate the extreme heat.

A striking visual testament to the raw power of spaceflight, this image embodies the perilous yet essential phase of returning home from the cosmos.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 110 | BONHAMS

65 [Ranger VIII] THE MOMENT OF FIRST IMPACT ON THE SEA OF TRANQUILITY (triptych) NASA, 20 February 1965 Printed 1965.

Three vintage gelatin silver prints on fibre-based paper [NASA images 65-H-194, 65-H-195, 65-H-193].

With NASA captions numbered “65-H-194”, “65-H-195”, “65-H-193” on the reverses (issued by NASA Headquarters, Washington, D.C.).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Ranger VIII spacecraft was deliberately crashed into the Sea of Tranquillity (2.67°N, 24.65°E) at 1:57:36 a.m. EST, approximately 70 kilometres from the future Apollo 11 landing site, after successfully transmitting close-range photographs of the lunar surface during the final 23 minutes of its mission.

The final images, transmitted by the crash-lander’s F-A, B, and P cameras just seconds before impact, were captured from altitudes as low as 2,400 feet above the Moon. The spacecraft was destroyed upon impact, resulting in the receiver noise pattern visible in the first image.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 111

66 [Gemini III] THE SPACE TWINS: Gus Grissom and John Young Preparing for America’s First Two-Man Space Mission (diptych) NASA, 1964-1965 Printed 1965.

Two vintage gelatin silver prints on fibre-based paper [NASA images 65-H-445 and S-65-24736].

The first with NASA caption numbered “65-H-446” on the reverse, the second numbered “NASA S-65-24736” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas and NASA Headquarters, Washington, D.C.).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 112 | BONHAMS

Historical context These magnificent portraits showcase John Young and Gus Grissom during preparations for Gemini III, the first U.S. two-man space mission, which launched on March 23, 1965.

Project Gemini, NASA’s second human spaceflight program, acted as a critical bridge between the Mercury and Apollo programs, testing the skills and technologies essential for lunar exploration.

EUR500 - 700 £420 - 590 US$540 - 760

67 [Gemini III] THE FIRST U.S. TWO-MAN SPACECRAFT ORBITS THE EARTH John Young, 23 March 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-18743].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-18743” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context There was no formal plan for photography during the Gemini III mission on March 23, 1965. Overwhelmed by Earth’s stunning beauty, the crew spontaneously captured photographs during their three orbits (see mission transcript). Astronaut John Young took this image of Earth over the southern United States and northern Mexico, 90 miles below, with the black expanse of space framing the horizon. The nose of the Gemini spacecraft “Molly Brown” is visible in the foreground.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 113

68 [Gemini IV] LAUNCH OF THE FIRST US SPACEWALK MISSION NASA, 3 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-29639].

Numbered “NASA S-65-29639” in red in the top margin, with “James McDivitt photograph collection” stamp and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 114 | BONHAMS

Historical context This photograph captures the dramatic launch of Gemini IV from Pad 19 at Cape Kennedy, Florida, on June 3, 1965, carrying astronauts James McDivitt and Edward White on a four-day, 62-revolution mission. The distinctive two-stage Gemini-Titan II rocket is surrounded by a massive plume of golden-yellow smoke and fiery exhaust as it rises steadily against a clear sky. This historic mission included the first U.S. spacewalk, a major milestone in space exploration that helped close the gap with the Soviet Union’s first spacewalk, conducted just ten weeks earlier.

EUR600 - 800 £500 - 670 US$650 - 870

69 [Gemini IV] THE FIRST-EVER PHOTOGRAPH OF A HUMAN IN SPACE: Ed White floating over Hawaii during the first U.S. spacewalk James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30431].

Numbered “NASA S-65-30431” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph, taken by James McDivitt from the Gemini 4 spacecraft, immortalizes Ed White as the first American to walk in space. It stands as the first-ever still photograph of a human in space, whether inside or outside a spacecraft.

Ed White famously remarked, “I feel like a million dollars.” His evident joy and amazement resonate through the image—a masterpiece of mid-20th-century photography that blends technical innovation with artistic composition. It captures the profound significance of humanity’s transformation into a spacefaring species.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 115

70 [Gemini IV] THE BEAUTY OF EARTH FROM SPACE (diptych): blue horizon over Florida, including Cape Kennedy James McDivitt, 3-7 June 1965 Printed 1965.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA images S-65-34716 and S-65-34719].

Numbered “NASA S-65-34716” and “NASA S-65-34719” in blue in the top margin, with “A Kodak Paper” watermark on the reverses (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 116 | BONHAMS

Historical context During the four-day mission, McDivitt and White conducted 11 scientific experiments, including one focused on photography to capture images of Earth’s weather and terrain. Using a NASA-modified 70-millimeter Hasselblad 500C camera loaded with Eastman colour film, they obtained these spectacular adjoining photographs with vivid shades of blue, showcasing the coast of Florida and Cape Kennedy, their launch site. From its earliest missions, NASA has been an innovative leader in Earth science studies and these photographs represented a new era in the study of the Earth and its resources.

EUR600 - 800 £500 - 670 US$650 - 870

71 [Gemini IV] FIRST U.S. SPACE WALK: Ed White floating in space over South California James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30430].

Numbered “NASA S-65-30430” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This magnificent photograph of Ed White during the first U.S. spacewalk created a sensation and remains among the most compelling images produced in space. The vibrant blue curve of Earth’s atmosphere sweeps diagonally across the frame, contrasting with the vast darkness of space above. Swirling clouds highlight the breathtaking view of the planet, while White’s gleaming spacesuit emphasizes both the fragility and resilience of humanity in space. James McDivitt’s composition lyrically portrays the expansive freedom of man in space, making it easy to understand why Ed White exclaimed, “This is the greatest experience I’ve ..... it’s just tremendous!”

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 117

72 [Gemini IV] EARTH FROM SPACE: Gulf of California, mouth of the Colorado River Ed White, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-34673].

With “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking Gemini IV photograph captures the mouth of the Colorado River as it meets the Sea, vividly showcasing the natural interplay between land, water, and desert from orbit. By capturing Earth’s landscapes in their entirety, Gemini missions laid the groundwork for Earth science studies, fostering a deeper understanding of our planet’s interconnected systems but also creating news images of sublime abstract beauty.

The photograph represents the dawning realization of Earth’s fragility and beauty, as viewed from the unique vantage point of space, sparking a shift in environmental awareness and a new appreciation for the planet we call home.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com 118 | BONHAMS

73 [Gemini IV] COVER OF LIFE: the first U.S. space walk by Ed White James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30428].

Numbered “NASA S-65-30428” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Historical context This striking photograph, unmatched in its drama and power, graced the cover of LIFE magazine on June 18, 1965, becoming one of the most iconic images in the history of photography.

Ed White is truly ‘walking in space’ above the blue Earth over Texas, tethered to the orbiting Gemini capsule.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 119

74 [Gemini IV] THE FIRST HUMAN-TAKEN PHOTOGRAPH FROM OUTER SPACE: Gemini capsule against the dark void of space Ed White, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30550].

Numbered “NASA S-65-30550” in red in the top margin, with NASA caption numbered “S-65-30550” and “A Kodak Paper” watermarks on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 120 | BONHAMS

Historical context On June 3, 1965, Ed White became the first human to take photographs from outer space while performing the first U.S. spacewalk outside the Gemini IV spacecraft. This milestone followed John Glenn’s achievement three years earlier, on February 20, 1962, when he became the first human to capture photographs from space while inside the Friendship 7 capsule.

It is the sole frame officially released by NASA at the time and the best-exposed of the few pictures taken by White using a Zeiss Contarex 35mm camera mounted atop his gas-powered manoeuvring gun. The photograph also holds a special place in history as the first-ever image showing a spacecraft in its natural habitat: space itself.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

75 [Gemini IV] ED WHITE TAKING THE FIRST PHOTOGRAPHS FROM OUTER SPACE DURING THE FIRST U.S. SPACEWALK James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30432].

Numbered “NASA S-65-30432” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Suspended in the vastness of space, Ed White is in the process of photographing the Gemini IV spacecraft with a Zeiss Contarex 35mm camera mounted atop his gaspowered manoeuvring gun, with the awe-inspiring view of Earth’s vibrant blue surface in the background. This amazing photograph marks one of the earliest instances of humans visually documenting their technological environment in space.

This image symbolizes the growing role of astronauts as both explorers and photographers, capturing the intersection of science, humanity, and the cosmos. The photograph also underscores the fragility of humanity’s presence in space, where life is sustained only by the thin layers of technology and ingenuity developed for such missions.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 121

76 [Gemini IV] SPACE SUNRISE ABOVE THE PACIFIC OCEAN Ed White or James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-34737].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-34737” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 122 | BONHAMS

Historical context This Gemini 4 photograph captures a dazzling space sunrise above the Pacific Ocean, west of the Galapagos Islands, during the 21st orbit. The spacecraft’s nose anchors the viewer to the technological marvel of human space exploration, while Earth’s delicate curvature fades into the horizon. The unintentional glare adds an ethereal quality, highlighting the planet’s fragility against the vast darkness of space. This image showcases astronauts’ growing ability to explore and artistically document the interplay between humanity, technology, and the natural world.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

77 [Gemini IV] FIRST U.S. SPACE WALK: Ed White in levitation above Earth over New Mexico James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30433A].

With RCA / Technicolor photo laboratory Quality Control stamp, Technicolor-KSC caption “GT-4 EVA by Ed White” numbered “104KSC65C-4050” and dated “6-3-1965”, and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Perhaps the most stunning photograph of astronaut Ed White during the first-ever U.S. spacewalk, conducted on June 3, 1965. Taken by James McDivitt from the spacecraft, this extremely rare photograph, unpublished after the mission, powerfully portrays White appearing to levitate above Earth.

He is tethered to the spacecraft by a golden umbilical cord that loops gracefully around him, emphasizing both his connection to and separation from his spacecraft. The photograph evokes awe and wonder while conveying a profound sense of freedom and isolation, representing a turning point in our understanding of what it means to be human in space.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 123

78 [Gemini IV] THE CRADLE OF CIVILIZATION FROM SPACE: Egypt’s Nile River Delta James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-34776].

With NASA caption numbered “S-65-34776” and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 124 | BONHAMS

Historical context This photograph, capturing Egypt’s Nile River Delta, the cradle of civilization, from space, symbolizes a new evolution in the history of humanity now able to leave its planet. It was astronaut James McDivitt’s favourite Earth photograph from the Gemini IV mission.

EUR500 - 700 £420 - 590 US$540 - 760

79 [Gemini IV] FIRST U.S. SPACE WALK: Ed White’s free-falling around Earth above Lower California James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-34642].

Numbered “NASA S-65-30428” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This final photograph taken by James McDivitt during Ed White’s historic spacewalk is the most dramatic of the series.

It is extremely rare and was exclusively published in National Geographic after the mission.

White appears as if falling toward Earth’s vibrant blue

surface, which stretches out below in stunning detail.

Tethered to the spacecraft by a golden umbilical cord looping gracefully through the frame, White’s connection to the technology sustaining his life in the harsh vacuum of space is poignantly visualized, reflecting a growing awareness of the interconnectedness of humanity and the planet.

The photograph evokes a profound sense of awe, freedom, and isolation, emotions captured in the mission transcript. It is easy to understand why Edward White had to be coaxed back into the confines of his spacecraft. “Listen, you could almost not drag me in, but I’m coming,” he said. The image also underscores the dual role of astronauts as explorers and storytellers, documenting not just the technical achievements of their missions but also the emotional and philosophical significance of venturing into the unknown.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 125

80 [Gemini IV] FIRST U.S. SPACE WALK: Ed White floating in space with the spacecraft reflected in his gold-plated visor James McDivitt, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30429].

Numbered “NASA S-65-30429” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 126 | BONHAMS

Historical context A glorious close-up photograph of the first American EVA, perfectly framed by James McDivitt, who asked Ed White for the pose: “Ed, smile. Let me take a close-up picture of you.”

White is seen floating freely above the vivid blue Earth, directly over Texas. Reflected in his visor are the black expanse of space and the spacecraft’s window through which McDivitt captured this iconic image.

This photograph was chosen as the cover of the landmark publication The View from Space by photography historians Ron Schick and Julia Van Haaften.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

81 [Gemini IV] THE FIRST SPACE PORTRAIT: Ed White, captured weightless inside the capsule after the first U.S. spacewalk James McDivitt, 3–7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-30549].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-30549” in red in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This awe-inspiring portrait of an exhilarated Ed White, back inside the Gemini spacecraft after his historic first American spacewalk, is the first photograph to show the face of a human in space. Skillfully captured by James McDivitt using a Zeiss Contarex 35mm camera loaded with space-qualified color film, this moment captures White as he processes the magnitude of his achievement. White is still wearing his EVA suit, sunlight illuminating part of his face while shadows fall over the rest.

The spacecraft’s window behind him frames the scene as he gazes out into space. The photograph conveys the emotional and human side of space exploration, highlighting the delicate balance between triumph and danger. Tragically, White died two years later, alongside Virgil “Gus” Grissom and Roger Chaffee, in the Apollo spacecraft fire at Cape Kennedy.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200 FOR ALL MANKIND

| 127

82 [Gemini IV] FIRST U.S. SPACEWALK: Ed White reluctantly returning to the spacecraft NASA, 3-7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-29766].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-29766” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic image from the Gemini 4 mission captures the final moments of Ed White’s historic spacewalk on June 3, 1965.

The photograph was taken by a 16mm camera that White had mounted on the spacecraft just before exiting. White is seen returning to the spacecraft, tethered by his umbilical cord. The open hatch of the spacecraft is visible on the right, with the camera’s shadow cast upon it, all set against the breathtaking backdrop of Earth.

The full description of the lot is available on our website: www.bonhams.com 128 | BONHAMS

The emotional significance of this moment is profound. White expressed sheer exhilaration throughout the spacewalk, resisting multiple calls from mission control to return to the spacecraft. His poignant words upon re-entering the capsule, “This is the saddest moment of my life”, reflect the deep emotional impact of this groundbreaking achievement.

This photograph encapsulates humanity’s enduring quest to explore beyond Earth’s boundaries and embodies the spirit of adventure that defined the space race of the 1960s. It graced the cover of Newsweek at the time.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

83 [Gemini IV] THE GLORIOUS RETURN OF THE FIRST US SPACEWALKER NASA, 7 June 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-29688].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-29688” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Gemini 4 splashed down in the western Atlantic, approximately 400 miles east of Cape Kennedy, after completing a recordbreaking 62-revolution, 97-hour, and 56-minute flight, including Ed White’s historic first U.S. spacewalk. White (left) and James McDivitt (right) were recovered by helicopter and flown to the aircraft carrier USS Wasp, where they received a hero’s redcarpet welcome. “I was the happiest man in the world that day”, said McDivitt, “except possibly for Ed.” White added, “I felt so good I didn’t know whether to hop, skip, jump, or walk on my hands” (National Geographic, September 1965, p. 447). The image reflects the profound national pride and support for space exploration during the 1960s at the height of the Space Race.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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84 [Mariner IV] FIRST PHOTOGRAPH OF MARS: the finest in the series of the first 21 close-up photographs ever captured of Mars NASA, 15 July 1965 Printed 1965.

Vintage gelatin silver print on fibre-based paper [NASA image 65-H1236].

With NASA caption numbered “65-H-1236” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Mariner IV spacecraft, managed by NASA’s Jet Propulsion Laboratory (JPL), captured the first images of another planet ever returned from deep space. The photographs were taken by a television camera nearly 150 million miles from Earth— farther than any camera had ever travelled before. Photograph No. 11, the mission’s most detailed image, featured the Atlantis Basin between Mare Sirenum and Mare Cimmeria, with a 96-mile-wide crater at its centre later named “Mariner” to honour the spacecraft.

“Confirming our loneliness, at least in the solar system, the scarred landscape caused us to cherish all the more intensely the luxuriant, sweetly habitable globe we live on” wrote American writer William Styron.

(Schick and Van Haaften, foreword, p. 6) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 130 | BONHAMS

85 [Gemini V] COVER OF LIFE: Earth horizon over Baja California Gordon Cooper or Pete Conrad, 21-29 August 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-45763].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-45763” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This splendid photograph, featured on the cover of LIFE Magazine (September 24, 1965, Most Remarkable Photos from Earth Ever Recorded), captures a breathtaking view of Baja California, Mexico, with the Gulf of California visible to the left, nose of spacecraft in the foreground.

As flight durations grew longer, Gemini V astronauts Gordon Cooper and Charles Conrad circled the Earth 120 times over 190 hours and 55 minutes. Their spacecraft reached an apogee of 215 miles and a perigee of 100 miles, providing more time for photography and offering spectacular points of view. They returned with dramatic colour photographs of our planet’s surface, showcasing Earth in unprecedented detail.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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86 [Gemini V] FEATURED IN NATIONAL GEOGRAPHIC: Wild China from space Gordon Cooper or Pete Conrad, 21-29 August 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-45763].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-45763” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 132 | BONHAMS

Historical context This photograph with extraordinary detail highlights uncharted territory in China and the beauty of Earthscapes from space.

“Everybody is interested in the Earth we live on. The astronauts just brought it home visually. Nobody could ever draw or paint it. I think their missions will live forever through photography”.

Les Gaver, former photography director, Public Affairs, NASA (Schick and Van Haaften, p. 12) EUR400 - 600 £330 - 500 US$430 - 650

87 [Gemini V] FEATURED IN LIFE, ‘SO VAST, SO BEAUTIFUL, SO OVERPOWERING’: Cape Kennedy from space Gordon Cooper or Pete Conrad, 21-29 August 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-45599].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-45599” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context [LIFE magazine caption for the photograph] CAPE KENNEDY The Gemini 5 view of the world included this panorama of its embarkation point. As the spaceship moved east over the Atlantic, the astronauts could see the row of launching pads lining the beach where the cape just cast into the ocean. [...] Last week NASA released the most remarkable photographs of the Earth ever recorded, some taken from as high as 180 miles in Gemini V. To Conrad the spectacle that unfolded “was so vast, so beautiful and so overpowering that somehow man and all his problems seemed insignificant”.

He and Cooper documented their journey so precisely that earthbound man can take an unprecedented armchair tour through their photographs of the world he inhabits.

EUR400 - 600 £330 - 500 US$430 - 650 FOR ALL MANKIND

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88 [Gemini VI] FROM A SCRUBBED MISSION TO THE FIRST RENDEZVOUS IN SPACE: Walter Schirra and Thomas Stafford ready for launch (diptych) NASA, 20 October 1965 and 15 December 1965 Printed 1965.

Two vintage gelatin silver prints on fibre-based paper [NASA images S-65-56162 and 65-H-2218].

The first with NASA caption on the reverse, numbered “NASA S-65-56162” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), the second with NASA caption numbered “65-H-2218” on the reverse (issued by NASA Headquarters, Washington, D.C.) Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 134 | BONHAMS

Historical context These images encapsulate a defining moment in the early space race, as the Gemini VI-A crew successfully performed the first-ever rendezvous in space with Gemini VII—an achievement that paved the way for Apollo’s lunar missions.

Mastering orbital manoeuvres and rendezvous techniques was crucial for docking with the Lunar Module and ultimately landing on the Moon.

The Gemini VI-A mission, initially plagued by setbacks— including a last-second launch pad abort—ultimately triumphed. Walter Schirra and Thomas Stafford executed a precise orbital ballet, station-keeping within just a few feet of Gemini VII, proving that controlled spacecraft rendezvous was possible.

EUR300 - 500 £250 - 420 US$320 - 540

89 [Gemini VI-A] THE HISTORIC FIRST RENDEZVOUS IN SPACE: Gemini VII spacecraft station keeping with Gemini VI-A over the Earth, at 17,000 mph Thomas Stafford, 15-16 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-63168].

Numbered “NASA S-65-63168” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context As Gemini VI-A approached its target for the world’s first rendezvous, Schirra piloted while Stafford captured the first photographs of another spacecraft in orbit. This stunning image shows the two spacecraft just 13 feet apart, with Gemini VII nearly touching the nose of Gemini VI-A, set against the blue Earth 160 miles below. The photograph represents the success of the rendezvous technique, a critical milestone for the forthcoming Moon landing.

“The rendezvous of Gemini VI-A with Gemini VII was a milestone in space flight. It was the first opportunity to closely examine a space vehicle in orbit and proved our concept of rendez-vous.”

—James Lovell (Cortright, p. 165) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 135

90 [Gemini VI-A] FIRST RENDEZ-VOUS IN SPACE: Gemini VII spacecraft orbiting over the cloud-covered Earth, at 17,000 mph Thomas Stafford, 15-16 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-63112].

Numbered “NASA S-65-63112” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 136 | BONHAMS

Historical context A great photograph of Gemini VII orbiting the Earth, 180 feet away from Gemini VI-A. “The sight was utterly fantastic—to fly in close formation as we have done for many years in fighter aircraft. But at 17,000 miles an hour. The photo illustrates that man can control a space vehicle with precision in close vicinity to another space vehicle.”

— Thomas Stafford (Cortright, p. 165) EUR600 - 800 £500 - 670 US$650 - 870

91 [Gemini VI-A] FIRST RENDEZVOUS IN SPACE: a “golden disk in the sky” Thomas Stafford, 15-16 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-63223].

Numbered “NASA S-65-63223” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A breathtaking view of Gemini VII captured during history’s first space rendezvous. The golden adapter end of the spacecraft glows brilliantly in the sunlight, just 42 feet away, as it hovers in station-keeping mode above Earth, 160 miles below. The golden disk, a thermal blanket, protected vital machinery and instruments from the Sun’s intense rays in the vacuum of space, while the loose straps at the back were remnants torn free during launch.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 137

92 [Gemini VII] THE LAUNCH OF THE FIRST LONG-DURATION SPACE MISSION (diptych) NASA, 4 December 1965 Printed 1965.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA image S-65-61838 (second photograph)].

With “A Kodak Paper” watermark on the reverses (issued by NASA / General Dynamics).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 138 | BONHAMS

Historical context These photographs vividly capture the departure of the first long-duration mission of the early space age, which included a pivotal rendezvous with Gemini VI-A, scheduled for launch just eight days later. Frank Borman and James Lovell are wearing lightweight pressure suits designed to be removable during their marathon mission. With 14 days in space, Gemini VII set the record for the longest spaceflight of the Mercury, Gemini, and Apollo programs.

EUR600 - 800 £500 - 670 US$650 - 870

93 [Gemini VII] FIRST MOONRISE: first photograph of the Moon rising over the Earth taken from space by humans James Lovell or Frank Borman, 4-18 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-65-63872].

Numbered “NASA S-65-63872” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A major milestone of space photography. During their historic 14-day mission in space on board Gemini VII, Frank Borman and James Lovell were the first humans to bring back photographs of the Moon rising over the Earth as seen from space. Here, the full Moon is rising over the Indian Ocean.

This fantastic Moonrise would only be surpassed by the extraordinary Earthrise Borman and Lovell would photograph three years later on Apollo 8.

“Once the Apollo program was under way, it dawned on me that soon somebody was going to be taking a picture of the Earth from the Moon, so I took this picture of the Moon. When we got there on Apollo 8, we took the Earthrise photograph; they were like before-and-after pictures.”

James Lovell (Schick and Van Haaften, p. 5) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 139

94 [Gemini VII] FISHEYE VIEW INSIDE THE CRAMPED FIRST TWO-MAN US SPACECRAFT NASA, December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-60604].

With “A Kodak Paper” watermarks on the reverse (issued by NASA / General Dynamics).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 140 | BONHAMS

Historical context A remarkable view showcasing the marvellously engineered Gemini capsule, with its seats, control panels, and open hatches clearly visible. The Gemini capsule was exceptionally compact, providing astronauts even less room than a driver and passenger in a sports car. Unlike their Mercury predecessors, Gemini astronauts had full control of their spacecraft. With orbital manoeuvring rockets, the capsule could be actively ‘flown’ in orbit—a groundbreaking advancement crucial to completing their ambitious missions.

EUR400 - 600 £330 - 500 US$430 - 650

95 [Gemini VII] “BEAT ARMY”: Gemini VI-A crew holding a sign in the window during the first rendezvous in space Frank Borman or James Lovell, December 4-18, 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-64040].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-64040” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4cm. (8 x 10in.)

Historical context The famous ‘Beat Army’ close-up of Gemini VII during history’s first space rendezvous—a critical milestone for the planned lunar missions of Project Apollo, symbolizing the extraordinary precision of spacecraft maneuvering at 17,000 mph. Gemini VI-A and VII were maneuvered, as Schirra later described, “window to window and nose to nose,” close enough for the astronauts to wave at each other through the portholes and for Schirra to display a playful “Beat Army” sign—aimed in jest at Borman, the sole West Point graduate among the three Navy pilots aboard the two spacecraft.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 141

96 [Gemini VII] TITAN’S SECOND STAGE AND EARTH’S LIMB AT SUNSET: the first image of a rocket stage captured from space by humans Frank Borman or James Lovell, 4-18 December 1965 Printed 1965.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-65-64554].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-65-64554” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 142 | BONHAMS

Historical context This image, a still frame captured by the crew with the 16mm camera aboard Gemini VII, is the only view in the Gemini program showing the rocket’s second stage drifting through space after separation. A stunning and ethereal view of Earth’s limb at sunset is visible in the background.

Unlike the Redstone or Atlas rockets of Project Mercury, the Gemini Titan rocket was essentially two rockets in one. The first stage lifted the spacecraft to an altitude of 64 km (40 miles) before separating, allowing the second stage to propel it into orbit. Once its fuel was depleted, the second stage was also discarded.

EUR600 - 800 £500 - 670 US$650 - 870

97 [Project Gemini] ICONIC PORTRAIT OF NEIL ARMSTRONG IN THE GEMINI G-2C SILVER SPACESUIT, CAPTURED BEFORE HIS FIRST SPACE MISSION NASA, 2 March 1964 Printed 1964.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-64-17092].

Numbered “NASA S-64-17092” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking portrait of Neil Armstrong highlights his pivotal role in the Gemini program, which laid the foundation for the Apollo lunar landings. The reflective Gemini G-2C silver spacesuit, with its intricate life-support connections, represents NASA’s cutting-edge technology of the 1960s.

Armstrong’s calm and focused demeanor reflects the professionalism and courage required of astronauts venturing into the unknown, qualities he exemplified two years later during the perilous docking of Gemini VIII. This image stands as an enduring symbol of Armstrong’s historic journey to becoming the first human to set foot on another world.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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98 [Gemini VIII] THE FIRST SATELLITE PHOTOGRAPHED FROM SPACE BY HUMANS: Agena Target Vehicle Over Earth Before History’s First Docking David Scott, 16-17 March 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-25780].

Numbered “S-66-25780” in red in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context David Scott captured this stunning photograph of the Agena Target Docking Vehicle from 55 feet away as Neil Armstrong piloted Gemini VIII for the first docking of two spacecraft in orbit. Highlighted by the Sun, Agena appears to hang motionless against the blue backdrop of Earth. Armstrong described it as the first unmanned satellite successfully photographed from space.

Shortly after, Gemini VIII completed history’s first space docking, a critical milestone for future Moon landings. The triumph quickly turned into a dangerous emergency when a spacecraft failure threatened the astronauts’ lives. The crew performed an emergency undocking and safely returned to Earth, demonstrating NASA’s ability to respond to crises in space.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 144 | BONHAMS

99 [Gemini IX-A] FROM HELL TO PARADISE: the return of the second U.S. spacewalker NASA, 7 June 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-37712].

Numbered “NASA S-66-37712” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Center, Houston, Texas).

where an astronaut tried to perform real work outside the spacecraft. With no secure handholds or footholds, Cernan struggled against the vacuum of space, exhausting himself as he wrestled with his wrench—only to find himself spinning uncontrollably. His suit’s cooling system overheated, his visor fogged up, and the risk of being unable to return to the capsule loomed over the mission.

20 x 25.4 cm. (8 x 10 in.)

Stafford later revealed in the documentary Mission Impossible: Gemini that there was real concern that Cernan might not make it back inside. Since it was unthinkable to cut him loose, the only contingency was a tragic last resort: re-entering with Cernan still tethered outside, a move that would have doomed both men.

Historical contexte From a spacewalk in hell to the triumphant cheers on Earth.

After one of the most harrowing spacewalks in history, astronauts Gene Cernan and Tom Stafford emerge safely from their Gemini 9-A capsule, greeted with relief and celebration.

Against all odds, Cernan fought his way back inside, securing the hatch just in time for their successful return to Earth.

This photograph immortalizes their survival, a testament to the resilience, skill, and sheer determination that defined the Gemini era.

This seemingly cheerful moment belies the extreme danger they faced in orbit. Cernan’s EVA (extravehicular activity) was only the third spacewalk ever attempted and the first

EUR300 - 500 £250 - 420 US$320 - 540

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 145

100 [Gemini IX-A] THE ANGRY ALLIGATOR Eugene Cernan, 3-6 June 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-37966].

Numbered “S-66-37966” in red in the top margin, with NASA caption and “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 146 | BONHAMS

Historical context A fantastic view of the Augmented Target Docking Adapter (ATDA) from an altitude of about 300 km and a range of 38 feet during the third rendezvous over Earth. The failure of the docking adapter’s protective cover to fully separate prevented the docking of the two spacecraft. Thomas Stafford memorably described the scene as looking like “an angry alligator out here rotating around.”

EUR600 - 800 £500 - 670 US$650 - 870

101 [Gemini IX-A] “SPACEWALK FROM HELL”: Eugene Cernan performing the dramatic second US spacewalk Thomas Stafford, 3-7 June 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-38515].

Numbered “NASA “S-66-38515” in red in the top margin, with NASA caption numbered “S-66-38515” and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context A rare and striking photograph of Eugene Cernan suspended in the dark void of space—the only Gemini IX spacewalk photograph released by NASA after the mission. Connected to the Gemini spacecraft by his EVA umbilical cord, Cernan struggled through the second U.S. spacewalk, an ordeal that quickly turned into a harrowing test of endurance. His visor fogged up, preventing him from using the Astronaut Manoeuvring Unit (AMU), and he fought against his own tether in weightlessness.

The mission’s challenges were severe. As Stafford later revealed in the 1999 documentary Mission Impossible: Gemini, there was genuine concern that Cernan would not be able to re-enter the spacecraft. In a chilling contingency plan, if he became trapped outside, Stafford would have been forced to attempt re-entry with Cernan still attached by his umbilical—a scenario that would have resulted in the death of both astronauts.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200 FOR ALL MANKIND

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102 [Surveyor I] SHADOW SELF PORTRAIT OF THE FIRST AMERICAN MOON LANDER NASA, 13 June 1966 Printed 1965.

Vintage gelatin silver print on fibre-based paper [NASA image S-6639679].

Numbered “NASA S-66-39679” in black in the top margin, with NASA caption numbered “S-66-39679” on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context On June 2, 1966, Surveyor I captured this historic photograph, immortalizing its own presence on the lunar surface as the long lunar day neared its end. With the evening Sun casting its shadow, it became a symbol of humanity’s first steps in robotic lunar exploration.

The full description of the lot is available on our website: www.bonhams.com 148 | BONHAMS

Just a few months earlier, in February 1966, the Soviet Luna 9 became the first probe to soft-land on the Moon, transmitting crude images. Surveyor I followed, landing in the Ocean of Storms near Crater Flamsteed, delivering higher-resolution images that provided an unprecedented view of the Moon’s surface. This pioneering achievement laid the groundwork for future Apollo landings.

“Surveyor I stands physically on the Moon, an enduring monument to its creators, a solitary artifact of men who live on another body of the solar system, a quarter of a million miles away, but its true resting place is in the pages of history, where even now is being inscribed man’s conquest of space.”

Homer Newell, Associate Administrator, NASA (Cortright, p. 62) EUR600 - 800 £500 - 670 US$650 - 870

103 [Gemini X] SPACE LEGENDS: John Young and Michael Collins’ official crew portrait with Titan model and Earth globe NASA, 18-21 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-44601].

Numbered “NASA S-66-44601” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This great portrait of Gemini X prime crew John Young (left) and Michael Collins (right) captures the pioneering spirit of the Space Race era and humanity’s drive to explore beyond Earth.

Both astronauts played pivotal roles in shaping the future of space exploration—Young as the commander of Apollo 16 and the first person to fly six space missions, and Collins as the command module pilot of Apollo 11, ensuring the safe return of the first Moon landing crew.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 149

104 [Gemini X] THE FIRST-EVER PHOTOGRAPH OF A MANNED SPACECRAFT BOOSTING IN SPACE Michael Collins, 18-21 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-46249].

Numbered “NASA S-66-46249” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captured by Michael Collins in Earth orbit is the first-ever image of a spacecraft with its engine firing. After docking with Agena 10, the Gemini X crew ignited the Agena’s powerful 16,000-pound-thrust engine, boosting the combined vehicles to a record-breaking apogee of 413 nautical miles—the highest altitude ever achieved in manned spaceflight at the time. This milestone demonstrated the Gemini program’s ability to perform precise orbital manoeuvres and execute high-altitude missions, paving the way for the Apollo Moon landings. The photograph symbolizes both an engineering triumph and humanity’s progress toward reaching another world.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 150 | BONHAMS

105 [Gemini X] COVER OF LIFE: Agena illuminated by orbital sunrise Michael Collins, 18-21 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-46122].

Numbered “NASA S-66-46122” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

over the South Atlantic Ocean, as Gemini X prepared for docking, just 46 feet away. The image highlights the Agena bathed in sunlight, contrasting against the deep blackness of space and Earth’s natural beauty 185 miles below. A nearidentical photograph from this sequence graced the cover of LIFE Magazine in August 1966 under the headline “Highest photos of Earth taken by man.”

20.3 x 25.4 cm. (8 x 10 in.)

“If you see something out the window that’s interesting and the Sun happens to be in the wrong position, that’s just too bad; you shoot anyway because it’s a very transient, rapidly changing world out there, and you can’t wait for the Sun to get in the right position.”

— Michael Collins (Schick and Van Haaften, p. 71).

Historical context This photograph captures a striking view of the Agena 10 floating in the void of space during a stunning space sunrise

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 151

106 [Gemini X] THE SPACECRAFT IN A RECORD-HIGH ORBIT OVER THE BLUE EARTH John Young, 18-21 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-45688].

Numbered “NASA S-66-45688” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 152 | BONHAMS

Historical context Gemini X was the first mission to achieve both a flawless docking and the successful firing of Agena 10’s rocket, boosting the spacecraft to a record-breaking apogee of 413 nautical miles. This milestone allowed Collins and Young to view Earth from a higher altitude than any human had ever reached. LIFE Magazine celebrated the achievement in its August 1966 issue under the headline “Highest photos of Earth taken by man.”

EUR500 - 700 £420 - 590 US$540 - 760

107 [Gemini X] THE SPACECRAFT APPROACHING AGENA FOR THE WORLD’S FIRST FLAWLESS SPACE DOCKING Michael Collins, 18-21 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-46130].

Numbered “NASA S-66-46130” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This spectacular photograph captures Gemini X’s spacecraft nearly touching the Agena 10 Target Vehicle (about 15 feet apart) during the final moment of approach for docking. This docking carried special significance, following the neardisastrous incident during Gemini VIII, where a docking malfunction sent the spacecraft spiralling out of control. In contrast, the Gemini X docking was the first flawless execution of its kind, proving that spacecraft could rendezvous and connect safely in orbit—a critical milestone for complex missions, including the eventual Apollo Moon landings.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 153

108 [Gemini XI] LAUNCH OF THE HIGHEST EARTH ORBIT MISSION OF THE EARLY SPACE AGE NASA, 12 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-50735].

Numbered “NASA S-66-50735” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 154 | BONHAMS

Historcial context Gemini XI launched on Sept. 12, 1966, at precisely 9:42 a.m.

(EST) from Launch Complex 19 at Cape Kennedy, Florida.

Liftoff occurred within a tight two-second launch window, the shortest of the Gemini Program, ensuring a successful rendezvous with the Agena Target Vehicle on the first orbit.

Just one hour and 37 minutes earlier, the Agena had been boosted into orbit by an Atlas rocket from Launch Complex 14.

Once docked to the Agena, astronauts Pete Conrad and Richard Gordon reached the highest Earth orbit ever flown by humans, a record that stood for almost 60 years until 2024.

EUR600 - 800 £500 - 670 US$650 - 870

109 [Lunar Orbiter I] EXTRAORDINARY WIDE-ANGLE VIEW OF THE CRESCENT EARTH RISING OVER THE MOON’S FAR SIDE: humanity’s second photograph of Earth from the Moon NASA, 25 August 1966 Printed 1966.

Vintage gelatin silver print on fibre-based paper [NASA image 66-H1349].

With NASA caption numbered “66-H-1349” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This extremely rare photograph, taken on August 25, 1966, shows a crescent Earth rising above the vast expanse of the Moon’s far side. Captured as medium-resolution frame LR1 117M, it is the second image of Earth ever taken from lunar orbit and one of only two captured by Lunar Orbiter 1.

The photo reveals the rugged beauty of the far side, with its cratered surface in the foreground, including the prominent dark crater Tsiolkovsky to the left. The lines across the image are artifacts of the spacecraft’s groundbreaking image transmission system, which scanned and relayed the photographs framelet by framelet back to Earth for reassembly.

Together with Lunar Orbiter frame 102 captured two days earlier, this historic image marked the first time humanity saw itself from another celestial body, highlighting the vastness of space and Earth’s delicate place within the cosmos.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500 FOR ALL MANKIND

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110 [Lunar Orbiter I] HUMANITY’S FIRST PHOTOGRAPH OF EARTH FROM THE MOON: first published version NASA, 23 August 1966 Printed August-September 1966.

Vintage gelatin silver print on fibre-based paper [NASA image L-666591].

Numbered “L-66-6591” in black in the top margin, with NASA caption on the reverse (issued by NASA Langley Research Centre, Hampton, Virginia).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph marks a pivotal moment in space exploration—the first image of Earth captured from the vantage point of another world. It is the rare, original version of the image transmitted to Earth on August 23, 1966, and released shortly after. The NASA caption presented the photograph with Earth on the left of the Moon (since Earth’s North Pole was at the top); but the world’s media instinctively rotated the image to show Earth above. NASA re-released an enhanced version of the photograph on October 24, 1966.

The full description of the lot is available on our website: www.bonhams.com 156 | BONHAMS

This breathtaking view, later witnessed only by Apollo astronauts as they emerged from the Moon’s far side, symbolizes humanity’s expanding perspective and the profound achievement of exploring beyond our planet.

“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. We have achieved the ability to contemplate ourselves from afar and thus, in a measure, accomplish the wish expressed by Robert Burns: ‘To see ourselves as others see us!’”

Floyd Thompson, NASA Langley Research Centre, 1967 (Cortright, pp. 84-85) EUR3,600 - 4,600 £3,000 - 3,800 US$3,900 - 5,000

111 [Gemini XI] FIRST HUMAN VIEW OF EARTH’S CURVATURE Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54543].

Numbered “NASA S-66-54543” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Once docked with the Agena Target Vehicle (its L-band antenna visible in the left foreground), the Gemini XI astronauts used its propulsion system to boost their apogee to 740 nautical miles (1,370 km)—the highest Earth orbit ever achieved by a manned spacecraft. This record stood until 2024, although astronauts on the Apollo missions travelled farther to reach the Moon.

Pete Conrad and Richard Gordon were the first humans to witness such a spectacular view, exclaiming, “It’s GO up here and the world’s round. [...] It’s really fantastic: You wouldn’t believe it!”

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 157

112 [Gemini XI] THE FIRST SPACE VEHICLE TETHERED TO A ANOTHER IN ORBIT: Agena over the Gulf of California Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54810].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-66-54810” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context After Richard Gordon tethered the two spacecraft during his EVA, Pete Conrad undocked Gemini XI from the Agena and slowly backed away, stretching the 100-foot tether taut.

Initially, the vehicles wobbled, and the tether swung like a jump rope, as seen in the photograph. With a burst from his thrusters, Conrad stabilized the gently rotating spacecraft, creating a mild centrifugal force that simulated 0.00015 g of artificial gravity.

NASA’s chief of photography, Richard Underwood, remarked: “[Gemini] XI did it great. They even had a tether line hooked up to the Agena and were going round and round like this [gestures]. Unbelievable series of photographs.”

(NASA JSC Oral History) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 158 | BONHAMS

113 [Gemini XI] SPACE COWBOY: Richard Gordon’s EVA, astride the Gemini spacecraft in outer space NASA, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54454].

Numbered “NASA S-66-54454” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context LIFE magazine titled this iconic photo: “SPACE COWBOY’S GALLOP OVER THE GLOBE” (LIFE, September 30, 1966, p.106).

High above Earth during Gemini XI, Richard Gordon is seen moving forward to attach a 100-foot Dacron tether from the Agena target vehicle, visible directly in front of him, to the spacecraft. This dramatic moment was captured by a movie camera mounted over the open hatch of the spacecraft.

“This photograph shows me astride the nose of the Gemini spacecraft during the umbilical EVA of Gemini XI. This pose inspired Pete Conrad to respond with the words, ‘Ride ‘em, cowboy!’”

— Richard Gordon (Cortright, p.182) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 159

114 [Gemini XI] THE FIRST PHOTOGRAPH OF AN ENTIRE SUBCONTINENT FROM SPACE: India seen from high-altitude orbit Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54677].

Numbered “NASA S-66-54677” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 160 | BONHAMS

Historical context One of the most stunning Earth photographs of the Space Age, “framed the way a painter would frame it”, according to NASA’s former photography director, Les Gaver. As Gemini XI rose higher above Earth than any humans had ever gone before, the astronauts were struck by the magnitude of their altitude when the entire subcontinent of India came into view. Pete Conrad, deeply moved, remarked on “how small the world is.”

EUR700 - 1,000 £590 - 840 US$760 - 1,100

115 [Gemini XI] SPECTACULAR HIGH-ORBIT VIEW ABOVE THE ARABIAN PENINSULA Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54669].

Numbered “NASA S-66-54669” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This vivid photograph, taken with the Hasselblad Super Wide camera and its 38mm lens, captures Oman and Saudi Arabia on the Arabian Peninsula, with Iran, Pakistan, and India visible in the background. The strait connecting the Persian Gulf and the Gulf of Oman is directly above the antenna. The image looks north from an altitude of 270 nautical miles during Gemini XI’s 26th revolution, as the spacecraft ascended for its recordbreaking climb in Earth orbit.

Gemini’s wonderful photographs of the Earth marked the birth of our environmental consciousness.

EUR500 - 700 £420 - 590 US$540 - 760

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| 161

116 [Gemini XI] RICHARD GORDON RETURNING TO THE SPACECRAFT HATCH AFTER A GRUELING SPACEWALK NASA, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-66-54454].

Numbered “NASA S-66-54454” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 162 | BONHAMS

Historical context This striking image, captured by a 16 mm movie camera, shows astronaut Richard Gordon in outer space at the end of an arduous and exhausting spacewalk. During the mission, Gordon faced significant challenges while attempting to attach a tether between the spacecraft and the Agena target vehicle, orbiting 160 nautical miles above the Atlantic Ocean. Physical exhaustion and sweat blinding his right eye forced him to cut the EVA short. Here, he is seen approaching the hatch, with the stunning blue curvature of Earth in the background.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

117 [Gemini XI] SURREAL SPACE SUNSET: terminator, Earth’s limb, sunset and camera’s reflection in the window Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54710].

Numbered “NASA S-66-54710” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in)

Historical context This visually stunning photograph, reminiscent of a science fiction movie cover, was captured over the east coast of Australia (Brisbane), looking west toward the terminator, limb, and sunset. Taken from the Gemini XI spacecraft at a nearapogee altitude of 720 nautical miles during its 26th revolution, it showcases the breathtaking beauty of Earth from space. The reflection of Richard Gordon’s Hasselblad SuperWide camera and hand is visible in the window, adding a human touch to this extraordinary view.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 163

118 [Gemini XI] THE RECORD-HIGH ORBITAL VIEW OF THE EARLY SPACE AGE: sunlit Australia from 740 nautical miles Richard Gordon, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-54706].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-66-54706” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captures the illuminated western half of Australia, from Perth to Port Darwin, with the ocean above, as seen from Gemini XI’s record-breaking apogee. This never-before-seen view “around the top of the world” left the astronauts in awe (see mission transcript).

“The Sun was slowly settling into the west, causing an angular reflection in the glass window of the spacecraft. Dick Gordon and I were looking at western Australia. This picture was taken approximately when we reached the high point of our highaltitude orbit. We were excited, and although we had planned the high orbit for months, we never realized what a sight we would see.”

— Pete Conrad (Cortright, p. 195) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 164 | BONHAMS

119 [Gemini XI] FLY HIGH: the highest Earth orbiters of the early Space Age NASA, 7 June 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-45636].

Numbered “NASA S-66-45636” in red in the top margin , with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Center, Houston, Texas).

20 x 25.4 cm. (8 x 10 in.)

Historical contexte The Gemini XI crew relives their incredible space record—one that stood unchallenged for 58 years until 2024.

Seated in a dimly lit auditorium, Gemini XI astronauts Charles “Pete” Conrad (center) and Richard Gordon (right) watch their own launch projected on the screen during a post-flight press conference. Just days earlier, they had set a new record, reaching an unprecedented altitude of 1,368 km (850 miles)— the highest Earth orbit ever achieved by a crewed spacecraft at the time. Their mission pushed the boundaries of human spaceflight, proving techniques that would later be essential for Apollo’s journey to the Moon.

This record for the highest crewed Earth orbit stood unbroken until 2024, when Jared Isaacman and the Polaris Dawn crew aboard a SpaceX Dragon capsule aimed to surpass Gemini XI’s altitude as part of their private spaceflight mission.

In the foreground, George Low, Deputy Director of the Manned Spacecraft Center, listens intently. A small model of the Gemini capsule rests on the table, a tangible reminder of the spacecraft that carried them to the highest orbit of the early space age.

EUR300 - 500 £250 - 420 US$320 - 540

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| 165

120 [Lunar Orbiter II] WIDE-ANGLE VIEW OF THE ‘PICTURE OF THE CENTURY’: lunar horizon over Crater Copernicus (Large Format) NASA, 24 November 1966 Printed 1966.

Large format vintage gelatin silver print on fibre-based paper [NASA image LRC II-162M].

Blank on the reverse (issued by NASA Langley Research Centre, Hampton, Virginia).

51 x 61 cm. (20 x 24 in.)

Historical context A very rare large format of the medium resolution version (Lunar Orbiter frame II-162M) of the “Picture of the Century.”

This photograph captures the dramatic Crater Copernicus on the lunar horizon, taken with the 80mm lens. The striking clarity of the image is due to the Moon’s lack of atmosphere.

Comparable photographs from Earth would never achieve this sharpness due to atmospheric haze.

The full description of the lot is available on our website: www.bonhams.com 166 | BONHAMS

The Lunar Orbiter used two cameras: one with a 3-inch focal length and another with a 24-inch focal length. These cameras were boresighted, ensuring that every high-resolution image was encompassed within a medium-resolution frame.

The system employed a combination of conventional film photography and an innovative Bimat chemical development process, paired with electronic scanning readout. This allowed the images to be transmitted to Earth bit by bit over radio.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

121 [Lunar Orbiter II] THE PICTURE OF THE CENTURY: bird’s eye view into the heart of Crater Copernicus NASA, 24 November 1966 Printed 1966.

Vintage gelatin silver print on fibre-based paper [partial view of NASA image LRC II-162H2, H3].

With NASA caption numbered “66-H-1470” on the reverse (issued by NASA Headquarters, Washington, D.C.).

25.4 x 20.3 cm. (10 x 8 in.)

“On first seeing this oblique view of the crater Copernicus, I was awed by the sudden realization that this prominent lunar feature I have often viewed by telescope is a landscape of real mountains and valleys, obviously fashioned by tremendous forces of nature.”

— Oran Nicks, NASA Office of Space Flights and Applications (Cortright, p. 88) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

Historical context This breathtaking view, one of Lunar Orbiter II’s most iconic achievements, marked a pivotal moment in humanity’s understanding of the Moon. The Moon transformed from a distant object in the night sky to a dramatic world awaiting exploration. Taken with the spacecraft’s 610mm high-resolution telephoto lens, this historic photograph was hailed as “The Picture of the Century” upon its release, leaving millions in awe.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 167

122 [Gemini XII] THE FINAL LAUNCH OF PROJECT GEMINI: the Titan rocket lifting off with James Lovell and Buzz Aldrin aboard NASA, 11 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image 104-KSC-66PC-343].

With NASA caption numbered “104-KSC-66PC-343” and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 168 | BONHAMS

Historical context Gemini XII spacecraft atop its Titan launch vehicle, carrying astronauts James Lovell, Command Pilot, and Buzz Aldrin, Pilot, was launched from the Kennedy Space Center’s Launch Complex 19 at 3:46 p.m. (EST), Nov. 11, 1966.

The Gemini XII mission, flown from November 11–15, 1966, marked the culmination of the Gemini Program. The flight plan included rendezvous and docking with a target vehicle, as with previous missions, but its primary objective was to master extravehicular activity (EVA)—a critical step for the success of Apollo and the Moon landing goal.

EUR500 - 700 £420 - 590 US$540 - 760

123 [Gemini XII] THE AGENA WITH U.S. FLAG ABOVE THE BLUE EARTH Buzz Aldrin or James Lovell, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-63393].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A breathtaking view of the Agena Target Vehicle stationkeeping at approximately 50 feet from the Gemini capsule over Borneo, Sibutu Passage, Sulu Archipelago, and the Philippine Islands during the third orbit of Earth. An eight-foot L-band radar antenna rises just behind the docking cone, which is designed to receive Gemini XII’s nose. The American flag is prominently visible on the Agena.

Both astronauts were thrilled by the view, with Buzz Aldrin capturing the scene and Jim Lovell remarking, “Oh, we’re taking pictures of the beautiful Agena here.”

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 169

124 [Gemini XII] BUZZ ALDRIN PERFORMING THE FIRST FLAWLESS SPACEWALK IN HISTORY NASA, 11-15 November 1966 NASA, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-66-62938].

Numbered “NASA S-66-62938” in red the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This stunning image, capturing Buzz Aldrin at the Agena work station during Gemini XII, marks the first fully successful spacewalk, an undeniable triumph in human space exploration. His flawless execution validated critical techniques for all subsequent extravehicular activities (EVAs), setting the foundation for future space operations.

The picture was recorded by a 16mm Maurer camera, which Aldrin himself mounted on the exterior of the spacecraft docked to the Agena target vehicle. In the foreground, the spacecraft’s open hatch and Aldrin’s 9-metre umbilical EVA cord are visible, emphasizing his tethered yet daring manoeuvring in the weightlessness of space.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 170 | BONHAMS

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| 171

“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.”

Gus Grissom, Mercury Redstone 4 (from his posthumous 1968 book Gemini: A Personal Account of Man’s Venture Into Space, p. 108)

125 [Gemini XII] THE FIRST SELFIE IN OUTER SPACE Buzz Aldrin, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-62926].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-66-62926” in red in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A photography icon: the first self-portrait of a human being in outer space was captured spontaneously by Buzz Aldrin, who radioed to Mission Control: ‘I never did think about taking a picture of myself.’

The original NASA caption was rather mundane: “Astronaut Aldrin is photographed with the spacecraft hatch open.”

Much later, Buzz Aldrin himself reclaimed the image as the first selfie in space, captioning it: “THE BEST SELFIE EVER.” This extraordinary photograph truly embodies the pioneering spirit of astronauts, the grandeur of space exploration, and humanity’s relentless drive to explore the unknown.

EUR8,000 - 12,000 £6,700 - 10,000 US$8,700 - 13,000

The full description of the lot is available on our website: www.bonhams.com 172 | BONHAMS

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| 173

126 [Gemini XII] OUTER SPACE VIEW OF GEMINI SPACECRAFT DOCKED TO AGENA OVER EARTH DURING STAND-UP EVA Buzz Aldrin, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-62880].

With “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10in.)

Historical context This stunning photograph was taken by Buzz Aldrin during his first stand-up EVA, using the Super Wide Hasselblad camera with its 38mm lens, as he floated freely in zero gravity, standing in the open hatch of Gemini XII. The spacecraft, docked to the Agena, drifts high above the vast Pacific Ocean, with the Agena’s L-band antenna prominently visible in the foreground.

The delicate curve of Earth, adorned with scattered clouds, contrasts strikingly against the spacecraft’s metallic surface, which gleams under the unfiltered sunlight of space.

Enthralled by the breathtaking view, Aldrin exclaimed: “What a beautiful view. [...] What a thrill!”

The full description of the lot is available on our website: www.bonhams.com 174 | BONHAMS

During Gemini XII, Aldrin completed three EVAs (Extravehicular Activities)—two stand-up EVAs from the open hatch and this more complex excursion outside the spacecraft.

From the mission transcript during the stand-up EVA (photograph taken at T+020:34:45 from launch) : 019:34:04 Aldrin: I imagine there’s a little bit of tension on my hoses now, but otherwise I’m floating now, completely free.

My feet are just above the seat.

019:34:25 Lovell: Okay.

019:34:28 Aldrin: What a beautiful view. [...]

019:35:08 Aldrin: What a thrill! [...]

020:31:23 Aldrin: And give me something to take a picture of.

020:31:26 Lovell: Okay. I’m turning around this - I’m going to rotate - yawing right, all the way around till the Sun is behind you.

020:31:33 Lovell: Okay?

020:31:35 Aldrin: Yes. Yawing around to the right. All right. [...]

020:33:14 Aldrin: Lots and lots of water out here.

020:33:21 Lovell: Might as well start taking pictures. [...]

020:34:45 Aldrin: Lots and lots of Pacific Ocean down there.

EUR600 - 800 £500 - 670 US$650 - 870

127 [Gemini XII] THE SUN RISING ABOVE THE SPACECRAFT: incredible view from outer space during the stand-up EVA Buzz Aldrin, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-62875].

Numbered “NASA image S-66-62875” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This awe-inspiring photograph captures the Sun rising above Gemini XII during Buzz Aldrin’s first stand-up EVA. Taken from outside the capsule, the image showcases the Sun’s intense glare radiating over the spacecraft’s metallic surface, producing a striking lens flare effect.

The scene embodies the raw beauty and isolation of space, where the Sun, unfiltered by Earth’s atmosphere, blazes as an overwhelming beacon against the deep black void. The spacecraft’s reflective surface, gleaming under the sunlight, highlights the fragility of human-made technology operating in the harshness of space.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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| 175

128 [Gemini XII] GRACEFUL SPACE DANCE: the tethered Agena and Gemini drifting in unison above Earth Buzz Aldrin, 12-15 September 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-63519].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-66-63519” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 176 | BONHAMS

Historical context This sublime photograph captures the Gemini XII spacecraft and the Agena Target Docking Vehicle performing a graceful dance in the dark void of space, connected by a 100-foot tether over the Gulf of California. The spacecraft drift in perfect synchronization, silhouetted against the brilliant blue Earth.

James Lovell totalling at the sight, exclaiming: “We’re in perfect shape. It’s just beautiful and just perpendicular.”

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

129 [Gemini XII] BUZZ ALDRIN’S TRAILBLAZING SPACEWALK: the first flawless EVA in space history James Lovell, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-66-62782].

Numbered “NASA S-66-62782” in red the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This incredible photograph shows Buzz Aldrin working like a “human fly” outside the spacecraft during his spacewalk. The L-band antenna of the Agena and Aldrin’s umbilical cord are visible above him as he carefully manoeuvres in microgravity.

In his right hand, he grips a Velcro handhold—one of the innovative tools that enabled him to move effortlessly along the spacecraft.

The success of Aldrin’s spacewalk laid the groundwork for the Apollo program, ensuring that future astronauts could confidently work outside their spacecraft—an essential capability for the upcoming Moon landings.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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| 177

130 [Gemini XII] THE FIRST HUMAN VIEW OF A SOLAR ECLIPSE FROM OUTER SPACE Buzz Aldrin or James Lovell, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-63414].

Numbered “NASA image S-66-63414” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 178 | BONHAMS

Historical context This extraordinary Gemini XII photograph captures a rare view of a partial solar eclipse from space. The crescentshaped Sun, partially obscured by the Moon, is seen against the vast blackness of space—an image that would have been impossible to witness from Earth’s surface at the same moment. This image was not originally part of the mission plan and highlights how human spaceflight allows for spontaneous discoveries and provides rare perspectives on cosmic events that are impossible to witness from Earth.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

131 [Gemini XII] SPECTACULAR SUNLIT EARTH OVER THE BAHAMAS Buzz Aldrin or James Lovell, 11-15 November 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-63418].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context In this breathtaking southward view, bathed in harsh sunlight, the southern half of Florida, the Bahamas (Andros, Grand Bahama, Bimini), and Cuba—featuring both industrialized and untouched landscapes—unfold beneath Gemini XII docked to the Agena. Captured with the Super-Wide Hasselblad camera and its 38mm lens, this luminous image beautifully showcases Earth’s natural splendour from space.

EUR600 - 800 £500 - 670 US$650 - 870

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| 179

132 [Lunar Orbiter III] STARK LUNAR HORIZON NEAR THE TERMINATOR OVER CENTRAL BAY (Large Format) NASA, February 1967 Printed 1967.

Large-format vintage gelatin silver print on fibre-based paper [NASA image LRC III-85M].

Numbered and captioned in black in the lower margin (NASA Langley Research Centre, Hampton, Virginia).

46 x 58 cm. (18 x 23 in.)

Historical context One of the rare and striking oblique views of the lunar horizon captured by the Lunar Orbiter spacecraft. This mediumresolution image (Lunar Orbiter frame III-123M) was taken with an 80mm lens from an altitude of 49 km over the forbidding terrain of Central Bay (centre of the Moon’s nearside). Latitude: 4.94° N, Longitude: 0.34° W. The spacecraft’s low altitude, combined with the high oblique angle and the low Sun elevation near the terminator, enhances the relief’s details, showing a spectacular ‘3D-like’ view of the moonscape.

In such images, “people could see the Moon not from overhead, as if through a telescope, but as a wide landscape with a horizon, as if they were flying above it. This was how a pilot would see the Moon.” (Reynolds, p. 57) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 180 | BONHAMS

133 [Lunar Orbiter V] THE FIRST PHOTOGRAPH OF THE NEARLY FULL EARTH FROM LUNAR ORBIT NASA, 8 August 1967 Printed 1967.

Vintage gelatin silver print on fibre-based paper [NASA image 67-H1109, partial view of NASA Lunar Orbiter image LRC V-27H2].

With NASA caption numbered “67-H-1109” on the reverse (issued by NASA Head Quarters, Washington, D.C.).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This extraordinary early photograph of our Home Planet is one of the rare images of Earth captured by the five Lunar Orbiter spacecraft—and the last of its kind. Taken from approximately 5,872 km (3,640 miles) above the Moon, it presents a close-up of high-resolution frame V-27H2, captured with the 610mm telephoto lens.

“To the philosopher, this picture is close to man’s soul, since it allows him to look back upon his own world, 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.”

Lee Scherer, Lunar Orbiter program manager (Cortright, p. 114)

As most Americans slept in the predawn hours of August 8, 1967, NASA’s Lunar Orbiter V 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 V was about 3,640 miles above the surface of the Moon. The area of the Earth covered extends from 14° W longitude to the eastern terminator about 135° E longitude, a total of about 150° or approximately 5/6 of the full hemisphere.

It will provide scientists with additional information on the amount of light reflected by a nearly full-Earth. (From NASA caption.)

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

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| 181

134 [Lunar Orbiter V] WIDE-ANGLE VIEW OF THE MOON’S FARSIDE NASA, August 1967 Printed 1966.

Vintage gelatin silver print on fibre-based paper [NASA image V-103M].

Numbered and captioned in black in the lower margin (issued by NASA Langley, Research Centre, Hampton, Virginia.)

25.4 x 20.3 cm. (10 x 8 in.)

Historical context The Lunar Orbiters featured an ingenious imaging system consisting of a dual-lens camera, a film processing unit, a readout scanner, and a film handling apparatus.

The film was developed onboard, scanned, and transmitted back to Earth framelet by framelet for reassembly. This image, with its stunning abstract beauty, reveals the daunting and rugged far side of the Moon.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 182 | BONHAMS

FOR ALL MANKIND

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135 [Lunar Orbiter IV] FIRST VIEW OF THE WHOLE MOON FROM A PERSPECTIVE OTHER THAN EARTH (Large Format) NASA, May 1967 Printed 1967.

Large-format vintage gelatin silver print on fibre-based paper [NASA image LRC IV-193M].

Numbered “NASA LRC IV-193M” in black in the lower margin (issued

by NASA Langley Research Centre, Hampton, Virginia).

51 x 61 cm. (20 x 24 in.)

The full description of the lot is available on our website: www.bonhams.com 184 | BONHAMS

Historical context A young George Lucas may have glimpsed this stunning 1967 whole-Moon image, sparking inspiration for the Death Star of his imagination.

Lunar Orbiter was the first robotic spacecraft to capture detailed images of the entire Moon from lunar orbit, revealing breathtaking, never-before-seen views of Earth’s satellite from a new perspective. While Soviet spacecraft had previously returned whole-Moon images, they were mostly crude by comparison.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

136 [Surveyor III] THE FIRST-EVER PHOTOGRAPH OF AN ECLIPSE OF THE SUN BY THE EARTH, TAKEN FROM THE MOON NASA, 24 April 1967 Printed 1967.

Vintage gelatin silver print on fibre-based paper [NASA image 113KSC-67-8349].

With NASA caption numbered “113-KSC-67-8349” and Technicolour photo laboratory quality control stamp on the reverse (issued by NASA Kennedy Space Centre, Florida).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Surveyor III, the second American lander to successfully explore the Moon’s surface, captured this extraordinary first photograph of an eclipse of the Sun by the Earth.

This historic image marks the first time our Home Planet was observed from the surface of another world.

“The photograph is the first one in which man has been able to observe an eclipse of the Sun by his own Planet. Surveyor III took the view from the Moon with the wide-angle mode of its TV camera. Most prominent in the picture is the white cap of light caused by the bending of the Sun’s light as it passed through the Earth’s atmosphere. The cap is much brighter than the rest because of the Sun’s proximity to that limb, causing a greater proportion of sunlight to be refracted. The beaded appearance around the remaining portion of the Earth’s atmosphere is due largely to the interruption of the band of light by overcast areas.”

J. J. Rennilson, of NASA’s Jet Propulsion Laboratory (Cortright, p.

128) The Apollo 12 astronauts were the only humans in history to witness such a view of an eclipse of the Sun by the Earth during their homeward journey from the Moon in November 1969.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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137 [Surveyor VII] EXTRAORDINARY 4-PART 360° SURVEYOR MOSAIC PANORAMA OF THE TYCHO LANDING SITE NASA, 10 January 1968 Printed 1967.

Complete set of four vintage gelatin silver prints on fibre-based paper [NASA / USGS images 670806, 670807, 670808 and 670809].

With USGS credit stamps “CENTRE OF ASTROGEOLOGY U.S. GEOLOGICAL SURVEY PHOTO NO. DATE FLAGSTAFF, ARIZONA 86001” numbered “670806”, “670807”, “670808” and “670809” on the reverses (issued

by NASA / United States Geological Survey, Flagstaff, Arizona).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 186 | BONHAMS

Historical context An extremely rare complete 360° mosaic panorama from Surveyor 7 – the final unmanned American lunar mission.

This remarkable four-part mosaic presents a full 360° panoramic view of the Tycho landing site, meticulously assembled from images captured by Surveyor 7, the final mission of NASA’s Surveyor program.

Produced by the U.S. Geological Survey (USGS) under the leadership of principal investigator Eugene Shoemaker, this mosaic stands as both a scientific achievement and an artistic representation of the Moon’s stark beauty—where science becomes art.

Launched on January 7, 1968, and successfully landing on the lunar highlands two days later, Surveyor 7 was the only spacecraft of the program to touch down in such rugged terrain, making its mission a crucial scientific and photographic precursor to the Apollo Moon landings. It provided the first detailed study of the lunar highlands, a region dramatically different from the maria where all subsequent Apollo landings would take place.

The four segments of this mosaic sweep across the barren yet strikingly textured landscape surrounding the lander, revealing the highlands’ unique roughness and complex geology. The north-to-east-to-south-to-west-to-north sequence of images offers a rare, immersive perspective of the Moon’s surface as seen from an unmanned spacecraft. The bright, reflective regolith and scattered boulders are illuminated under the stark, shadowless sunlight of the lunar day, creating an almost surreal, otherworldly effect.

The Surveyor series played a pivotal role in lunar exploration, demonstrating soft-landing techniques and characterizing the Moon’s surface to ensure the safety of future Apollo astronauts. With Surveyor 7, NASA’s pioneering robotic exploration of the Moon came to an end, paving the way for the first humans to set foot on its surface just a year later.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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the Apollo era

“It was an exploration mission. We took the human intellect and the human vision, the human mind, 240,000 miles away from its home. That was the importance. Whether we found a rock there or not was of no importance.”

Frank Borman, Apollo 8 (Chaikin, Voices, p. 184)

“We’ve always been accused of not being able to describe our flights adequately. Photography conveyed more to the viewer than we could say about them. In the beginning, NASA didn’t understand the image building value of photography in the space program. It took time for them to see the tremendous public interest in it. When any spacecraft came back, the first thing NASA did was develop the film.

They would pick up the best ones and everyone would grab them up up and publish them.”

James Lovell, Apollo 8 (Schick and Van Haaften, p. 42)

The full description of the lot is available on our website: www.bonhams.com

detail lot 141 FOR ALL MANKIND

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Apollo Glossary: ALHT: Apollo Lunar Hand Tools

HEDC: Hasselblad Electric Data Camera

ALSCC: Apollo Lunar Surface Close-Up Camera, also known as the Gold Camera after its developer, astronomer Tommy Gold

HFE: Heat Flow Experiment or Heat Flow Electronics; part of the ALSEP instrumentation flown on Apollo 15, 16, and 17

ALSEP: Apollo Lunar Surface Experiments Package; collection of experiments flown to the lunar surface by Apollo 12, 14, 15, 16, and 17

HQ: (NASA) Headquarters

AMU: Astronaut Maneuvering Unit AOS: Acquisition Of Signal ASE: Active Seismic Experiment; part of the ALSEP instrumentation flown on Apollo 14 and 16 CAPCOM: Spacecraft Communicator CCIG: Cold Cathode Ion Gauge experiment; was part of the ALSEP instrumentation flown on Apollo 12, 14, and 15 CDR: Commander CM: Command Module CMP: Command Module Pilot CO2: Carbon Dioxyde CP: Command Pilot or Control Point CRD: Cosmic Ray Detector; flown on Apollo 16 and 17 CSM: Command and Service Module CSQ: Call sign of NASA tracking ship Coastal Sentry Quebec CSRC: Contingency Sample Return Container DAC: Digital to Analog Converter or Data Acquisition Camera Dixie Cup: This nickname refers to the cup-shaped, individual sample bags that were used on Apollo 12, 14, and 17 DOI: Descent Orbit Insertion DPS: Descent Propulsion System DPS: Descent Propulsion System EASEP: Early Apollo Surface Experiment Package; collection of experiments flown on Apollo 11; see ASE and LRRR ECS: Environmental Control System EMU: Extravehicular Mobility Unit; Space Suit and Backpack combination ETB: Equipment Transfer Bag EVA: Extravehicular Activity FDO or FIDO: Flight Dynamics Officer GET: Ground-Elapsed Time Gnomon: Tool consists of a weighted staff suspended on a two-ring gimbal and supported by a tripod. The staff extends 12 inches above the gimbal and is painted with a gray scale. The gnomon is used as a photographic reference to indicate local vertical, sun angle, and scale HCEX: Highspeed Color Ektachrome Film

The full description of the lot is available on our website: www.bonhams.com 190 | BONHAMS

HTC: IGN: Ignition IVA: Intravehicular Activity JETT: Jettison JPL: Jet Propulsion Laboratory KSC: Kennedy Space Center LACE: Lunar Atmospheric Composition Experiment; part of the ALSEP instrumentation flown on Apollo 17 LAD: Lunar Atmosphere Detector LCRU: Lunar Communications Relay Unit LDD: Lunar Dust Detector; part of the ALSEP instrumentation flown on Apollo 12, 14, and 15 LDG: Landing LEB: Lower Equipment Bay LEC: Lunar Equipment Conveyor LEVA: Lunar Extravehicular Visor Assembly; a polycarbonate shell and two visors with thermal control and optical coatings on them.

LiOH: Lithium Hydroxide LLTV: Lunar Landing Training Vehicle LM: Lunar Module LMP: Lunar Module Pilot LMS: Lunar Mass Spectrometer LNP: Lunar Neutron Probe (experiment); flown on Apollo 17 LOI: Lunar Orbit Insertion LOS: Loss Of Signal LPI: Lunar and Planetary Institute LPM: Lunar Portable Magnetometer; flown on Apollo 14 and 16 LRC: (NASA) Langley Research Center LRL: Lunar Receiving Laboratory LRRR, LR Cubed, or LR3: Lunar Ranging Retro-Reflector; flown on Apollo 11, 14, and 15 LRV: Lunar Roving Vehicle or Lunar Rover; flown on Apollo 15, 16, and 17 LSG: Lunar Surface Gravimeter; part of the ALSEP instrumentation flown on Apollo 17 LSM: Lunar Surface Magnetometer; part of the ALSEP instrumentation flown on Apollo 12, 15, and 16

LTG: Lunar Traverse Gravimeter (experiment); flown on Apollo 17

QUAD: Quadrant

MAG: Magazine

RCS: Reaction Control System

MCC: Mission Control Center or MidCourse Correction

RCU: Remote Control Unit

MCCH: Mission Control Center Houston

REACQ: Re-acquire

MESA: Modular Equipment Stowage Assembly

Reseau Plate: A glass plate fitted close to the film plane in the lunar surface Hasselblads

MET: Mission Elapsed Time, Mission Event Timer, or Mobile Equipment Transporter or Modular Equipment Transporter. The Apollo 14 transporter was a two-wheeled rickshaw vehicle used to carry tools, containers, spare film, etc.

MSFC: (NASA) Marshall Spaceflight Center MOCR: Mission Operations Control Room MPA: Mortar Pack Assembly MSC: (NASA) Manned Spacecraft Center; now Johnson Space Center MSFN: Manned Space Flight Network; provides reliable, (usually) continuous, and instantaneous radio communications with the astronauts, launch vehicle, and spacecraft from lift-off to splashdown MSOB: Manned Spacecraft Operations Building at the Kennedy Space Center.

NASA: National Aeronautics and Space Administration NAV: Navigation O2: Oxygen OPS: Oxygen Purge System PAD: Preliminary Advisory Data: the crew had pre-printed forms on which they could write lift-off times and other data they would need in the event that communications was lost with Houston. Before and after each rest period, the CapCom would read up a list of lift-off times covering the next 10 to 12 hours and, prior to launch, a longer list of data was read up PAO: Public Affairs Office or Public Affairs Officer PDI: Powered Descent Initiation PLSS: Portable Life Support System Plus Y axis: North side of the LM Plus Z axis: West side of the LM POGO: Partial Gravity Simulator PPK: Personal Preference Kits PSE(P): Passive Seismic Experiment (Package); part of the ALSEP instrumentation flown on Apollo 11, 12, 14, 15, and 16

RTG: Radioisotopic Thermoelectric Generator; used to provide power to the ALSEP experiments flown on Apollo 12, 14, 15, 16, and 17 S/C: Spacecraft SCB: Sample Collection Bag SEB: Scientific Equipment Bay SEC: Special Environmental Container; the container when sealed will retain a high vacuum for study of lunar samples in its original environment SEQ: Sequence or Scientific Equipment Bay SIDE: Suprathermal Ion Detection Experiment; part of the ALSEP instrumentation flown on Apollo 12, 14, and 15 SIM: Scientific Instrument Module SLA: Spacecraft Launch Adapter or SM/LM Adapter SM: Service Module SPS: Service Propulsion System SRC: Sample Return Container; the rock boxes SWC: Solar Wind Composition Collector; flown on Apollo 11, 12, 14, 15, and 16 SWS: Solar Wind Spectrometer; part of the ALSEP instrumentation flown on Apollo 12 and 15 TEC: Transearth Coast TEI: Transearth Injection T/G: Thumper/Geophone Experiment TGE: Traverse Gravimeter Experiment; flown on Apollo 17 TIG or Tig: Time of Ignition TLC: Translunar Coast TLI: Translunar Injection UVC: Ultraviolet Camera; flown on Apollo 16 VOX: Voice Activated Transmission

PTC: Passive Thermal Control; also known as the Barbecue mode, in which the LM/ CSM stack was oriented with its long axis perpendicular to the Sun so that, when the spacecraft were put into a slow rotation around that axis, heating and cooling would be relatively uniform.

PYRO: Pyrotechnic

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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138 [Apollo 6] STUNNING EARTH ORBITAL PANORAMA OVER THE SUNLIT ATLANTIC OCEAN NASA, 4 April 1968 Printed 1968.

Original montage of seven vintage chromogenic prints on fibre-based paper collaged together [NASA image AS6-2-1484 to AS6-2-1495] Numbered between “MSC AS6-2-1484” and “MSC AS6-2-1495” in red in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Overall size: 28 x 89 cm. (11 x 35 in.)

The full description of the lot is available on our website: www.bonhams.com 192 | BONHAMS

Historical context This breathtaking abstract panorama, capturing sun glint over the cloud-covered Atlantic Ocean, reveals the beauty of Earth from orbit. It was taken from Apollo 6, the final unmanned Earth-orbital test of the mighty Saturn V rocket—the vehicle that would soon carry astronauts to the Moon. Apollo 6’s photographic mission aimed to capture an entire orbit of Earth in colour. Mounted inside the Command Module, the 70mm Maurer camera systematically photographed Earth’s surface every 9 seconds, creating a continuous vertical sequence.

The resulting images, covering sections of the U.S., the Atlantic Ocean, Africa, and the western Pacific, utilized hazepenetrating film and advanced filters, offering unprecedented colour balance and resolution—surpassing any Earth imagery captured during Mercury and Gemini missions. Recovered with the spacecraft in the Pacific Ocean, these images set new standards for space-based Earth observation, providing invaluable cartographic, topographic, and geographic data.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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139 [Apollo 1] SPACE HEROES: emblematic portrait of the ill-fated first Apollo astronauts NASA, 1 April 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-66-30236].

Numbered “NASA S-66-30236” in red in the top margin, with NASA caption and “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This poignant portrait stands as both a tribute to the astronaut corps’ bravery and a solemn reminder of the risks involved in space exploration.

Edward White, Gus Grissom, and Roger Chaffee (left to right) proudly pose with a model of their Apollo Command Module

The full description of the lot is available on our website: www.bonhams.com 194 | BONHAMS

as the first crew selected for the Apollo program, Apollo 1 (originally designated AS-204). Dressed in NASA flight suits, with the American and NASA flags behind them, the trio exudes optimism and confidence, symbolic of their pioneering role in Apollo. Just 11 months later, they tragically perished in a cabin fire during a routine ground test of the Command Module, marking a turning point for NASA. Their sacrifice catalysed essential design and safety improvements that helped make the Moon landings possible just a few years later.

“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.”

—Gus Grissom (from Gemini: A Personal Account of Man’s Venture into Space, published posthumously in 1968 by his widow, Betty Grissom) EUR600 - 800 £500 - 670 US$650 - 870

140 [Apollo 1] NASA’S DARKEST HOUR: the tragic Command Module fire that claimed the lives of the first Apollo astronauts NASA, 27 January 1967 Printed 1966.

Vintage gelatin silver print on fibre-based paper.

With NASA caption dated “January 29, 1967” on the reverse (issued

by NASA Headquarters, Washington, D.C.).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This harrowing photograph captures one of NASA’s darkest moments during the Apollo era, revealing the devastating aftermath of the intense flash fire that engulfed the Apollo 1 Command Module on January 27, 1967, at Cape Kennedy’s Pad 34. The tragedy claimed the lives of astronauts Ed White, Gus Grissom, and Roger Chaffee.

Their loss led to sweeping safety reforms in spacecraft design, procedures, and training, ensuring the success of future Apollo missions—including the Moon landings just two years later.

EUR500 - 700 £420 - 590 US$540 - 760

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141 [Apollo 4] THE FIRST COLOR PHOTOGRAPH OF THE WHOLE PLANET EARTH NASA, 9 November 1967 Printed 1967.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS4-1-580].

Numbered “MSC AS4-1-580” in red in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (10 x 8 in.)

Historical context A Milestone in the History of Photography.

For the first time, humanity could admire a full-colour photograph of the whole Earth captured on film from deep space—offering a transformative new perspective on our home planet.

This breathtaking image was taken by an automatic 70mm Maurer 220 G camera mounted in the spacecraft window, as the Apollo 4 Command Module, still attached to the S-IVB stage of the first Saturn V rocket, reached an altitude of 9,544 miles. Earth, bathed in soft light, appears as a delicate crescent, revealing coastal Brazil, the Atlantic Ocean, West Africa, and Antarctica.

At the time, Apollo Program Director Samuel Phillips remarked, “This is a sight astronauts will see on the way to the Moon.” (Cortright, p. 198) Today, Apollo 4’s ghostly image of Earth—pale and luminous, like a child in the womb awaiting its first human witness—remains hauntingly captivating. (Poole, pp. 86–87) EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

The full description of the lot is available on our website: www.bonhams.com 196 | BONHAMS

FOR ALL MANKIND

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142 [ATS III] THE FIRST SELFIE OF HUMANITY: historic color photograph of Planet Earth’s full disk NASA, 18 November 1967 Printed 1967.

Vintage chromogenic print on fibre-based Kodak paper.

With “Sylvania Electronic Systems” credit stamp and “A Kodak Paper” watermark on the reverse (issued by NASA / Sylvania). (Sylvania Electronic Systems was one of NASA’s main contractors for the ATS III satellite).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A milestone in the history of photography.

This magnificent full-disk photograph of Earth, transmitted in high resolution and full colour by the ATS-3 satellite, can be considered one of humanity’s first true self-portraits—forever reshaping our perception of our place in the cosmos.

Captured on November 18, 1967, from the first series of ATS3 full Earth transmissions, this landmark image was chosen as the frontispiece of NASA’s 1968 publication Exploring Space with a Camera, edited by NASA Langley Director Edgar Cortright. Suspended against the black void, Earth appears as a delicate, luminous sphere, revealing North and South America, West Africa, Europe, and Antarctica beneath swirling clouds. More than just a scientific achievement, this image marked a new era of self-awareness.

24 Apollo astronauts (1968–1972) were later the only humans to witness and photograph Earth as a finite celestial body in space, with Apollo 17 in December 1972 capturing the famous “Blue Marble,” the only such fully sunlit Earth image taken by humans.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

The full description of the lot is available on our website: www.bonhams.com 198 | BONHAMS

143 [Apollo/Saturn 203] MISSION CONTROL IN HOUSTON PREPARING FOR THE FIRST APOLLO MISSIONS NASA, 5 July 1966 Printed 1966.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA S-66-39774].

Numbered “NASA S-66-39774” in red the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This photograph captures NASA’s Mission Control Centre during the early Apollo/Saturn 203 (AS-203) mission. The success of this mission provided critical information for the Apollo program, ultimately contributing to the development of the Saturn V rocket, which would carry astronauts to the Moon.

Engineers and flight controllers are seen closely monitoring telemetry data on their consoles and display screens as the mission progresses. This photograph embodies the meticulous planning, technical expertise, and dedication of NASA’s silent heroes working behind the scenes and serves as a testament to the human ingenuity and teamwork that made space exploration possible.

EUR400 - 600 £330 - 500 US$430 - 650

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Apollo 7

Crew: Walter Schirra (Commander), Walter Cunningham (Lunar Module Pilot) and Donn Eisele (Command Module Pilot) October 11-22, 1968 Spacecraft: Apollo 7 CSM Launch Vehicle: Saturn IB MISSION OVERVIEW Earth orbital flight. Overall spacecraft systems operated as intended and expected. Temperatures were within acceptable limits, consumable usage was maintained at safe levels, communications were generally good, manual control of the spacecraft by the crew was good, and live television was successfully transmitted to ground stations seven times during the mission. Although the crew suffered from head colds and congestion during the mission, they performed satisfactorily and completed all photographic experiments. During the almost 11-day flight, eight planned maneuvers using the service propulsion system were successfully completed, and all major mission objectives were met.

CAMERAS AND ACCESSORIES The onboard cameras for the Apollo 7 mission were a NASA-modified 70 mm Hasselblad 500 EL camera fitted with a standard 80mm f/2.8 standard Zeiss lens and two 16 mm Maurer sequence cameras with bayonet-mount 18 mm f/2 and 5 mm wide angle f/2 lenses.

In addition to the still cameras, a 4.5-pound RCA B&W TV camera with a 160 degree wide-angle lens and a 9 degree lens was used to relay live TV pictures during the mission.

MISSION PARAMETERS Duration: 10 days, 20 hours, 9 minutes, 3 seconds Earth orbits completed: 163 Distance travelled: 4,546,918.3 miles Perigee: 231 km Apogee: 297 km

200 | BONHAMS

detail lot 151 FOR ALL MANKIND

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144 [Apollo 7] LAUNCH OF THE FIRST MANNED APOLLO MISSION NASA, 11 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-68-48787].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This photograph symbolizes the resumption of manned U.S. space flights 21 months after the Apollo 1 tragedy. Apollo 7 marked Project Apollo’s first crewed flight and a major step toward the Moon. The 11-day mission was designed to qualify the three-man Command Module for the demanding halfmillion-mile round trip to the Moon.

On October 11, 1968, at 11:03 a.m. EDT, Apollo 7 launched from Cape Kennedy’s Launch Complex 34, atop a 224-foot-tall Saturn IB 205 rocket.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 202 | BONHAMS

145 [Apollo 7] THE FOUR-JAWED ANGRY ALLIGATOR: Saturn S-IVB stage during rendezvous over Earth Walter Cunningham, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-3-1531].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS7-3-1531” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This photograph captures the delicate beauty and precision of human-engineered spacecraft, moving at incredible speeds high above Earth.

After one and a half orbits, the S-IVB second stage of their Saturn IB rocket separated from the CSM, at which point Commander Walter Schirra began a simulated docking manoeuvre, mimicking the critical process that future Apollo crews would use to extract the Lunar Module for Moon landings.

The Spacecraft Lunar Module Adapter (SLA) on the S-IVB’s stage has opened, prompting the crew to compare it to a “fourjawed angry alligator” (see mission transcript). One adapter panel failed to fully open, which could have made a real LM extraction difficult, leading to a possible abort scenario. On future missions the panels would be completely jettisoned.

EUR500 - 700 £420 - 590 US$540 - 760

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146 [Apollo 7] SPACE PORTRAIT: Donn Eisele weightless aboard the first Apollo spacecraft Walter Cunningham or Walter Schirra, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-4-1583].

With NASA caption numbered “AS7-4-1583” and “A Kodak Paper” watermark on the reverse, filing holes in the top margin not affecting the image (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 204 | BONHAMS

Historical context This great portrait of Donn Eisele symbolizes the beginning of human life beyond Earth.

The photograph features unique shadows, created by the unfiltered light of space streaming through the spacecraft window.

The Apollo 7 mission signalled a new potential for onboard space photography, made possible by the relative spaciousness of the Apollo Command Module. For the first time, cameramen were free to move about the cabin and select framing and perspective.

“On Apollo 7, we had more film, and more time to kill. The Gemini spacecraft wasn’t so spacious inside that you could get a good picture without a Super Wide-angle lens. But with the Apollo spacecraft, you had room to get some distance or depth of field. So, we started studying the spacecraft contents, where before we had been fascinated by the view outside.”

Walter Schirra (Schick and Van Haaften, p. 21) EUR600 - 800 £500 - 670 US$650 - 870

147 [Apollo 7] RARE VIEWS OF EARTH’S HORIZON FROM THE FIRST MANNED APOLLO SPACECRAFT Walter Cunningham, Walter Cunningham or Walter Schirra, 11-22 October 1968 Printed 1968.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA image AS7-6-1715 and AS7-7-1752].

With “A Kodak Paper” watermark on the reverses, numbered “NASA AS7-6-1715” and “NASA AS7-7-1752” in red in the top margins (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context Two gorgeous and very rare photographs taken with the NASAmodified Hasselblad 500-C and film magazines 6/O and 7/S. The first showcases the west coast of Africa and the Canary Islands, the second the coast of China near Shanghai and the Yangtze River from an altitude of about 120 nautical miles.

“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 colour matching. 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.”

Walter Cunningham (Schick and Van Haaften, p. 84) EUR500 - 700 £420 - 590 US$540 - 760

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148 [Apollo 7] THE SPACE CHASE OF THE TUMBLING “FLOWERLIKE” S-IVB STAGE (diptych) Walter Cunningham or Walter Schirra, 11-22 October 1968 Printed 1968.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA images AS7-3-1569 and AS7-3-1572].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS7-3-1569” and “AS7-3-1572” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context These exceptionally crisp photographs reveal superb details of the ‘flower-like’ S-IVB rocket stage tumbling in the dark void, captured from different angles. Taken after Apollo 7 had separated by 76 miles, they illustrate a crucial phase of the mission. The crew then fired the Service Propulsion System (SPS) engine for the first time to chase down the S-IVB in a simulated rendezvous—a critical manoeuvre for future missions requiring docking with the Lunar Module.

The full description of the lot is available on our website: www.bonhams.com 206 | BONHAMS

“We just slid right up the pipe and onto the target,” recalled Command Module Pilot Donn Eisele. “It was a great feeling.”(Mason, pp. 142–144) Schirra, however, expressed concern about closing further, telling Mission Control: “It’s tumbling rather wildly, so we are starting to stay away from it.”

With Apollo 7 proving the CSM’s capabilities, these images symbolize the transition from Earth-orbit operations to lunar exploration, where future crews would venture through the vast emptiness of deep space.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

149 [Apollo 7] SPACE WINDOW: through the eyes of the first Apollo astronauts Walter Cunningham, Donn Eisele or Walter Schirra, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-3-1557].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS7-3-1557” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This rare and evocative interior view from Apollo 7 offers a glimpse through the spacecraft’s command module window, capturing the vast mystery of space beyond.

Tiny droplets—likely condensation—drift inside, illuminated by sunlight against the deep black void.

The cockpit levers and switches in the foreground provide a tactile sense of the astronauts’ working environment inside the first crewed Apollo mission, a critical test flight proving the redesigned Command Module’s safety following the Apollo 1 tragedy.

Framed by the spacecraft that carried them beyond Earth’s atmosphere, this image encapsulates the isolation, wonder, and ingenuity of human space exploration.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 207

150 [Apollo 7] CAPE KENNEDY SEEN THROUGH THE ‘PETALS’ OF THE SATURN S-IVB STAGE: Walter Schirra’s favorite photograph Walter Cunningham, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS73-1545].

Numbered “NASA AS7-3-1545” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This famous Apollo 7 photograph beautifully illustrates the mission’s major objective which was to rendezvous with the second stage of their Saturn booster (SIVB). The photograph showcases the likeness of astronauts for composed images as Cunningham remarked while taking the picture: “We’re looking right down at the Cape. We can get a picture of it in the background.”

The Spacecraft Lunar Module Adapter (SLA) on the S-IVB is open like a giant flower during the simulated docking, seen at a distance of 100 feet. Behind the SLA panels is the Gulf of Mexico.

“Probably my favourite picture is of Cape Canaveral shown through the petals of the SIVB. 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.”

Walter Schirra (Schick and Van Haaften, p. 89) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 208 | BONHAMS

151 [Apollo 7] SPACE PORTRAIT: Walter Cunningham gazing at Earth aboard the first Apollo spacecraft Walter Schirra or Donn Eisele, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-4-1559].

Numbered “NASA AS7-4-1559” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking portrait of Walter Cunningham symbolizes the dawn of human life beyond Earth.

Floating weightlessly inside the Apollo 7 Command Module, Cunningham is seen alongside a 16mm camera drifting freely—a visual testament to the new era of extended human presence in microgravity.

Apollo 7 marked a turning point for onboard space photography, thanks to the spaciousness of the Command Module, which allowed astronauts to move freely and frame their shots with greater precision. With the Hasselblad 500C, NASA’s first modified space camera, Walter Schirra captured this evocative image on Kodak SO-368 film, pioneering techniques that would define the visual legacy of Apollo.

EUR600 - 800 £500 - 670 US$650 - 870

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| 209

152 [Apollo 7] THE S-IVB STAGE AT ITS CLOSEST APPROACH, PANELS OPEN LIKE A FLOWER ABOVE EARTH Walter Cunningham, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-3-1538].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS7-3-1538” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking photograph captures the delicate beauty and precision of human-engineered spacecraft, moving at incredible speeds high above Earth.

A major objective of Apollo 7 was to demonstrate orbital rendezvous techniques using the newly designed Command and Service Module—without the aid of radar—by approaching the second stage of their Saturn IB rocket (S-IVB) in orbit.

Seen here at its closest approach as it orbited at an altitude of 125 miles over Texas, the Spacecraft Lunar Module Adapter (SLA) on the S-IVB’s stage has opened like a flower, revealing a simulated docking target—the round, white disc inside the open petal-like panels—similar to the targets that would later guide astronauts during lunar docking operations.

Describing the delicate manoeuvres, Apollo 7 pilot Donn Eisele later remarked that station-keeping in space was “rather like one car overtaking another, but a car with very weak brakes and not much acceleration.” (Mason, p. 144) EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com 210 | BONHAMS

153 [Apollo 7] SPACE PORTRAIT: Walter Schirra weightless aboard the first Apollo spacecraft Walter Cunningham, 11-22 October 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS7-4-1582].

Numbered “NASA AS7-4-1582” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This powerful portrait of Walter Schirra symbolizes the dawn of human life beyond Earth.

Floating weightlessly with a world map tracking their orbital path in the penumbra of the Apollo 7 Command Module, the first crewed Apollo spacecraft, Schirra’s expression reveals the toll of a demanding 11-day mission—highlighting the intensity and fatigue experienced at the dawn of long-duration human spaceflight.

A true pioneer, Schirra was the only astronaut to fly in all three early U.S. space programs—Mercury, Gemini, and Apollo (Mercury-Atlas 8, Gemini VI-A, and Apollo 7).

“To me, it’s one of the great photos taken in space. I thought it was the best study of the stress and strain on a human being. It has natural lighting and unique shadows. You see the last day of the last hurrah of an aging pioneer.”

Richard Underwood, NASA chief of photography (Schick and Van Haaften, p. 90) “Wally and I had a personal interest in taking portraits. I took a picture of him where you can see he’s just worn out and I cut off just a small part of his head. After we got back, he was irritated. He said ‘Look what you did! You chopped off the top of my head.’ That picture seemed to catch the hard work and real effort, not simply the glamour of spaceflight.”

Walter Cunningham (Schick and Van Haaften, p. 90) EUR600 - 800 £500 - 670 US$650 - 870

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| 211

Apollo 8

Crew: Frank Borman (Commander), James Lovell (Command Module Pilot) and William Anders (Lunar Module Pilot) December 21-27, 1968 Spacecraft: Apollo 8 CSM Launch Vehicle: Saturn V MISSION OVERVIEW The overall objective of the mission was to demonstrate Command and Service Module performance in a cislunar (between the Earth and Moon) and lunar-orbit environment, to evaluate crew performance in a lunar-orbit mission, to demonstrate communications and tracking at lunar distances, and to return highresolution photography of proposed Apollo landing areas and other locations of scientific interest. The Apollo 8 mission took less than 7 days and included 10 orbits around the Moon. Almost without exception, spacecraft systems operated as intended. All temperatures varied in a predictable manner within acceptable limits, and consumables usage was always maintained at safe levels. Communications quality was exceptionally good, and live television was transmitted on six occasions.

The crew superbly performed the planned mission.

CAMERAS AND ACCESSORIES The onboard cameras for the Apollo 8 mission were two NASA-modified 70mm Hasselblad 500 EL cameras, with standard 80mm and telephoto 250mm Zeiss lens. For analytical purposes, B&W emulsions were determined to provide a higher degree of resolution and image clarity than the color emulsions; therefore, much of the photography is B&W. The mission also carried a 16mm Maurer data acquisition camera and a RCA B&W TV camera.

MISSION PARAMETERS Duration: 6 days, 3 hours, 42 seconds Moon orbits completed: 10

212 | BONHAMS

detail lot 178

154 [Apollo 8] THE HISTORIC FIRST LAUNCH OF HUMANS TO ANOTHER WORLD Ralph Morse, 21 December 1968 Printed 1968-1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-68-56002].

Numbered “NASA S-68-56002” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 214 | BONHAMS

Historical context This powerful photograph captures the historic liftoff of Apollo 8, the first human mission to leave Earth and journey to another world. As the colossal Saturn V rocket roars skyward from Pad A, Launch Complex 39, Kennedy Space Centre, at 7:51 a.m. EST on December 21, 1968, a crescent Moon eerily looms in the background—a symbolic destination for the three astronauts aboard: Frank Borman, James Lovell, and William Anders.

This image embodies the dawn of deep-space human exploration, the first step toward fulfilling the dreams of countless generations—to voyage to another world.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

155 [Apollo 8] HUMANITY’S FIRST DEPARTURE TO ANOTHER WORLD NASA, 21 December 1968 Printed 1968.

Vintage gelatin silver print on fibre-based paper [NASA image 108-KSC-.68PC-318].

With NASA numbered “108-KSC-.68PC-318” and “68-HC-843” on the reverse (issued by NASA Kennedy Space Centre, Florida).

“It was an exploration mission. We took the human intellect and the human vision, the human mind, 240,000 miles away from its home. That was the importance. Whether we found a rock there or not was of no importance.”

—Frank Borman (Chaikin, Voices, p. 184) EUR600 - 800 £500 - 670 US$650 - 870

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Originally scheduled to test the Lunar Module in Earth orbit, the mission was restructured when the LM was not ready to fly. Instead, NASA made the bold decision to send Apollo 8’s crew—Frank Borman, James Lovell, and William Anders (pictured in that order leaving the crew quarters at Kennedy Space Centre to board the spacecraft)—on humanity’s first journey beyond Earth’s gravitational influence. They became the first astronauts to ride the colossal Saturn V rocket into space, escape Earth’s gravity, and orbit the Moon before returning home.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 215

156 [Apollo 8] HUMANITY ENTERS DEEP SPACE FOR THE FIRST TIME: Earth-based telescope view of the Saturn V leaving Earth orbit for the Moon Smithsonian Astrophysical Observatory, 21-27 December 1968 Printed 1968.

Vintage gelatin silver print on fibre-based paper.

With AVIATION WEEK magazine archival reference “# 4” in red pencil on the reverse (issued by Smithsonian Astrophysical Observatory, Hawaii).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This exceptionally rare photograph, originally published in Aviation Week magazine, captures Apollo 8 leaving Earth with astronauts James Lovell, Frank Borman, and William Anders on board. The image was taken through the telescope of the Smithsonian Observing Station in Maui, Hawaii, during the S-IVB stage burn for translunar injection—the critical manoeuvre that propelled humanity toward the Moon for the first time.

“The moment of humankind’s first voyage to the Moon and back was captured in a series of photos taken at the Smithsonian Astrophysical Observing Station in Maui, Hawaii.

They show the trans-lunar injection rocket burn which sent Apollo 8 hurtling out of Earth orbit toward the Moon on December 21, 1968–perhaps the only such images that exist.”

David Le Conte, Royal Astronomical Society Fellow EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 216 | BONHAMS

157 [Apollo 8] THE DISK OF EARTH SEEN BY HUMANS FOR THE VERY FIRST TIME William Anders, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based paper [NASA image AS816-2588].

Numbered “NASA AS8-14-2588” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context About 3 hours and 30 minutes after launch, the crew of Apollo 8 had already travelled farther from Earth than any humans before them—far surpassing Gemini XI’s altitude record. From 6,500 nautical miles away, they witnessed a never-before-seen sight: their home planet beginning to shrink into a distinct, glowing disk.

Commander Frank Borman reported: “We see the Earth now, almost as a disk. [...] Tell Conrad he lost his record.”

This historic photograph, taken by William Anders with an 80mm lens, captures the Atlantic Ocean and the west coast of Africa in stunning clarity.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 217

158 [Apollo 8] THE FIRST PHOTOGRAPH OF THE WHOLE PLANET EARTH TAKEN BY HUMANS William Anders, 21–27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-16-2593].

Numbered “NASA AS8-16-2593” in red in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the most profound images in history, in its very rare original Hasselblad square format.

On Apollo 8, humankind truly left its home planet for the first time. Looking out from their spacecraft on the way to the Moon, William Anders, James Lovell, and Frank Borman became the first humans to witness the transformative sight of Earth as a glowing sphere suspended in the vast darkness of space.

The full description of the lot is available on our website: www.bonhams.com 218 | BONHAMS

William Anders captured this historic first human-taken photograph of the whole Earth just 4 hours and 36 minutes after launch, from a distance of approximately 27,000 km (16,777 miles). He used a Hasselblad 500EL equipped with an 80mm lens.

On December 25, 1968, poet Archibald MacLeish captured the meaning of this moment in The New York Times: “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.”

The photograph later graced the cover of LIFE magazine (“The Incredible Year 1968,” January 10, 1969).

EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

159 [Apollo 8] THE HISTORIC FIRST PHOTOGRAPH BEYOND EARTH ORBIT TAKEN BY HUMANS William Anders, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2581].

Numbered “NASA AS8-14-2581” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A milestone in history: the moment humanity truly left Earth for the first time, captured by the Apollo 8 crew.

After orbiting Earth twice, the astronauts fired the Saturn V’s third stage, becoming the first humans to break free from Earth’s gravitational pull. This historic photograph, taken by William Anders with an 80mm lens after separating from the expended S-IVB stage following translunar injection, is the first image captured by humans beyond Earth orbit—revealing a vast expanse of the Atlantic Ocean, Florida and the turquoise Bahamas.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 219

160 [Apollo 8] THE RECEDING PLANET EARTH (triptych) AS HUMANITY ESCAPES ITS GRAVITY FOR THE FIRST TIME William Anders, 21-27 December 1968 Printed 1968.

Three vintage gelatin silver prints on fibre-based paper [B&W versions of NASA images AS8-16-2581, AS8-16-2589 and AS8-16-2593].

The first blank on the reverse (issued by NASA), the second with NASA caption numbered “AS8-16-2588” on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas), the third with NASA caption dated “12/29/1968” and numbered “9-71-878” on the reverse (issued by NASA Marshall Space Flight Centre, Huntsville, Alabama).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 220 | BONHAMS

Historical context The remarkable series of Earth photographs taken by William Anders after translunar injection as Apollo 8 departed its home planet for the Moon. This includes the first photograph taken by humans beyond Earth orbit from an altitude of 5,600 km, the first photograph of Earth’s disk from about 12,000 km, and the first-ever whole Earth view from 27,000 km—farther than any humans had travelled before—forever changing our perspective on ourselves.

“I was just wishing I could spin it [the Earth] around and look at the rest of it “ commented William Anders. (Chaikin, Voices, p. 26) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

161 [Apollo 8] DEEP SPACE ‘FIREFLIES’ AROUND THE S-IVB STAGE AS HUMANITY FIRST ESCAPES EARTH’S GRAVITY James Lovell, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-16-2583].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking photograph captures the first-ever spacecraft manoeuvres conducted by humans in deep space, featuring the expended third stage of the mighty Saturn V rocket—the very engine that propelled Apollo 8 beyond Earth’s gravity for the first time in history—drifting through the dark void.

Taken by James Lovell from the Command Module after translunar injection and separation, the image shows the S-IVB stage as Apollo 8 manoeuvred to inspect it following detachment.

A dazzling display of sunlight reflecting off small particles released during separation creates the “firefly” phenomenon, first reported by John Glenn during his Mercury-Atlas 6 mission, adding a mesmerizing, almost surreal effect to the scene.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 221

162 [Apollo 8] HUMANITY FIRST ESCAPES EARTH’S GRAVITY: the S-IVB stage in deep space after jettison James Lovell, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-16-2584].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 222 | BONHAMS

Historical context This spectacular photograph captures the first-ever spacecraft manoeuvres conducted by humans in deep space, featuring the expended third stage of the mighty Saturn V rocket—the very engine that propelled Apollo 8 beyond Earth’s gravity for the first time in history.

Taken by James Lovell from the Command Module after translunar injection and separation, the image shows the S-IVB stage drifting through the void as Apollo 8 manoeuvred to inspect it following detachment.

Though the S-IVB was now adrift, the crew still had 66 hours ahead—crossing the vast translunar gulf—before reaching the Moon.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

163 [Apollo 8] HUMANITY ORBITS ANOTHER WORLD FOR THE FIRST TIME: Commander Frank Borman in the Moon-orbiting spacecraft William Anders, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-68-56531].

Numbered “NASA S-68-56531” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Historical context This image captures a historic first: a human not only beyond Earth but in the vicinity of another world.

Frank Borman is seen at his commander’s station as the Apollo 8 Command Module orbits the Moon, in this rare still from a 16mm movie film recorded by William Anders. James Lovell is visible at the bottom of the picture.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 223

164 [Apollo 8] THE FIRST CLEAR PHOTOGRAPH TAKEN BY HUMANS FROM ANOTHER WORLD: Langrenus Crater following lunar orbit insertion Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-16-2615].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context For three days, the Apollo 8 astronauts travelled through the vastness of space toward a goal they could not yet see—the Moon remained hidden in darkness due to their approach trajectory. Only upon entering lunar orbit did its surface suddenly fill their view for the first time in human history.

The full description of the lot is available on our website: www.bonhams.com 224 | BONHAMS

This historic first clear photograph taken from another world— after two or three blurry initial shots—was captured by Mission Commander Frank Borman after the successful lunar orbit insertion burn, marking Apollo 8 as the first crewed spacecraft to circle the Moon.

James Lovell described their first impressions: “The Moon is essentially grey, no colour; looks like plaster of Paris or sort of a greyish beach sand. [...] 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 different terraces on the way down.”

The photograph shows Langrenus Crater, a 132-km-wide impact crater on the lunar nearside, seen from 240 km altitude, looking southwest. Borman used a Hasselblad 500EL camera with an 80mm lens and colour magazine 16/A. Coordinates: 9° S / 61° E. EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

165 [Apollo 8] THE FIRST PHOTOGRAPH OF THE FARSIDE OF THE MOON TAKEN BY HUMANS William Anders, 21-27 December 1968 Printed 1966.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-132244].

With NASA caption and “Brown Brothers Stock Photo” credit stamps and label on the reserve (issued by NASA Headquarters, Washington, D.C.).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This historic photograph, taken by Anders on Apollo 8’s first orbit using B&W film (magazine 13/E), stands as the first successful photograph captured by humans of the Moon’s far side. Moments earlier, Anders had attempted to photograph the lunar far side, but those images were severely overexposed due to the unintended use of highly sensitive film (magazine 18/G), rendering them unusable.

This superb image unveiled a landscape hidden from human eyes since the dawn of time, and still unnamed. Reflecting on the moment, Anders recalled, “That was a real thrill. I mean, to suddenly see those mountains. Another world...” Meanwhile, Frank Borman remarked: “We flew to the Moon as pathfinders for future Apollo missions. The first view of the Moon was mesmerizing, as we were aware that no other humans had seen the far side of the Moon directly.” (Jacobs, p. 34) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 225

166 [Apollo 8] THE FIRST PHOTOGRAPH ABOVE THE LUNAR TERMINATOR TAKEN BY HUMANS William Anders, December 21-27, 1968, orbit 1 Printed 1968.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-132230].

Numbered “NASA AS8-13-2230” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This extremely rare photograph, taken during the first revolution of the Apollo 8 spacecraft around the Moon, captures for the first time the boundary between night and day on the lunar surface as seen by humans from lunar orbit.

Shot with the Hasselblad 500EL equipped with the 250mm telephoto lens and B&W magazine 13/E, the image showcases how the low Sun dramatically enhances the rugged relief of Montes Pyrenaeus, casting long shadows that accentuate the lunar landscape’s striking topography.

Montes Pyrenaeus is a mountain range beginning at the southwestern rim of the flooded crater Gutenberg, extending southward along the eastern edge of Mare Nectaris. The range spans approximately 164 km in diameter. Coordinates: [5.5° S / 36.5° E].

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 226 | BONHAMS

167 [Apollo 8] THE FIRST COLOR PHOTOGRAPH OF TSIOLKOVSKY, THE MOST STRIKING CRATER ON THE MOON’S FARSIDE, CAPTURED BY HUMANS Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2447].

With “A Kodak Paper” watermarks on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context On orbit 8 of Apollo 8, Frank Borman captured this breathtaking photograph with the 250mm telephoto lens and colour magazine 14/D, enjoying a solitary view of the spectacular far side of the Moon while Lovell and Anders were asleep. This oblique perspective looks southeast into the heart of Crater Tsiolkovsky, showcasing its prominent W-shaped central peak, dark mare-like floor, and rugged southeastern rim.

Tsiolkovsky is a 200-km-wide impact crater on the Moon’s far side, first revealed to humanity in the grainy images taken by the Soviet Luna 3 probe on October 7, 1959. Its dark basaltic interior, a stark contrast to the surrounding highland terrain, made it stand out among the countless craters peppering the far side. Following this discovery, the triumphant Soviets promptly named it after Konstantin Tsiolkovsky (1857–1935), the pioneering Polish-Russian theorist who laid the foundation for modern rocketry and spaceflight.

EUR600 - 800 £500 - 670 US$650 - 870 FOR ALL MANKIND

| 227

168 [Apollo 8] THE FIRST SELFIE FROM ANOTHER WORLD William Anders, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-68-56532].

Numbered “NASA S-68-56532” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic image captures astronaut William Anders aboard Apollo 8, taking what can be considered the first “selfie” from another world. As the spacecraft completed its first orbit of the Moon, Anders turned the onboard 16mm motion picture camera toward himself, preserving a rare and candid moment of human presence in deep space.

The image is more than just a self-portrait—it symbolizes humanity’s first journey beyond Earth’s gravitational influence and into lunar orbit. The dimly lit Command Module interior, the floating sensation of weightlessness, and the reflection of light through the spacecraft window all contribute to the feeling of isolation and discovery.

Apollo 8 was a mission of many firsts: the first crewed spacecraft to leave Earth orbit, the first to reach and orbit the Moon, and the first to show Earth in its entirety from afar. Anders, famously known for capturing the legendary Earthrise photograph, here documents his own presence in that groundbreaking voyage, embodying the human aspect of this historic endeavour.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 228 | BONHAMS

FOR ALL MANKIND

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“We’ve always been accused of not being able to describe our flights adequately. Photography conveyed more to the viewer than we could say about them. In the beginning, NASA didn’t understand the image building value of photography in the space program. It took time for them to see the tremendous public interest in it. When any spacecraft came back, the first thing NASA did was develop the film. They would pick up the best ones and everyone would grab them up up and publish them.”

James Lovell, Apollo 8 (Schick and Van Haaften, p. 42)

169 [Apollo 8] FIRST EARTHRISE: the first-ever photograph taken by humans of Earthrise William Anders [Apollo 8], 21-27 December 1968 Printed 1968.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-13-2329].

Numbered “AS8-13-2329” in black in the lower margin, with NASA caption numbered “AS8-13-2329” and NASA credit stamp “COMPLIMENTS OF THE NATIONAL SPACE SCIENCE DATA CENTER GODDARD SPACE FLIGHT CENTER GREENBELT, MARYLAND 20771” on the reverse (issued by NASA’s National Space Science Data Center, Goddard Space Flight Center, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first photograph of the first Earthrise ever witnessed by humans.

This extraordinarily rare image remained uncelebrated for decades, as it was neither released nor recognized by NASA after the mission.

Earth’s perfect poise above the stark lunar horizon is truly mesmerizing, prompting William Anders to exclaim as he captured the image: “Oh, my God! Look at that picture over there! Here’s the Earth coming up. Wow, is that pretty!”

In 2013, NASA’s Scientific Visualization Studio at the Goddard Space Flight Center confirmed its significance as humanity’s first photograph of Earthrise—the most awe-inspiring view ever witnessed. The Apollo 8 astronauts were caught off guard by the sight as Earth unexpectedly rose above the Moon’s barren surface during a spacecraft reorientation.

While photographing the Moon’s surface during the mission’s fourth orbit, Anders, urged by his equally ecstatic crew (see mission transcript), instinctively captured three photographs of the first-ever Earthrise—this being the first, followed by two color shots.

To put its impact into perspective, Anders’ subsequent color Earthrise, taken seconds later and published by NASA at the time, became the cover photo of TIME’s Great Images of the 20th Century and the central image on the cover of LIFE’s 100 Photographs That Changed the World.

EUR12,000 - 18,000 £10,000 - 15,000 US$13,000 - 19,000

The full description of the lot is available on our website: www.bonhams.com 230 | BONHAMS

FOR ALL MANKIND

| 231

170 [Apollo 8] FIRST EARTHRISE: the iconic first color photograph of the first Earthrise witnessed by humans William Anders, 21–27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-142383].

Numbered “NASA image AS8-14-2383” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph captures what is arguably the most awe-inspiring sight ever witnessed by humanity—an image that forever changed our perception of our place in the universe, made us recognize the fragility of our planet, and fostered a sense of global consciousness.

William Anders took this historic photograph of Earth rising over the lunar horizon using the Hasselblad 500EL equipped with a 250mm telephoto lens and colour magazine 14/D, looking west across the western shore of Crater Pasteur on the lunar far side.

“That was the most beautiful thing I’d ever seen—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!”

—William Anders (Chaikin, Voices, p. 45) EUR6,000 - 8,000 £5,000 - 6,700 US$6,500 - 8,700

The full description of the lot is available on our website: www.bonhams.com 232 | BONHAMS

FOR ALL MANKIND

| 233

171 [Apollo 8] FIRST EARTHRISE: rare unpublished color photograph of the first Earthrise witnessed by humans William Anders, 21–27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2384].

With “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

19 x 24 cm. (7.5 x 9.5 in.)

Historical context William Anders took three photographs during the first Earthrise ever witnessed by human beings, including this rare and striking image, which was not widely published by NASA after the mission.

The Apollo 8 astronauts first saw Earthrise during their fourth revolution around the Moon. As Frank Borman and James Lovell, in awe of the sight, urged him to capture the moment (see mission transcript), Anders—who had been photographing the lunar surface with a 250mm telephoto lens—quickly took three photographs. The first was a black-and-white image [NASA image AS8-13-2329], followed by two colour photographs.

The full description of the lot is available on our website: www.bonhams.com 234 | BONHAMS

While one of the colour Earthrise images [NASA image AS814-2383] was widely published by NASA and became one of the most iconic images in history, this equally stunning colour photograph [NASA image AS8-14-2384] remains far rarer.

“When I looked up and saw the Earth coming up on this very stark, beat-up lunar horizon, an Earth that was the only colour 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.”

William Anders (Poole, p. 2) EUR2,600 - 3,600 £2,200 - 3,000 US$2,800 - 3,900

172 [Apollo 8] FIRST HUMAN VIEW OF THE SEA OF TRANQUILITY FROM LUNAR ORBIT William Anders, Frank Borman, or James Lovell [Apollo 8], 21-27 December 1968 Printed 1968-1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-132344].

Numbered “NASA G-69-1119” in pencil in black in the lower margin (issued by NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This spectacular oblique view reveals the mare surface of the Sea of Tranquillity, seen for the first time by human eyes from lunar orbit, underscoring the crew’s crucial task of identifying a suitable landing site for a future Moon landing.

A key objective of Apollo 8 was to photograph potential landing areas for upcoming Apollo missions, particularly in the Sea of Tranquillity, where two possible sites had been identified. However, fogged spacecraft windows hampered William Anders’ ability to capture detailed images of the sites, making this photograph, taken between orbits 5 and 7 using the 250mm telephoto lens looking northwest across the northeastern portion of the Sea of Tranquillity, the most valuable one obtained of the region. Despite the limitations, crew observations strongly favoured Apollo Landing Site 2 in the Sea of Tranquility—later chosen as the historic landing site for Apollo 11.

EUR600 - 800 £500 - 670 US$650 - 870

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173 [Apollo 8] THE FIRST VIEW OF THE LUNAR FARSIDE TERMINATOR CAPTURED BY HUMANS IN COLOR Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2401].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This description by Commander Frank Borman accompanied this photograph published in LIFE magazine: “a science fiction world—awesome, forlorn beauty.” (LIFE, January 17, 1969.)

At the farthest distance ever travelled from Earth, orbiting the Moon’s far side without communication with Mission Control, and with both his crewmates asleep, Borman experienced an extraordinary sense of solitude. It was during this moment, on the spacecraft’s eighth orbit, that he captured this haunting colour photograph of the lunar terminator—a sight never before witnessed by human eyes until Apollo 8.

Below the spacecraft, the Moon was entirely black until the Sun, setting over the far side, began to illuminate the landscape at the terminator—the boundary between lunar day and night.

Taken with the Hasselblad 500EL equipped with a 250mm telephoto lens on colour magazine 14/D, this stunning vertical view captures the floor of the immense 437-km-wide walled plain Crater Korolev, which the astronauts had informally named “America.”

EUR600 - 800 £500 - 670 US$650 - 870

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174 [Apollo 8] THE MOON’S FARSIDE FIRST SEEN BY HUMANS: forbidding mountainous horizon Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2453].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context This remarkable photograph was captured by Frank Borman during orbit 8, as he experienced a solitary view of the Moon’s rugged far side while Lovell and Anders rested—a landscape never before seen by human eyes. Looking west, this oblique image provides a rare glimpse of the mountainous lunar terrain (12.3° S, 113° E). Borman used a Hasselblad 500EL with a 250mm telephoto lens, whose foreshortening effect enhances the perception of the region’s dramatic topography.

“The backside is more mountainous than the front side. [...]

Someone said it was like papier-mâché. Well, right, it’s all shades of grey. There is no colour.”

—James Lovell (Chaikin, Voices, p. 41) EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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175 [Apollo 8] THE MOON’S FARSIDE FIRST SEEN BY HUMANS (diptych): sunlit terrain of Crater Keeler Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [overlapping NASA image AS8-14-2431 and AS8-14-2432].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context During Apollo 8’s orbit 8, Frank Borman captured these very rare colour vertical photographs with the Hasselblad 500EL equipped with a 250mm telephoto lens, enjoying a solitary view of the spectacular and uncharted far side of the Moon while Lovell and Anders slept. These overlapping images reveal intricate details of the rugged lunar terrain, showcasing the floor of the 37-km-wide Crater Planté (10°S latitude, 163°E longitude, unnamed at the time of the mission), located near the eastern inner wall of the much larger 160-km-wide Crater Keeler (also unnamed at the time). Each frame covers approximately 32 km (20 miles) per side.

“We were like three school kids. The most awe-inspiring sight.

Looking back at the back side of the Moon [...] for the very first time.”

—James Lovell (Chaikin, Voices, p. 36) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 238 | BONHAMS

176 [Apollo 8] FIRST HUMAN VIEW OF THE MOON’S CURVATURE OVER THE FARSIDE AFTER TRANS-EARTH INJECTION William Anders [Apollo 8], 21-27 December 1968 Printed 1968.

Vintage gelatin silver print on fibre-based paper [NASA image AS8-122209].

Numbered “AS8-12-2209” in black in the lower margin, with NASA caption numbered “AS8-12-2209” on the reverse (issued by NASA Space Science Data Centre, NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This unprecedented photograph presents a high-altitude oblique view of the lunar far side looking north-eastward toward the eastern limb, captured with the 250mm telephoto lens after trans-Earth injection (TEI), revealing a perspective never before witnessed by human eyes.

During their 20 hours in lunar orbit, the crew had photographed the Moon’s desolate surface from approximately 60 nautical miles. However, because they had arrived with the Moon in darkness, it was only at the beginning of their return journey that they were able to fully appreciate the breathtaking curvature of the lunar sphere.

EUR600 - 800 £500 - 670 US$650 - 870

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177 [Apollo 8] EARTHRISE: the majestic Earth just emerging above the bleak lunar horizon Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2389].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context While the Apollo 8 crew totalling at the third Earthrise ever witnessed by humans, Frank Borman captured this electrifying photograph looking west through the spacecraft window using an 80mm lens during the mission’s seventh revolution around the Moon, exclaiming, “Oh, brother! Look at that!”

The Earth majestically emerges from behind the bleak lunar horizon, rising over the 233-km-wide Crater Pasteur.

“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.”

— Space historian Andrew Chaikin (A Man on the Moon, p. 52) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com 240 | BONHAMS

178 [Apollo 8] THE FIRST PHOTOGRAPH OF THE WHOLE MOON TAKEN BY HUMANS FROM A PERSPECTIVE OTHER THAN EARTH William Anders, 21–27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2506].

Numbered “NASA AS8-14-2506” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This is the first-ever photograph taken by humans of the whole Moon revealing a hemisphere never visible from Earth, as seen only by lunar voyagers.

For three days on their translunar journey, the Apollo 8 astronauts travelled through the vast emptiness of space toward a destination they could not yet see—the Moon remained hidden in darkness due to their trajectory. Only upon entering lunar orbit did its immense surface suddenly dominate their view, marking the first time in human history that people had seen the Moon up close.

However, it was only after performing the first-ever transEarth injection manoeuvre—gaining altitude above the lunar surface—that the Apollo 8 astronauts became the first humans to witness this breathtaking full view of the Moon. Seen from above its eastern limb, this perspective is one never visible from Earth.

Between December 1968 and December 1972, only the 24 Apollo Moon voyagers would ever witness such whole-Moon views.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 241

179 [Apollo 8] MAJESTIC EARTHRISE SEEN THROUGH THE SPACECRAFT WINDOW Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2392].

Numbered “NASA AS8-14-2392” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph was captured by Frank Borman through the spacecraft window using an 80mm lens during the third Earthrise ever witnessed by humans, on Apollo 8’s seventh revolution around the Moon. The Earth majestically rises above the bleak lunar horizon, over the 233-km-wide Crater Pasteur, while the red window frame of the spacecraft is visible in the foreground.

The full description of the lot is available on our website: www.bonhams.com 242 | BONHAMS

“The view of the Earth from the Moon fascinated me, a small disk, 240,000 miles away. It was hard to think that that little thing held so many problems, so many frustrations. Raging nationalistic interests, famines, wars, pestilence don’t show from that distance.”

—Frank Borman (LIFE, January 17, 1969) “The vast loneliness up here of the Moon is awe-inspiring, and it makes you realize just what you have back there on Earth.

The Earth from here is a grand oasis in the big vastness of space.”

—James Lovell (TV broadcast from lunar orbit) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

180 [Apollo 8] FANTASTIC PARTIAL VIEW OF THE FULL MOON AS SEEN AFTER HUMANITY’S FIRST TRANS-EARTH INJECTION William Anders, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS8-14-2485].

With “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

William Anders captured this remarkable partial photograph of the nearly full Moon with a 250mm telephoto lens, revealing features of both the lunar nearside and far side.

“Once that rocket worked and got us to lunar orbit, then it had to work again, or we were stuck.”

—William Anders (Voices, Chaikin, p. 42) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

Historical context Due to their arrival in the Moon’s shadow, it was only at the start of their return journey on December 25, 1968, that the Apollo 8 crew witnessed the unprecedented sight of the Moon as a disk while gaining altitude after trans-Earth injection (TEI).

Had the engine failed, they would have been stranded in lunar orbit with no hope of rescue. Fortunately, the burn executed flawlessly, marking a triumphant moment in human space exploration, with James Lovell famously exclaiming, “Please be informed there is a Santa Claus.”

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181 [Apollo 8] EARTH, A SMALL AND FRAGILE ISLAND FLOATING IN THE VASTNESS OF SPACE William Anders, December 21-27, 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS816-2627].

Numbered “NASA AS8-16-2627” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This extraordinary photograph of our home planet, floating in the dark void of space during humanity’s first return journey from another world, underscores its preciousness—the kind of image that forever changed humanity’s perception of its place in the universe.

The full description of the lot is available on our website: www.bonhams.com 244 | BONHAMS

William Anders captured this breathtaking view when the Apollo 8 crew was deep in space, approximately 78,000 nautical miles (145,000 km) from home, while his fellow astronauts, James Lovell and Frank Borman, rested.

“The biggest philosophy, foundation-shaking impression was seeing the smallness of the Earth. [...] Even the pictures don’t do it justice because they always have this frame around them.

But when you put your eyeball to the window of the spacecraft, you can see essentially half of the universe.”

—William Anders EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

182 [Apollo 8] PLANET EARTH AT MID-DISTANCE DURING HUMANITY’S FIRST RETURN JOURNEY FROM ANOTHER WORLD William Anders, Frank Borman, or James Lovell, December 21-27, 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS815-2575].

Numbered “NASA AS8-15-2575” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

“The Earth [...] captured my attention. It was the only object in the universe that we could see that had colour. It was beautiful, blue with white clouds, serene and majestic. It was home.”

—Frank Borman (Jacobs, p. 34) “Photography brought home the real meaning of our space activity, a grasp of what we can accomplish, and a view of the Earth as it really is: a small planet in a common type of planetary system around a rather normal, nondescript star.”

—James Lovell (Schick and Van Haaften, p. 54) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

Historical context This extraordinary photograph of our home planet, floating in the vastness of space midway between Earth and the Moon during humanity’s first return journey from another world, underscores its beauty—the kind of image that forever changed humanity’s perception of its place in the universe.

Returning to that bright blue Earth from the Moon meant traversing 205,000 nautical miles of space.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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183 [Apollo 8] HUMANITY’S FIRST HOMEWARD JOURNEY FROM ANOTHER WORLD: James Lovell in the spacecraft returning to Earth William Anders or Frank Borman, 21-27 December 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-68-56533].

Numbered “NASA S-68-56533” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captures James Lovell inside the Apollo 8 Command Module, marking humanity’s first return journey from another world. Taken from 16mm motion picture film, this rare image symbolizes the culmination of an unprecedented voyage—the first crewed mission to leave Earth, orbit the Moon, and return home safely.

The full description of the lot is available on our website: www.bonhams.com 246 | BONHAMS

Apollo 8 was a mission of daring and discovery, proving that humans could navigate deep space, execute crucial manoeuvres, and withstand prolonged weightlessness. Here, Lovell is seen floating comfortably in zero gravity, relaxed yet focused, embodying the pioneering spirit of exploration. His headset signifies ongoing communication with Mission Control as he and his crewmates, Frank Borman and William Anders, hurtled back toward Earth after three days in lunar orbit.

This image not only represents a technical triumph but also a profound shift in human perspective—a moment when Earth was no longer the only world ever visited by humankind. It was the first time in history that people set course from another celestial body back to their home planet, a journey that would pave the way for future Moon landings and beyond.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

184 [Apollo 8] THE SPACECRAFT SAFELY BACK ON EARTH AFTER HUMANITY’S HISTORIC FIRST JOURNEY TO ANOTHER WORLD NASA, December 21-27, 1968 Printed 1968.

Vintage chromogenic print on fibre-based Kodak paper [NASA S-6856227].

Numbered “NASA S-68-56227” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This powerful photograph captures the Apollo 8 Command Module floating in the Pacific Ocean after successfully returning from humanity’s first voyage to the Moon and back.

The spacecraft, charred from the intense heat of re-entry, is stabilized by its flotation collar while awaiting retrieval by the USS Yorktown recovery team on December 27, 1968. After a 147-hour mission, astronauts Frank Borman, James Lovell, and William Anders splashed down 1,000 miles southwest of Hawaii, bringing an extraordinary journey to a triumphant close.

This moment represents the dawn of a new era in space exploration, proving that humans could travel beyond Earth, navigate deep space, and return safely—a crucial step toward landing on the Moon.

As the spacecraft bobbed in the ocean, it carried with it some of the most iconic images in history, including the legendary “Earthrise” photograph, which profoundly shifted humanity’s perspective of our fragile home in the vastness of space.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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Apollo 9

Crew: James McDivitt (Commander), David Scott (Command Module Pilot) and Russell Schweickart (Lunar Module Pilot) March 3-13, 1969 Spacecraft: Apollo 9 (CSM Gumdrop and LM Spider) Launch Vehicle: Saturn V MISSION OVERVIEW Apollo 9 was the first manned flight of the Lunar Module and tested this portion of the spacecraft for lunar operations. During the ten-day Earthorbital flight, the spacecraft demonstrated various important functions including a complete rendezvous and docking profile and extravehicular crew operations. This mission featured a number of firsts in spaceflight: the first manned Apollo docking, the first docked service propulsion systems burn, the first manned Apollo undocking, and the first manned LM to CSM docking. Another important highlight of this mission was the extravehicular activity (EVA) performed

by Schweickart.

CAMERAS AND ACCESSORIES The Apollo 9 mission carried six NASA-modified 70mm Hasselblad 500 EL cameras with a standard 80mm Zeiss lens. Two individual cameras and a block of four cameras that made up the Lunar Multispectral Experiment.

The mission also carried two 16mm Maurer data acquisition cameras and one B&W Westinghouse TV camera.

MISSION PARAMETERS Duration: 10 days, 1 hour, 54 seconds Earth orbits completed: 151 Distance travelled: 4,214,543 miles Perigee altitude: 110 nautical miles (204 km) Apogee altitude: 268 nautical miles (497 km)

detail lot 193 FOR ALL MANKIND

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185 [Apollo 9] THE MAJESTIC LIFTOFF OF THE GIANT SATURN V ROCKET NASA, 3 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-25863].

With “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This dramatic photograph captures the liftoff of Apollo 9 on March 3, 1969, from Launch Complex 39A at Kennedy Space Centre, marking Apollo’s final phase before the Moon, with all components tested in space for the first time including a critical test of the Lunar Module.

Towering over the launch pad, the mighty Saturn V rocket propels the crew—James McDivitt, David Scott, and Rusty Schweickart—into Earth orbit. The powerful engines unleash a fiery blast, sending plumes of smoke billowing across the launch site, while startled birds take flight, adding a striking contrast between nature and human technological achievement.

EUR600 - 800 £500 - 670 US$650 - 870

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186 [Apollo 9] LM SPIDER NESTLED IN THE S-IVB STAGE AFTER SEPARATION FROM CSM GUMDROP Russell Schweickart or James McDivitt, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2922].

Numbered “NASA AS9-19-2922” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This photograph captures the first Apollo CSM/LM-SIVB separation in Earth orbit.

The CSM Gumdrop manoeuvred to inspect LM Spider, still nestled atop the S-IVB third stage, with the breathtaking blue Earth as a backdrop. The Spacecraft LM Adapter (SLA) panels, which protected the LM during launch and connected the CSM to the Saturn launch vehicle, had already been jettisoned.

This moment marked a pivotal milestone in spaceflight history—the first time a Lunar Module was carried into orbit and tested by humans, paving the way for future Moon landings.

EUR400 - 600 £330 - 500 US$430 - 650

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187 [Apollo 9] THE FIRST DOCKING OF THE CSM AND LM-SIVB ABOVE EARTH Russell Schweickart, David Scott or James McDivitt, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2933].

Numbered “NASA image AS9-19-2933” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 252 | BONHAMS

Historical context This historic Apollo 9 photograph captures the first-ever docking of a Command and Service Module (CSM) with a Lunar Module (LM).

In this breathtaking image, taken from CSM Gumdrop, the docked LM Spider remains nestled inside the S-IVB third stage, floating against the deep blackness of space with Earth’s blue expanse below. The Spacecraft LM Adapter (SLA) panels, which protected the LM during launch, have already been jettisoned, exposing the delicate yet complex structure of the lunar lander.

EUR600 - 800 £500 - 670 US$650 - 870

188 [Apollo 9] JETTISON OF THE S-IVB STAGE IN EARTH ORBIT AFTER LM EXTRACTION Russell Schweickart, David Scott or James McDivitt, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2940].

Numbered “NASA image AS9-19-2940” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This photograph captures the S-IVB third stage of the Saturn V rocket after the extraction of the docked Lunar Module (LM) from the adapter, with the cloud-covered Pacific Ocean in the background. A LM thruster quad is visible in the foreground.

For the first time in history, the Apollo 9 crew successfully executed the crucial manoeuvre of docking with the LM-SIVB and extracting the Lunar Module from its protective adapter atop the Saturn V’s third stage, where it had been housed during launch.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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189 [Apollo 9] THE FIRST APOLLO EVA: Russell Schweickart spacewalking and taking photographs from LM Spider’s porch, viewed from CSM gumdrop’s hatch David Scott, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2983].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS9-19-2983” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context David Scott captured this remarkable photograph from the open hatch of CSM Gumdrop, docked with LM Spider, as he partially emerged for a stand-up EVA, remaining tethered to the spacecraft via a life-support umbilical system.

Floating just outside Spider, Russell Schweickart performs the first Apollo spacewalk, secured to the LM’s front porch by goldpainted foot restraints—nicknamed the “golden slippers.” His visor reflects the docked CSM/LM spacecraft and Earth, while in his left hand, he holds a Hasselblad camera, simultaneously capturing images of Scott standing in Gumdrop’s open hatch.

In the midst of this extraordinary moment, Scott playfully prompts Schweickart: 073:09:19 Scott (Gumdrop): “Why don’t you say hello to the camera or something?”

073:09:23 Schweickart (PLSS): “Hello there, camera. Boy, is this great!”

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 254 | BONHAMS

190 [Apollo 9] IGNITION OF THE S-IVB THIRD STAGE FOR EARTH ESCAPE TRAJECTORY Russell Schweickart, David Scott or James McDivitt, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2946].

Numbered “NASA image AS9-19-2946” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context This stunning oblique view shows the SIVB stage of the Saturn V rocket drifting above the Earth horizon over the Pacific Ocean.

Following the extraction of the LM from the adapter atop the Saturn V S-IVB third stage, the Apollo 9 spacecraft adjusted its orbit to move 2,000 feet away from the S-IVB. The S-IVB engine was then reignited twice, simulating a translunar injection—a manoeuvre that would later be used to send Apollo 10 and subsequent missions toward the Moon. The stage was then placed on an Earth escape trajectory into solar orbit.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 255

191 [Apollo 9] STAND-UP EVA: David Scott emerging through CSM’s Gumdrop hatch, seen from docked LM Spider at sunset James McDivittt, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-20-3054].

Numbered “NASA AS9-20-3054” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Taken by James McDivitt with the Hasselblad Super Wide camera and its wide-angle 38mm lens from the rendezvous window of LM Spider docked to CSM Gumdrop, this exceptionally rare photograph shows David Scott as he partially emerged for a stand-up EVA in the hatch of the orbiting Gumdrop, remaining tethered to the spacecraft via a life-support umbilical system. A 16mm DAC camera can be seen mounted to the hatch to Scott’s left. The awe-inspiring limb of Earth at sunset is just visible to the left of Gumdrop.

David Scott performed another stand-up EVA on Apollo 15 but this time on the surface of the Moon when he opened the top hatch of the LM to observe the lunar landscape after landing.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 256 | BONHAMS

192 [Apollo 9] THE FIRST APOLLO EVA: outer-space view of the docked LM Spider - CSM Gumdrop Russell Schweickart, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-20-3062].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS9-20-3062” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This sharp image, taken by Russell Schweickart with the Hasselblad Super Wide camera and its wide-angle 38mm lens during his spacewalk, reveals intricate details of the Lunar Module Spider during its first flight, docked to the Command Module Gumdrop in the background. The LM window is visible, through which James McDivitt captured photographs and 16mm film of both Schweickart’s EVA on Spider’s porch and David Scott’s stand-up EVA in the open hatch of Gumdrop.

Apollo 9 EVA provided the only photographs of the hard docked LM and CSM in the entire Apollo program, showing the Apollo spacecraft in its configuration for the translunar journey.

EUR500 - 700 £420 - 590 US$540 - 760

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| 257

193 [Apollo 9] DAVID SCOTT IN THE SPACECRAFT HATCH ABOVE EARTH TAKING PHOTOGRAPHS, SEEN FROM OUTER SPACE Russell Schweickart, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-20-3064].

With “A KODAK PAPER” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command Module spacecraft.)

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An iconic photograph of the first two-man EVA in NASA’s space program.

David Scott performed a stand-up EVA in the open hatch of the Command Module Gumdrop, docked with the Lunar Module Spider in Earth orbit, while Russell Schweickart spacewalked outside Spider.

The full description of the lot is available on our website: www.bonhams.com 258 | BONHAMS

Schweickart captured this remarkable image using the Hasselblad Super Wide camera with its 38mm lens, standing on Spider’s front porch with his feet secured in the gold-painted foot restraints known as the “Golden Slippers.”

In the open hatch of Gumdrop, Scott is himself photographing Schweickart with the Hasselblad 500EL camera.

“I took this shot of Dave Scott taking a picture of me at the beginning of my EVA on Apollo 9. It captures just a bit of the fantastic beauty of the Earth juxtaposed against the infinite black of space. In the foreground is that amazing combination of human and machine that is enabling us to emerge into the universe out of the womb of Earth.”

—Russell Schweickart (Jacobs, p. 42) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

194 [Apollo 9] THE HISTORIC FIRST SPACEFLIGHT OF THE LUNAR MODULE: LM Spider separating from CSM Gumdrop in Earth orbit David Scott, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-21-3179].

Numbered “NASA AS9-21-3179” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Taken by David Scott with the Hasselblad 500C from the Command Module, this photograph showcases LM Spider separating with Russell Schweickart and James McDivitt aboard, set against the breathtaking backdrop of Earth. Its landing legs are extended, and the docking probe is clearly visible. This historic image marks the dawn of the final phase of Apollo’s journey to the Moon, proving that the Lunar Module, designed exclusively for Moon landings, could operate independently in space.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 259

195 [Apollo 9] SPACE PORTRAIT: David Scott gazing into space aboard CSM Gumdrop, shielding his eyes from the Sun Russell Schweickart, March 3-13, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-23-3596].

Numbered “NASA AS9-23-3596” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 260 | BONHAMS

Historical context This evocative photograph captures David Scott aboard CSM Gumdrop. In the cheerful mood prevailing when the three crew members were back together, Dave Scott mugs for Rusty Schweickart’s camera. Here he shows how he, when alone in the command module, had had to peer against the glare to catch his first glimpse of the LM as it flew back in rendezvous.

EUR600 - 800 £500 - 670 US$650 - 870

196 [Apollo 9] COMMAND MODULE GUMDROP FLOATING ABOVE EARTH’S HORIZON James McDivitt or Russell Schweickart, 3–13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-24-3633].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS9-24-3633” in red in the top margin, originally laminated (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This breathtaking Apollo 9 photograph captures the Command Module Gumdrop floating against the vast blackness of space, with Earth’s curved horizon fading into the distance 145 miles below. Taken by Jim McDivitt from the Lunar Module Spider, the image highlights the sleek, silver-white spacecraft that would soon carry astronauts to the Moon and back.

With its conical shape and attached Service Module, Gumdrop appears suspended between two worlds—Earth, its place of origin, and the deep void beyond, where future Apollo missions would venture. The faint glow of Earth’s atmosphere underscores the fragile boundary between home and the unknown.

This image symbolizes the essential role of the Command and Service Module in the Apollo program—strong yet lightweight, it was designed to sustain crews for days in deep space, navigate to the Moon, and ensure their safe return to Earth.

EUR500 - 700 £420 - 590 US$540 - 760 FOR ALL MANKIND

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197 [Apollo 9] THE HISTORIC FIRST SPACEFLIGHT OF THE LUNAR MODULE: LM Spider floating upside down above Earth’s horizon David Scott, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-21-3212].

Numbered “NASA AS9-21-3212” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 262 | BONHAMS

Historical context This stunning Apollo 9 photograph captures Lunar Module Spider drifting above the cloud-covered Sahara and Atlantic Ocean, 145 miles below. Floating upside down relative to Earth in the vast emptiness of space, Spider symbolizes humanity’s bold leap toward the Moon—the very mission it was built for.

Taken by David Scott from Command Module Gumdrop, the image highlights Spider’s delicate, spindly structure silhouetted against Earth’s bright curvature. Unlike the sleek Command Module, its angular design was engineered solely for lunar gravity.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

198 [Apollo 9] THE FIRST APOLLO EVA: Russell Schweickart floating freely outside LM Spider, viewed from CSM Gumdrop’s hatch David Scott, March 3-13, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2996].

Numbered “NASA AS9-19-2999” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context David Scott took this stunning photograph at the end of his stand up EVA in the open hatch of CSM Gumdrop.

Russell Schweickart is floating freely in space, just holding extravehicular transfer handrails on the Lunar Module Spider.

Note the reflection of his body, spacecraft and Earth in his gold-plated visor.

“You’re no longer inside something with a window looking out at a picture. Now you’re out there and there are no limits, there are no boundaries. You’re really out there, going 17,000 miles an hour, ripping through space, a vacuum. And there’s not a sound. There’s a silence the depth of which you’ve never experienced before, and that silence contrasts so markedly with the scenery you’re seeing and with the speed which you know you’re moving.”

—Russell Schweickart (Kelley, plate 145) EUR700 - 1,000 £590 - 840 US$760 - 1,100 FOR ALL MANKIND

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199 [Apollo 9] THE FIRST MANNED SPACECRAFT BUILT FOR ANOTHER WORLD: LM Spider’s historic first spaceflight in Earth orbit David Scott, 3-13 March 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-21-3180].

Numbered “NASA AS9-21-3180” in red in the top margin, with “A Kodak Paper” watermark on the reverse, originally laminated (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 264 | BONHAMS

Historical context A superb photograph of LM Spider, the first spacecraft designed solely for space and lunar surface operations, seen against the breathtaking backdrop of the blue Earth, but incapable of landing on or returning to Earth.

Apollo 9 marked the first crewed test flight of the Lunar Module. Captured by David Scott from the Command Module Gumdrop, this image shows Spider, piloted by Jim McDivitt and Rusty Schweickart, in full lunar landing configuration with its landing gear deployed and surface sensors extending from the footpads.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

200 [Apollo 9] THE FIRST APOLLO EVA: Russell Schweickart spacewalking and capturing 16mm footage from LM Spider’s porch, seen from CSM Gumdrop’s hatch David Scott, March 3-13, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-19-2984].

Numbered “NASA AS9-19-2984” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context David Scott captured this photograph from the open hatch of CSM Gumdrop. Russell Schweickart is performing the first Apollo spacewalk, standing on the LM porch. His visor reflects the docked CSM/LM spacecraft and Earth, and in his left hand, he holds a 16mm DAC camera, capturing motion pictures of Scott stand up EVA. Schweickart is wearing an Extravehicular Mobility Unit (EMU), complete with a Portable Life Support System (PLSS) and an Oxygen Purge System (OPS) on his back. The EMU provided oxygen, communication, and temperature regulation by circulating water through the suit, eliminating the need for an umbilical connection to the spacecraft—an essential test of the spacesuit and life-support system that would soon enable moonwalks. A 25-foot-long nylon safety tether was his only physical link to prevent drifting into space.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 265

201 [Apollo 9] THE FIRST APOLLO EVA: Russell Schweickart gazing at Earth from outer space, seen from LM Spider James McDivitt, March 3-13, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS9-20-3094].

Numbered “NASA AS9-20-3094” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A stunning photograph of Russell Schweickart marvelling at the beauty of space from outside LM Spider.

While photographing Schweickart’s spacewalk, David Scott was also filming the EVA with a movie camera from the open hatch of CSM Gumdrop. However, when the film jammed, Schweickart was granted a rare, precious moment to simply float in space, holding with one hand onto the extravehicular transfer handrails on LM Spider and taking in the awe-inspiring view of Earth (bottom left).

James McDivitt captured this image with the Super Wide camera and its wide-angle 38mm lens from inside Spider. The reflection in Schweickart’s visor reveals the entire scene— Earth, space, and the two connected spacecraft.

“I figured, ‘Hey, great. This is my opportunity to really appreciate what’s going on.’ So, I just let go with one hand, and just sort of swung around, looked at the Earth below and the black space above and the Sun over my shoulder. And, I mean, it was this incredible, spectacular view.”

—Russell Schweickart (2015 interview for the XPRIZE Foundation) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 266 | BONHAMS

202 [Apollo 9] THE FIRST DOCKING OF TWO MANNED U.S. SPACECRAFT (diptych) David Scott, Russell Schweickart and James McDivitt, 3-13 March 1969 Printed 1969.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA images AS9-21-3236 and AS9-24-3659].

The first with “A Kodak Paper” watermark on the reverse, numbered “NASA AS9-21-3236” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), the second with “A Kodak Paper” watermark on the reverse (issued by NASA).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context These two historic photographs capture the dramatic firstever rendezvous and docking of two crewed Apollo spacecraft in orbit—a crucial rehearsal for upcoming lunar missions, mirroring the manoeuvres that would later be performed around the Moon during Apollo 10 and Apollo 11. The mission transcript reveals not only the intense coordination required but also the exhilaration of the moment, with David Scott exclaiming, “You’re the biggest, friendliest, funniest-looking spider I’ve ever seen.”

Through these images, Apollo 9 validated the intricate dualspacecraft operation that would soon enable humanity to take its first steps on the Moon.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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| 267

Apollo 10

Crew: Thomas Stafford (Commander), John Young (Command Module Pilot) and Eugene Cernan (Lunar Module Pilot) May 18-26, 1969 Spacecraft: Apollo 10 (CSM Charlie Brown and LM Snoopy) Launch Vehicle: Saturn V MISSION OVERVIEW This mission was the “dress rehearsal” for the first lunar landing. Apollo 10 entered orbit around the Moon and the Lunar Module was separated from the spacecraft to descend to within 9 miles of the lunar surface with two astronauts on board. The astronauts tested the Lunar Module’s radar and ascent engine and surveyed the landing site for Apollo 11. The LM was then returned to orbit where the crew successfully performed all required rendezvous maneuvers. The mission also served as a test of the extensive new Apollo tracking and control network on Earth. Spacecraft systems performance was satisfactory and all mission objectives were accomplished.

CAMERAS AND ACCESSORIES The onboard cameras for the Apollo 10 mission were two NASA-modified Hasselblad 500 EL cameras, with standard 80mm and telephoto 250mm Zeiss lenses. For analytical purposes, B&W emulsions were determined to provide a higher degree of resolution and image clarity than the color emulsions; therefore, much of the photography is B&W. There were a total of 1436 Hasselblad exposures made on 9 magazines of film (B&W magazines 28/O, 29/P, 30/Q, 31/R, 32/S, 33/T; color magazines 27/N, 34/M, 35/U), 1021 images on B&W film and 415 on color film. The mission also carried two 16mm Maurer data acquisition cameras and one color TV Westinghouse camera.

MISSION PARAMETERS Duration: 8 days, 3 minutes, 23 seconds Moon orbits completed: 31

268 | BONHAMS

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detail lot 209 FOR ALL MANKIND

| 269

203 [Apollo 10] THE GIANT SATURN V ROCKET LIFTS OFF ON A HISTORIC PATHFINDER MISSION TO THE MOON NASA, 18 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-34144].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-34144” in red the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 270 | BONHAMS

Historical context This striking image captures Apollo 10’s liftoff on May 18, 1969, as five F-1 engines unleash 7.5 million pounds of thrust, propelling the crew toward the Moon. A crucial dress rehearsal for Apollo 11, this mission tested every phase of lunar landing operations—except touchdown—paving the way for humanity’s first steps on another world.

EUR600 - 800 £500 - 670 US$650 - 870

204 [Apollo 10] THE OFFICIAL EMBLEM OF APOLLO 10, PATHFINDER MISSION TO ANOTHER WORLD NASA, May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-31959].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-31959” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Historical context This image showcases the official emblem of Apollo 10, the crucial final dress rehearsal for Apollo 11—Apollo 10 tested all aspects of a lunar landing except for the final descent. The CSM orbits the Moon, while the LM descends close to the surface before returning to rendezvous, proving the entire lunar landing sequence.

EUR300 - 500 £250 - 420 US$320 - 540

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 271

“I could look at this great view for hours and try to capture the meaning of it all. 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.”

Thomas Stafford, Apollo 10 (Jacobs, p. 53)

205 [Apollo 10] SPECTACULAR HALF VIEW OF EARTH THROUGH THE SPACECRAFT WINDOW AFTER TRANSLUNAR INJECTION Thomas Stafford, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5012].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context This stunning Apollo 10 photograph captures a breathtaking half-view of Earth framed by the spacecraft window shortly after translunar injection (TLI). Taken by Thomas Stafford with the Hasselblad 500EL equipped with an 80mm lens, the image shows our home planet suspended in the vast darkness of space, its swirling clouds and continents bathed in sunlight.

At this moment, the crew had just completed one of the most critical burns of the mission—the powerful S-IVB third-stage engine had propelled them beyond Earth’s gravitational grasp, setting them on a trajectory toward the Moon. The jettisoned S-IVB, having served its purpose, was left behind as the astronauts continued their historic journey.

The stark contrast between the luminous Earth and the infinite void underscores the fragility of our planet, reinforcing the sense of global unity and the delicate nature of life on Earth.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 272 | BONHAMS

206 [Apollo 10] ‘UNBELIEVABLE’ VIEW OF PLANET EARTH Thomas Stafford, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5013].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context From 21,000 nautical miles away, Thomas Stafford captured this breathtaking Hasselblad photograph through the 80mm lens while the crew simultaneously broadcast a live colour TV transmission to Mission Control.

Awestruck by the sight of Earth suspended in the void, Eugene Cernan exclaimed, “You blink your eyes, and you look out there, and you know it’s [the Earth] three-dimensional, but it is just sitting out there in the middle of nowhere, and it’s unbelievable.”

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

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| 273

207 [Apollo 10] DRAMATIC LUNAR HORIZON OVER FARSIDE CRATERS HEAVISIDE AND KEELER Eugene Cernan, May 18-26, 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1033-4957].

Numbered “NASA AS10-33-4957” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking Apollo 10 photograph presents a dramatic oblique view of the Moon’s rugged far side terrain (11.9° S / 162.9° E), featuring the heavily cratered landscape near the 160-km-wide craters Heaviside (left) and Keeler (right). It captures the stark, untouched nature of the lunar surface—a world shaped solely by impacts over billions of years.

Eugene Cernan took this image on orbit 27 using an 80mm lens, just before his Hasselblad camera malfunctioned. The low Sun angle near the lunar terminator casts long shadows, accentuating the topography and revealing intricate crater details.

In the foreground, numerous impact craters of varying sizes are sharply defined by the interplay of light and shadow. The gently curving horizon against the vast blackness of space serves as a stark reminder of the Moon’s airless, desolate expanse.

EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com 274 | BONHAMS

208 [Apollo 10] THE FIRST SPACECRAFT EVER PHOTOGRAPHED ABOVE ANOTHER WORLD: CSM Charlie Brown orbiting the Moon Eugene Cernan, 18–26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3873].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS10-27-3873” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This stunning photograph, taken from the Lunar Module Snoopy on orbit 12, highlights the reflective nature of the Command Module Charlie Brown as it orbits 69 miles above the Moon. Under direct sunlight, the lunar surface appears as bright tones in the spacecraft’s reflection, while its darker sections mirror the blackness of space.

Parts of the LM window are visible in the right foreground, framing the view. Below Charlie Brown is Smyth’s Sea, a dark basaltic plain located near the lunar equator, just beyond the Moon’s eastern limb as seen from Earth.

Piloted by John Young, the Command Module—12 feet in diameter and weighing 12,500 pounds—prompted Eugene Cernan aboard the LM Snoopy to remark with amusement: “John, babe, you’re a weird-looking machine,” before adding, “You’re the first vehicle photographed by another around the Moon. How does that grab you?”

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300 FOR ALL MANKIND

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209 [Apollo 10] ‘FANTASTIC’ VIEW OF CSM CHARLIE BROWN, THE FIRST SPACECRAFT EVER PHOTOGRAPHED ABOVE ANOTHER WORLD, OVER THE MOON’S FARSIDE Eugene Cernan, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3875].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context When the crew captured this photo, they knew it would be spectacular, with Stafford exclaiming, ‘You really make a beautiful background against the Moon down there, John,’ while Cernan enthused, “I’ll tell you, John, these pictures of you against that Moon ought to be fantastic!”

Glistening in the sunlight, reflecting the Moon in bright metal as yet undarkened by the savage heat of atmospheric re-entry, the Apollo 10 Command Module ghosts silently within a few yards of its Lunar Module, occupied by Gene Cernan and Tom Stafford. John Young is alone in the Command Module at this point. The background is the far side of the Moon, about 60 miles down. (Apollo Expeditions to the Moon (NASA SP-350), Cortright, ed.)

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 276 | BONHAMS

210 [Apollo 10] THE PATHFINDER DESCENT TOWARD THE MOON’S SURFACE (diptych) Eugene Cernan, or Thomas Stafford, May 18-26, 1969 Printed 1969.

Two vintage gelatin silver prints on fibre-based paper [NASA images AS10-29-4187 and AS10-29-4247].

Numbered “NASA AS10-29-4187” and “NASA AS10-29-4247” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each:20.3 x 25.4 cm. (8 x 10 in.)

Historical context The astonishingly low altitude of Lunar Module Snoopy over the Moon is evident in these unprecedented photographs—the first taken during a manned descent toward another world.

Apollo 10’s primary objective was to fly within 50,000 feet (15 km) of the surface to survey Landing Site 2 in the Sea of Tranquillity, the planned destination for Apollo 11’s historic landing. These forward-facing (westward) images, taken with the 80mm Hasselblad lens, capture the breathtaking lunar terrain as the crew navigated perilously close to the surface.

The mission transcript conveys the crew’s exhilaration: 100:04:19 Stafford (Snoopy): You know, this place is starting to look at home.

100:05:59 Cernan (Snoopy): I tell you, babe, we’s getting down among them.

EUR600 - 800 £500 - 670 US$650 - 870

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211 [Apollo 10] LM SNOOPY BEGINNING HUMANITY’S FIRST DESCENT TOWARD ANOTHER WORLD John Young, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5089].

Numbered “NASA AS10-34-5089” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Taken by John Young from the Command Module Charlie Brown, the image shows Snoopy floating against the vast blackness of space, moments before its descent engine was ignited to take it closer to the lunar surface than any spacecraft before—a critical dress rehearsal for the upcoming Moon landing.

Aboard Snoopy were Thomas Stafford and Eugene Cernan, tasked with simulating the descent phase of the Apollo landing mission, reaching an altitude of just 8.4 nautical miles (15.6 km) above the Moon before aborting and returning to dock with the Command Module. This flight was crucial in verifying navigation, radar, and guidance systems, ensuring that Apollo 11 could safely land two months later.

The image’s dramatic framing through the CM window adds depth, emphasizing the isolation of the Lunar Module as it embarks on a groundbreaking journey.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 278 | BONHAMS

212 [Apollo 10] ELECTRIFYING VIEW OF THE SUN RISING ABOVE THE MOON’S HORIZON John Young, Eugene Cernan, or Thomas Stafford, May 18-26, 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1033-4961].

Numbered “NASA AS10-33-4961” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the earliest photographs of the sun rising over the lunar horizon, this exceptionally rare image was not released after the mission.

Captured during orbit 26, the view looks eastward over the Moon’s nearside, showcasing the 49-km Crater Rhaeticus (right foreground, 1.6° N / 6.2° E) and Central Bay (left foreground).

The 34-km Crater Godin is visible in the left background. Near the bottom right, in darkness, lies the unseen location of landing site 3, a potential site for the moon landing.

Captured through the 80mm lens, this breathtaking sunrise over the Moon’s stark, cratered terrain highlights the desolate beauty of our celestial neighbour and the unprecedented perspectives enabled by space travel.

The astronauts were completely captivated by their otherworldly view from orbit, as Thomas Stafford remarked during orbit 18: “We’re just watching, still loving to watch the moonscape go by and observing here as we go over to the terminator.” (Apollo 10 Mission transcript) EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 279

213 [Apollo 10] LM SNOOPY RETURNING FROM ITS PATHFINDER FIRST DESCENT TO THE MOON John Young, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5112].

Numbered “NASA AS10-34-5112” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 280 | BONHAMS

Historical context This outstanding photograph highlights the first successful human piloted descent to another world of the LM Snoopy and subsequent return for redocking with CSM Charlie Brown.

The foreground red frame of Charlie Brown’s window serves as a striking contrast, reminding us of the sheer scale of spaceflight—one spacecraft observing another over the alien landscape of the Moon.

This high-stakes dress rehearsal confirmed that Apollo’s complex dual-spacecraft operations were mission-ready, setting the stage for the first Moon landing.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

214 [Apollo 10] MAGNIFICENT EARTHRISE John Young, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3890].

Numbered “NASA AS10-27-3890” in red in the top margin, with “A KODAK PAPER” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context The sight of Earthrise following each pass over the lunar far side was absolutely breathtaking for the Apollo 10 crew, who were eager to capture it. Their excitement is evident in the mission transcript: 122:05:57 Stafford: “The Earth. Hit it. Again, baby...”

122:06:00 Young: “Jesus Christ.”

122:06:02 Stafford: “Are you aiming at it right now?”

122:06:05 Cernan: “I know where this one is.”

122:06:14 Stafford: “Beautiful, Gene-o.”

This stunning photograph, taken from CSM Charlie Brown on orbit 24 with the 250mm telephoto lens, looks west over Smyth’s Sea. LIFE magazine famously described a similar moment, quoting Cernan as he observed Earthrise from LM Snoopy on orbit 13: “Oh, Charlie. We just saw Earthrise and it’s got to be magnificent.”

“To see our home planet from this point of view was absolutely awesome. It was nearly breath-taking. 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.”

Thomas Stafford (Jacobs, p. 53) EUR2,600 - 3,600 £2,200 - 3,000 US$2,800 - 3,900

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| 281

215 [Apollo 10] COVER OF LIFE: LM Snoopy barnstorming the Moon John Young, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5108].

Numbered “NASA AS10-34-5108” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic Apollo 10 photograph, famously featured on the cover of LIFE magazine, captures Lunar Module Snoopy soaring above the cratered lunar surface after humanity’s first piloted descent toward another world.

Taken by John Young from Command Module Charlie Brown, the image provides an extraordinary view of the fragile, spindly LM as it navigates just above the Moon’s rugged terrain—a sight never before witnessed.

Thomas Stafford and Eugene Cernan flew Snoopy to within 9 miles of the Moon’s surface testing systems and procedures.

Then they jettisoned the LM’s descent stage and returned to meet the CSM Charlie Brown in higher lunar orbit at an altitude of about 60 nautical miles.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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216 [Apollo 10] STRIKING PANORAMA OF LANDING SITE 1 IN THE SEA OF TRANQUILLITY Eugene Cernan, May 18-26, 1969 Printed 1969.

Original montage of four gelatin silver prints on fibre-based paper collaged together [NASA image AS10-31-4589 to AS10-31-4595].

Numbered between “NASA AS10-31-4589” and “NASA AS10-314595” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Overall size: 32 x 44 cm. (12 5/8 x 17 3/8 in.)

Historical context This extremely rare Apollo 10 panorama captures a detailed view of the proposed Landing Site 1 in the south-eastern Sea of Tranquillity, near the 33-km-wide Crater Maskelyne D (partially visible at the top left).

This composite image was taken with the Hasselblad equipped with the 250 mm lens during orbit 24, as the crew meticulously documented potential Apollo landing sites, providing an unparalleled close-up of the lunar surface, highlighting the region’s rugged terrain and cratered landscape.

The mission transcript reflects their focused observations: 122:26:55 Cernan: Let me get the site through it [the Hasselblad camera].

122:27:11 Cernan: Landing Site 1 [garble].

This telephoto mosaic was crucial in assessing the terrain’s suitability for the first Moon landing, revealing surface features in high resolution. While this site was ultimately not chosen— Landing Site 2 in the Sea of Tranquillity was selected for Apollo 11—these images played a vital role in refining landing strategies and identifying safe zones for future missions, bringing humankind within reach of its first lunar footsteps.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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217 [Apollo 10] WHOLE MOON FLOATING IN THE VASTNESS OF SPACE, SEEN FROM THE HOMEWARD-BOUND SPACECRAFT John Young, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3956].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS10-27-3956” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This outstanding photograph was taken through the 250mm lens after the crew’s first night of sleep on their return journey to Earth, approximately 40,000 nautical miles from the Moon and 180,000 nautical miles from home. At this point, the spacecraft had entered Earth’s gravitational sphere of influence, and the Earth and Moon appeared the same relative size to the astronauts.

Captured from a perspective not visible from Earth, the Moon is seen high above the equator near 27° E longitude. As they took this picture, the crew reflected on the surreal beauty of their homeward journey: 149:18:11 Stafford: Roger. Just wanted to describe [garble] kind of the total situation here internal. We’ve got all the spacecraft restowed. Got the music playing, got a beautiful view out here as we rotate around slowly. We’ve got the Moon in one window and the Earth in the other window. We got it worked out where no thrusters are firing and we just feel in great shape. Over.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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218 [Apollo 10] THE MISSION’S FINAL VIEW FROM LUNAR ORBIT: Central Bay at Sunrise John Young, Eugene Cernan, or Thomas Stafford, May 18-26, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3907].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

25.4 x 20.3 cm. (10 x 8 in.)

With this final view, Apollo 10 concluded its orbital survey, and the crew prepared for the critical Trans-Earth Injection burn to begin their journey home.

“The spacecraft remained in the vicinity of the Moon much longer than did the Apollo 8 spacecraft. This allowed more time for observations and extended coverage of a previously unphotographed segment of the Moon as the sunrise terminator moved from the vicinity of Apollo landing site 2 to the vicinity of Apollo landing site 3.”

—Apollo 10 crew observations (NASA SP-232, p. 1) EUR600 - 800 £500 - 670 US$650 - 870

Historical context Captured during Apollo 10’s 31st and final lunar orbit, this stunning photograph looks west across the nearside terminator, marking the boundary between lunar day and night.

Taken through the 80mm lens, the image reveals remarkable surface detail, highlighting site 3 in Central Bay—one of five proposed Apollo landing sites. Following Apollo 10’s observations, NASA ultimately selected Site 2 in the Sea of Tranquillity for Apollo 11’s historic first Moon landing.

The low Sun angle accentuates subtle undulations in the mare terrain, making the seemingly smooth surface appear more rugged. The small, 6.7-km Crater Bruce is visible near the bottom, while Landing Site 3 lies just beyond the pronounced ridge in the top half of the image.

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219 [Apollo 10] ‘FANTASTIC’ VIEW OF THE MOON’S DISK AFTER TRANS EARTH INJECTION John Young, Eugene Cernan or Thomas Stafford, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-27-3948].

With “A Kodak Paper” watermark on the reverse (NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 25.4 x 20.3 cm. (10 x 8 in.)

Historical context Following the Trans-Earth Injection burn over the lunar far side, the Apollo 10 crew witnessed and captured a fantastic view of the receding Moon—one never visible from Earth. Using the 80mm Hasselblad lens, they recorded this extraordinary sight while reflecting on their journey home. Their amazement is evident in these extracts from the mission transcript: 137:52:50 Stafford: We’re taking all kinds of pictures. I’ve got the tubes, Gene-o has the sequence camera, and John has the Hasselblad. We’re getting all this documented.

137:55:58 Stafford: I thought it was a fantastic view leaving the Earth, but it is going to be an even more fantastic one leaving the Moon here and heading back to the good old Earth.

138:02:36 Cernan: Joe, this is incredible. That thing [the Moon] is getting rounder and rounder and rounder and smaller all the time.

EUR600 - 800 £500 - 670 US$650 - 870

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220 [Apollo 10] STUNNING CRATER ON THE MOON’S MYSTERIOUS FARSIDE John Young, Eugene Cernan, or Thomas Stafford, May 18-26, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS10-34-5172].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A stunning telephoto view of the rugged far side lunar terrain near Crater Keeler.

Captured with the Hasselblad 500EL and 250mm telephoto lens, this photograph showcases a sharply defined, steepwalled crater approximately 12 miles in diameter (6° S / 158° E), surrounded by a desolate expanse of lunar badlands. Rubble, likely ejecta material, is visible along its outer slopes. Above it, a larger, more subdued crater adds to the dramatic landscape.

Apollo 10’s extended time in lunar orbit allowed for unprecedented observations, including this detailed image of a previously unphotographed segment of the Moon.

EUR600 - 800 £500 - 670 US$650 - 870

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221 [Apollo 10] CRESCENT EARTH FLOATING IN THE VASTNESS OF SPACE, SEEN FROM THE HOMEWARD-BOUND SPACECRAFT John Young, Eugene Cernan or Thomas Stafford, 18-26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based GAF paper [NASA image AS10-27-3984].

With NASA caption numbered “AS10-27-3984” on the reverse (issued

by NASA Marshall Space Flight Centre, Huntsville, Alabama).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A marvellous crescent Earth, captured through the 250mm telephoto lens from approximately 166,000 km away in deep space. The western part of North America is visible along the terminator. While taking this picture, the crew remarked: 176:44:21 Young: You’re definitely getting larger in diameter there, Earth.

The full description of the lot is available on our website: www.bonhams.com 288 | BONHAMS

176:44:29 McCandless: Roger. We understand you see us growing larger. We can’t see you yet with the naked eye, but hope to tomorrow. We’re showing you about 90,000 miles [166,700 km] out at the present time.

176:44:46 Stafford: Roger. Got a beautiful view here of the Earth. It seems like there is a little - from here like a cumulus thunderstorm up on the cloud cover that covers up near the polar ice cap. It really is beautiful, the way it stands out. We got a couple of pictures of it. Over.

“You can look back on the Earth and see from pole to pole and across oceans and continents, and you can watch it turn and see there are no strings holding it up, and it’s moving in a blackness that is almost beyond comprehension. The Earth is surrounded by blackness though you’re looking through sunlight. There is only light if the sunlight has something to shine on. When the Sun shines through space it’s black. All because the light doesn’t strike anything. The light doesn’t strike anything, so all you see is black.”

—Eugene Cernan (Kelley, plate 53) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

222 [Apollo 10] THE GLORIOUS RETURN OF THE PATHFINDER MISSION TO ANOTHER WORLD NASA, 26 May 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-20544].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-20544” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

This image reflects relief, accomplishment, and anticipation— as the Apollo program stood on the threshold of fulfilling President Kennedy’s vision of landing humans on the Moon before the decade’s end.

EUR300 - 500 £250 - 420 US$320 - 540

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captures the Apollo 10 crew— Thomas Stafford, John Young, and Eugene Cernan—emerging from a U.S. Navy recovery helicopter after their successful splashdown in the Pacific Ocean on May 26, 1969. Wearing post-flight flight suits, the astronauts step onto a red-carpeted stairway, greeted by recovery personnel on USS Princeton.

Apollo 10 was a critical dress rehearsal for the first Moon landing, testing all phases of the lunar mission except for the actual touchdown. Having flown within 8.4 nautical miles (15.6 km) of the Moon’s surface, the crew returned triumphantly, paving the way for Apollo 11’s historic landing two months later.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 289

Apollo 11

Crew: Neil Armstrong (Commander), Michael Collins (Command Module Pilot), Buzz Aldrin (Lunar Module Pilot) July 16-24, 1969 Spacecraft: Apollo 11 (CSM Columbia and LM Eagle) Launch Vehicle: Saturn V MISSION OVERVIEW First manned lunar landing mission and lunar surface EVA. 1 EVA of 2 hours, 31 minutes. Flag and instruments deployed; unveiled plaque on the LM descent stage with inscription: “Here Men From Planet Earth First Set Foot Upon the Moon. July 1969 A.D. We Came In Peace For All Mankind.” Lunar surface stay time 21.6 hours; 59.5 hours in lunar orbit, with 30 orbits. LM ascent stage left in lunar orbit. 20 kg (44 lbs) of material gathered.

CAMERAS AND ACCESSORIES The Apollo 11 mission carried three 70mm Hasselblad cameras. Two of the 500ELs were identical to the ones carried on the Apollo 8, 9 and 10 flights. Each had its own standard Zeiss Planar f-2.8/80 mm lens.

A Zeiss Sonnar f-5.6/250 mm telephoto lens was also carried. One of the conventional 500ELs, along with the telephoto lens and two extra magazines, was in the Apollo 11 Command Module throughout the flight.

The other conventional 500EL, and two extra magazines as well, were placed in the Lunar Module. Also in the Lunar Module - and making its first journey in space - was a Hasselblad 500EL Data Camera with a 60mm Zeiss-Biogon lens, which was the one to be used on the Moon’s surface.

Apollo 11 also carried two 16mm Maurer data acquisition cameras, one 35-mm lunar surface close-up stereoscopic Kodak camera, a color Westinghouse TV camera for use inside the Command Module and a B&W Westinghouse TV camera for use on the lunar surface.

MISSION PARAMETERS Duration: 8 days, 3 hours, 18 minutes Landing site: Sea of Tranquility Landing Coordinates: 0.67409 degrees North, 23.47298 degrees East

detail lot 9 FOR ALL MANKIND

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223 [Apollo 11] THE GIANT SATURN V PROPELS HUMANITY TO THE SURFACE OF ANOTHER WORLD FOR THE FIRST TIME NASA, 16 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-39528].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-39528” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph captures the Apollo 11 launch on July 16, 1969, as the Saturn V rocket soars into the sky, carrying Neil Armstrong, Buzz Aldrin, and Michael Collins on humanity’s first mission to the lunar surface.

Beyond a technological triumph, this moment symbolizes human ambition, courage, and the relentless pursuit of the unknown. Apollo 11 was the culmination of an immense effort, requiring the dedication of some 350,000 people. Though trained for self-reliance, the astronauts stood on the shoulders of an entire generation of scientists, engineers, and visionaries who made the mission possible.

As the spacecraft left Earth, it carried not just its three astronauts but also the hopes of millions watching around the world—a defining milestone in space exploration and the history of mankind.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 292 | BONHAMS

224 [Apollo 11] THE OFFICIAL EMBLEM OF APOLLO 11: the first mission to the surface of another world NASA, June 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-34875].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-34875” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This image showcases the official Apollo 11 mission insignia, one of the most recognizable emblems in space history, for many people as famous as the Moon-landing mission itself.

Designed by astronaut Michael Collins and refined by NASA illustrator James Cooper, the patch features a bald eagle descending toward the lunar surface, with an olive branch in its talons to symbolize America’s peaceful mission in space. Earth rises in the background, reinforcing that the Moon landing was an achievement on behalf of all humankind.

The absence of astronaut names was a deliberate choice, ensuring that the emblem represented the efforts of the entire Apollo program rather than just the three crew members. This mission patch became an iconic symbol of NASA’s triumph in landing the first humans on the Moon on July 20, 1969, fulfilling President John F. Kennedy’s vision and marking one of humanity’s greatest achievements.

“We felt Apollo 11 was no ordinary flight, and we wanted no ordinary design.”

—Michael Collins (from his 1974 book Carrying the Fire) EUR500 - 700 £420 - 590 US$540 - 760

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225 [Apollo 11] GLOBAL ICONS: Neil Armstrong, Michael Collins and Buzz Aldrin pose for their official portrait before the first lunar landing NASA, July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-31739].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-31739” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 294 | BONHAMS

Historical context The first explorers of another world—Michael Collins, Command Module Pilot (centre), Neil Armstrong, Commander (left), and Buzz Aldrin, Lunar Module Pilot (right)—will forever remain in history. This iconic pre-mission portrait embodies human ambition, ingenuity, and the collaborative spirit that propelled the Apollo program, as the Apollo 11 crew accomplished what was once thought impossible, inspiring generations to reach for the stars.

“It’s human nature to stretch, to go, to see, to understand.

Exploration is not a choice really, it’s an imperative.”

—Michael Collins EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

226 [Apollo 11] THE HISTORIC LIFTOFF OF THE FIRST HUMANS TO THE SURFACE OF ANOTHER WORLD NASA, 16 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-37779].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-39779” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 11 ignites a new era—launch of the first lunar landing mission.

A moment that changed history—on July 16, 1969, the mighty Saturn V rocket roars to life, lifting off from Launch Complex 39A at Kennedy Space Center. Generating an astonishing 7.5 million pounds of thrust, the most powerful rocket ever flown propels Neil Armstrong, Buzz Aldrin, and Michael Collins toward their rendezvous with destiny.

This launch was more than the beginning of a mission—it was the realization of a dream set in motion by President John F. Kennedy’s 1961 challenge: to land a man on the Moon and return him safely to Earth. After a decade of engineering breakthroughs, relentless testing, and human determination, Apollo 11 embodied the pinnacle of human achievement..

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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227 [Apollo 11] THE FIRST HUMANS TO SET FOOT ON ANOTHER WORLD: Neil Armstrong and Buzz Aldrin preparing their lunar surface equipment NASA, 29 June 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-38492].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-38492” in red in the the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Final preparations for the Moon—Neil Armstrong assists Buzz Aldrin in Apollo 11 training.

This historic image captures Neil Armstrong (left) adjusting Buzz Aldrin’s (right) spacesuit during a crucial pre-mission training session at NASA’s Kennedy Space Center. Aldrin is fully suited in the Apollo Extravehicular Mobility Unit (EMU), with his Portable Life Support System (PLSS) backpack connected to a lunar weight simulator—allowing astronauts to rehearse manoeuvres for the reduced gravity of the Moon.

This moment embodies the extraordinary human effort behind the Moon landing—where training, precision, and dedication converged to make history. Just months after this photograph was taken, these two men would take humankind’s first steps on another world, forever altering the course of space exploration.

“I don’t focus on self-satisfaction, and being first, and those kind of things. [...] I take certain pleasures in the achievements, the technical achievements. And not just in an overall sense, but little details here and there. Finding ways to accomplish the job.”

Neil Armstrong (Chaikin, Voices, p.165) EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 296 | BONHAMS

228 [Apollo 11] MOON FOOD NASA, July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-31782].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-31782” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first meal on another world—Apollo 11’s space food innovation.

This close-up photograph captures a package of beef with vegetables, one of the meals carried aboard Apollo 11 and among the first foods consumed by humans on the lunar surface. Designed for easy preparation, the freeze-dried meal required 3 ounces of hot water and 5-10 minutes of rehydration before it could be eaten—offering astronauts a taste of home while venturing farther than any humans before them.

NASA’s advancements in space nutrition were crucial for deep-space missions. Apollo-era food packaging needed to be lightweight, compact, and free of crumbs—which could float in microgravity and interfere with spacecraft systems. The innovations developed for these missions laid the foundation for modern astronaut diets, influencing how spacefarers eat aboard the ISS and preparing humanity for future journeys beyond Earth.

EUR500 - 700 £420 - 590 US$540 - 760

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| 297

229 [Apollo 11] THE HISTORIC FIRST LAUNCH OF HUMANITY TO THE SURFACE OF ANOTHER WORLD NASA, 16 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-39526].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-39526” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking wide-angle photograph of the Apollo 11 Saturn V rocket lifting off from Cape Kennedy toward the Moon, marking an unprecedented leap in human exploration. This image stands as a testament to the triumph of human ingenuity and the shared dream of exploring beyond our world. *”It was so much different from any other flight – it was something that had to grip you. You knew darned good and well that this was real history in the making. The thing that made this one [flight] particularly gripping was that sense of history, that if this was successful this was a date that was going to be in all the history books for time evermore – everything else that happened in our time is going to be an asterisk. I think we sensed that at the time – that this was it.”* —Walter Cronkite, legendary American television commentator (Hamish Lindsey, Tracking Apollo to the Moon, Springer, London, 2001, p. 214) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 298 | BONHAMS

230 [Apollo 11] NEIL ARMSTRONG, MICHAEL COLLINS AND BUZZ ALDRIN PREPARING FOR THE FIRST LUNAR SURFACE MISSION (triptych) NASA, 3 July 1969 Printed 1969.

Three vintage gelatin silver prints on fibre-based paper [NASA images 69-H-1075, 69-H-1074, 69-H-1107].

With NASA captions numbered “69-H-1075”, “69-H-1074”, “69H-1107” on the reverses (issued by NASA Kennedy Space Centre, Florida).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context These three photographs capture the Apollo 11 crew—Neil Armstrong, Michael Collins, and Buzz Aldrin—at NASA’s Kennedy Space Center during suiting activities for a Countdown Demonstration Test. This crucial test, conducted inside their Apollo spacecraft, was a full rehearsal leading up to their historic Moon mission.

These images encapsulate the calm before the storm— meticulous, methodical preparations before humankind’s most extraordinary journey, ensuring all life-support and communication systems function flawlessly.

The Apollo 11 mission was the culmination of years of engineering, testing, and training, and these photographs offer an intimate glimpse into the astronauts’ final moments before they stepped into history.

“The entire environment in which we were working was a fishbowl, and everybody was working, and the press was extreme. It would’ve been impossible for us not to be aware that everybody was looking over your shoulder.”

—Neil Armstrong (Chaikin, Voices, p.17).

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300 FOR ALL MANKIND

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231 [Apollo 11] FIRST STAGE SEPARATION OF THE MIGHTY SATURN V: propelling humanity’s first journey to the Moon in a torrent of flames NASA, 16 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image 69-H1170].

With NASA caption numbered “69-H-1170”, “69-HC-783”, “107-KSC69PC-415” on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Stage one complete—Apollo 11’s first step toward the Moon.

This photograph captures the dramatic moment of first stage separation during the launch of Apollo 11 on July 16, 1969. Taken at an altitude of approximately 38 miles (55 miles downrange), it showcases the S-IC booster stage falling away in a massive cloud of exhaust while the S-II second stage ignites to continue propelling the spacecraft carrying Neil Armstrong, Buzz Aldrin, and Michael Collins toward orbit. The S-IC first stage burned for 2.5 minutes, generating 7.5 million pounds of thrust before depleting its propellant and being jettisoned.

This crucial moment marked the transition from the raw power needed to escape Earth’s gravity to the more precise thrust required for orbital insertion—bringing humanity one step closer to its first steps on another world.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 300 | BONHAMS

232 [Apollo 11] THE DOCKING SYSTEM BETWEEN LM EAGLE AND CSM COLUMBIA EN ROUTE TO THE MOON Neil Armstrong, Buzz Aldrin, or Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-36-5382].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-36-5382” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The careful en route preparation of Columbia, and Eagle, for the Moon landing.

This rare unpublished Apollo 11 photograph captures the Lunar Module Eagle docking drogue inside the Command Module Columbia after Neil Armstrong removed it from the tunnel connecting the two spacecraft. The drogue, a conical metal structure, was part of the probe-and-drogue system, enabling precise docking in microgravity. Its removal allowed the crew to access Eagle for inspection en route to the Moon (see mission transcript). Seen resting against the CM’s interior, the drogue is surrounded by mission-critical equipment, tools, and spacecraft systems. It underscores the technical precision required for docking manoeuvres, a skill crucial for lunar missions and future space exploration.

The removal of the drogue symbolized the crew’s transition from Earth’s domain to the Moon’s realm, setting the stage for the historic July 20, 1969 landing.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 301

233 [Apollo 11] ‘FANTASTIC’ ORBITAL SUNRISE OVER EARTH BEFORE TRANSLUNAR INJECTION Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS11-36-5293].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Orbital Sunrise—Apollo 11’s First Moments in Space This breathtaking photograph, captured by Michael Collins during Apollo 11’s early moments in Earth orbit, reveals the dazzling spectacle of orbital sunrise as seen from space. The view left Collins, a veteran astronaut from Gemini X, in awe: “Jesus Christ, look at that horizon! [...] God damn, that’s pretty!

This is unreal. I’d forgotten. [...] Fantastic.”

The full description of the lot is available on our website: www.bonhams.com 302 | BONHAMS

As the spacecraft emerged from Earth’s nightside, the crew scrambled to capture the moment before firing the Saturn V third stage for translunar injection. In the zero-gravity environment, Collins momentarily lost track of the Hasselblad camera. After a frantic search, he finally retrieved it and immortalized this stunning view—looking east into the Sun, with light reflecting off the cloud-speckled Pacific Ocean below.

“This rare and awe-inspiring image serves as a reminder of the profound beauty of Earth from space—seen through the eyes of the first humans on their way to another world’s surface.”

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

234 [Apollo 11] PLANET EARTH FLOATING IN THE VASTNESS OF SPACE HALFWAY TO THE MOON (large format) Neil Armstrong, Buzz Aldrin, or Michael Collins, 16-24 July 1969 Printed 1969.

Large format vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-36-5355, inverted].

With “A Kodak Paper” watermark on the reverse (issued by NASA White Sands Test Facility, New Mexico).

28 x 35.6 cm. (11 x 14 in.)

Historical context A fragile world in large format—Apollo 11’s iconic view of Earth halfway to the Moon.

This breathtaking Apollo 11 photograph is one of the most widely reproduced images of Earth from the space program, embraced by the environmental movement as a powerful symbol of the planet’s beauty and fragility. Captured with a 250mm telephoto lens, the image was later cropped by NASA to emphasize Earth’s striking presence against the infinite blackness of space.

At the moment this photograph was taken, Apollo 11 was approximately 98,500 nautical miles (182,500 km) from Earth, offering the astronauts an awe-inspiring view of their home planet—described in the mission transcript simply as “fantastic.”

“There is but one Earth, tiny and fragile, and one must be 100,000 miles away from it to fully appreciate 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 colour 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.”

—Michael Collins (from his 1974 book Carrying the Fire) EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

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| 303

235 [Apollo 11] THE BLUE AND WHITE PLANET EARTH Neil Armstrong, Buzz Aldrin, or Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-36-5373].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-36-5373” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An incredible view of Earth, unpublished after the mission, captured through the 250mm telephoto lens from approximately 236,600 km (127,700 nautical miles) out in space. With north oriented upward, the eastern Pacific Ocean dominates the daylit portion of the planet, while the western coast of North America, including the Baja Peninsula, is clearly visible.

Between December 1968 and December 1972, only 24 Apollo astronauts had the unique privilege of witnessing such breathtaking views of Earth as a complete disk from deep space.

The full description of the lot is available on our website: www.bonhams.com 304 | BONHAMS

“I really believe that if the political leaders of the world could see their planet from a distance of 100,000 miles their outlook could be fundamentally changed. That all-important border would be invisible, that noisy argument silenced; The tiny globe would continue to turn, serenely ignoring its subdivisions, presenting a unified face that would cry out for unified understanding, for homogeneous treatment. Earth must become as it appears: blue and white, not capitalist or communist; blue and white, not rich or poor; blue and white, not envious or envied.”

—Michael Collins, July 2009 (Bizony, p. 99) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

236 [Apollo 11] EARTH’S CURVATURE OVER THE USA FOLLOWING TRANSLUNAR INJECTION Neil Armstrong, Buzz Aldrin, or Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-36-5309].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-36-5309” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Leaving Home—Apollo 11 in deep space looks back at Earth.

This Apollo 11 photograph captures a breathtaking view of Earth shortly after Translunar Injection (TLI)—the critical manoeuvre that propelled the spacecraft from Earth’s orbit toward the Moon. This moment occurred before the transposition and docking of the Command Module Columbia with the Lunar Module Eagle, and before the jettisoning of the expended S-IVB stage, which had completed its role in sending the crew on their historic journey.

At this moment, the astronauts had truly left Earth’s gravitational hold, symbolizing a point of no return on the way to the first Moon landing.

“The engine comes to life; you settle back in your seat; you feel the strong push of that rocket in your back—but in the dark you just can’t see what’s happening. There’s no visual confirmation. The engine stops and you’re floating again. You see a scimitar of light ahead—a sliver of daylight marking the dawn, and you are flying back into daylight. In a half minute, you are smothered in daylight—it’s overwhelming.

You are moving outward from Earth at ten times the speed of a rifle bullet, but you seem perfectly motionless. The horizon expands, revealing Australia to the right, Japan to the left.

Then, suddenly, the entire planet Earth appears, exploding away into the inky black sky.”

—Neil Armstrong (Hamish Lindsey, Tracking Apollo to the Moon, Springer, London, 2001).

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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| 305

237 [Apollo 11] NEIL ARMSTRONG FLOATING WITH THE TV CAMERA IN THE TUNNEL CONNECTING LM EAGLE AND CSM COLUMBIA EN ROUTE TO THE MOON NASA, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image NASA AS11-36-5385].

Numbered “NASA AS11-36-5385” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A pivotal phase of Apollo 11—the first in-space transfer of astronauts between Columbia and Eagle, preparing for humanity’s first Moon landing.

This exceptionally rare photograph of Neil Armstrong en route to the Moon was not published after the mission. Captured

by Michael Collins from the Command Module Columbia, the image looks up through the docking tunnel toward the Lunar Module Eagle. Armstrong is seen floating weightlessly, holding the Westinghouse colour TV camera as he films Buzz Aldrin, who was inside the LM for an inspection. Commenting on his unusual filming position, Armstrong quipped, “That’ll be the most unusual position a cameraman’s ever had—hanging by his toes from a tunnel and taking the picture upside down.”

Amid this exchange, Charles Duke in Mission Control asked if Collins—whose task was to pilot the Command Module during Armstrong and Aldrin’s landing—was planning to enter Eagle for a look around. Armstrong casually responded, “We’re willing to let him go, but he hasn’t come up with the price of the ticket yet.”

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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238 [Apollo 11] BUZZ ALDRIN ABOARD LM EAGLE EN ROUTE TO THE MOON NEIL ARMSTRONG, 16-24 JULY 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-36-5398].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-36-5398” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), with a 5cm restored diagonal tear at lower right of white margin.

20.3 x 25.4 cm. (8 x 10 in.)

“In our preliminary flight plan I wasn’t scheduled to go to the LM until the next day in lunar orbit but I lobbied to go earlier [...] to make sure that the frail LM and its equipment had suffered no damage during the launch and long trip. [...]

It was surprising to me how much at home I felt in Eagle because of all the simulations we had done back home.

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.”

—Buzz Aldrin (NASA SP-350, p. 207 and LIFE, 22 August 1969) EUR700 - 1,000 £590 - 840 US$760 - 1,100

Historical context Final systems check—Buzz Aldrin at work inside Columbia.

This Apollo 11 photograph captures Buzz Aldrin communicating with Mission Control during the checkout of LM Eagle, docked to CSM Columbia en route to the Moon.

Aldrin is seated on the left side of the cabin, at Neil Armstrong’s pilot station, with the spacecraft’s main circuit breaker panels visible on the left. His focused demeanour reflects the precision and teamwork behind the mission, where every system check was crucial to ensuring humanity’s first steps on another world.

At this moment, Apollo 11 was 178,236 nautical miles (330,093 km) from Earth, steadily advancing toward history.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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239 [Apollo 11] ORBITAL SUNRISE OVER TRANQUILLITY BASE Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5437].

Numbered “NASA AS11-37-5437” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Approaching Tranquillity—Apollo 11’s first look at the landing site.

One of the most reproduced images of the mission, this photograph was taken as Apollo 11 approached Tranquillity Base on its fourth orbit of the Moon. As Aldrin marvelled at the scene, Armstrong radioed, “Man, this is really something, you ought to look at this. You want to watch our approach into the landing site,” while Aldrin exclaimed, “And I got a beautiful view of the whole landing area.” (See mission transcript).

The view looks west through the Eagle’s window with an 80mm lens, capturing the moment as Armstrong and Aldrin activated the Lunar Module while still docked to Columbia. The spacecraft was nearing the nearside terminator—the boundary between lunar day and night—just as the Sun began rising over Tranquillity Base, visible near the shadow line slightly right of centre. The jagged shape on the left is one of the LM’s thruster engines. The prominent 22-km-wide Crater Maskelyne appears in the lower right. (0.2°N / 24.5°E.) EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 308 | BONHAMS

240 [Apollo 11] DESOLATE LUNAR FARSIDE HORIZON SEEN DURING THE SPACECRAFT’S FIRST ORBIT Buzz Aldrin, Michael Collins, or Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1142-6248].

Numbered “NASA AS11-42-6248” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

24 x 20.3 cm. (9,5 x 8 in.)

Historical context Into the unknown—Apollo 11’s first look at the lunar farside.

This extremely rare Apollo 11 photograph captures the rugged, heavily cratered terrain of the far side lunar highlands near Crater Crookes (1° S / 163° W). Taken at the end of the crew’s first orbit around the Moon, the stark landscape is bathed in dramatic sunlight, casting long shadows that emphasize its depth and complexity.

Beyond its scientific value, this image embodies the new perspectives Apollo 11 provided on lunar history, revealing a surface sculpted by cosmic forces on an unimaginable timescale. It also underscores the significance of human space exploration, bringing back views of a world never before seen by human eyes.

“The Moon I have known all my life, that two-dimensional small yellow disk in the sky, has gone away somewhere, to be replaced by the most awesome sphere I have ever seen. To begin with it is huge, completely filling our window. Second, it is three-dimensional. The belly of it bulges out toward us in such a pronounced fashion that I almost feel I can reach out and touch it.”

—Michael Collins (NASA SP-350, p. 207) EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 309

241 [Apollo 11] THE EAGLE HAS WINGS: LM Eagle descends for humanity’s first landing on the surface of another world Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-44-6584].

Numbered “NASA AS11-44-6584” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic Apollo 11 photograph captures the Lunar Module Eagle moments before humanity’s first landing on another world. Taken by Michael Collins from the Command Module Columbia after undocking, the image shows Eagle with its gold and silver thermal insulation gleaming against space, its landing legs extended in preparation for touchdown. As Neil Armstrong exclaimed, “The Eagle has wings” (see mission transcript), the spacecraft floated freely, ready for the final, fateful descent to the Moon.

The long probes extending from three of the legs were designed to detect the lunar surface and trigger engine shutdown upon contact. As Armstrong and Buzz Aldrin piloted Eagle toward Tranquillity Base, Collins remained alone in Columbia, orbiting the Moon and awaiting their return.

This moment was the culmination of years of engineering, training, and ambition—a step that fulfilled President John F. Kennedy’s challenge to land a man on the Moon before the decade’s end.

Beyond its technological significance, this image embodies the human drive to explore the unknown, forever changing our place in the cosmos.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 310 | BONHAMS

242 [Apollo 11] CSM COLUMBIA ABOVE THE SEA OF TRANQUILITY: seen from LM Eagle before landing Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5446].

Numbered “NASA AS11-37-5446” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Columbia alone—Apollo 11 undocks for the lunar descent.

Buzz Aldrin captured this photograph from Eagle using the 80mm lens on orbit 13, shortly after undocking from Columbia.

At the time, both spacecraft were station-keeping 195 km above the southeastern Sea of Tranquillity (1.5°N, 57.5°E), moments before Eagle’s historic descent to the lunar surface.

As Armstrong and Aldrin made history below, Collins embarked on a 22-hour solo voyage in Columbia, orbiting the Moon alone.

Part of his responsibility was to photograph the lunar surface— hoping, with any luck, to spot Tranquillity Base.

“I guess the question that everyone has in the back of his mind is how do I feel about having to leave them on the lunar surface?... They know and I know, and Mission Control knows, that there are certain categories of malfunction where I just simply light the motor and come home without them.”

—Michael Collins (LIFE magazine, July 4, 1969) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 311

243 [Apollo 11] FIRST HUMAN VIEW OF ANOTHER WORLD: the Sea of Tranquillity seen from LM Eagle’s pilot window after landing Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5458].

Numbered “NASA AS11-37-5458” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context First Look at a new world—The Apollo 11 landing site before humanity’s first steps.

This historic photograph is one of the very first images taken from a spacecraft on the surface of another world—the only pre-moonwalk surface photograph published by NASA after the mission. Captured approximately one hour after landing, this image ensured that if an emergency departure was required (a “No Stay” decision), the crew would not leave without surface imagery.

Shot by Buzz Aldrin through the LM Pilot window, this image was taken with the Hasselblad IVA (Intra-Vehicular Activity) 500EL and colour magazine 37/R. It was part of the first panoramic sequence by both Armstrong and Aldrin, providing a crucial geological record for scientists on Earth. The view looks south toward the horizon at Tranquillity Base, with a thruster of the LM Eagle visible in the foreground.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 312 | BONHAMS

244 [Apollo 11] THE EAGLE HAS LANDED: extremely rare unpublished photograph showing the first human view on the surface of another world Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1139-5747].

Numbered “NASA AS11-39-5747” in right margin (issued by NASA / United States Geological Survey, Flagstaff, Arizona).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This exceptionally rare photograph was taken by Neil Armstrong from his LM Commander window, capturing the horizon of the Sea of Tranquillity above the LM Eagle’s thruster just after humanity’s historic first lunar landing.

Moments earlier, Armstrong had piloted Eagle to a safe landing, skilfully avoiding hazardous craters with almost no fuel left.

He then radioed one of the most famous messages in history: “Houston, Tranquillity Base here. The Eagle has landed.”

Mission Control’s Charles Duke responded with palpable relief: “You got a bunch of guys about to turn blue.

We’re breathing again.”

Soon after, Armstrong would become the first human to set foot on the Moon.

Part of a panoramic sequence, this image was taken with the Hasselblad EVA camera, featuring a 60mm Zeiss-Biogon lens and B&W magazine 39/Q, with the now-iconic reseau crosses.

NASA did not release this image—or any from magazine 39/Q— after the mission.

“In my view, the emotional moment was the landing. That was human contact with the Moon, the landing.”

— Neil Armstrong (Chaikin, Voices, p. 58) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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245 [Apollo 11] THE FIRST-EVER PHOTOGRAPH ON THE SURFACE OF ANOTHER WORLD TAKEN BY HUMANS Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5850].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California).

(North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the most historic photographs ever taken. As Neil Armstrong stepped onto the lunar surface, he proclaimed his immortal words: ‘That’s one small step for a man, one giant leap for mankind.’ Inspired by the surreal beauty of this new world and the profound significance of exploring the unknown, Armstrong deviated from the mission plan—which prioritized collecting a contingency sample—and instead requested the camera from Buzz Aldrin aboard the Lunar Module Eagle via the Lunar Equipment Conveyor, declaring: ‘I’ll step out and take some of my first pictures here.’

This exceptionally rare first photograph taken by Neil Armstrong on the Moon was neither released after the mission nor initially recognized for its extraordinary historical significance. At that moment, photography became the very first human activity on another world, underscoring its vital role in documenting humankind’s giant leap.

EUR7,000 - 10,000 £5,800 - 8,400 US$7,600 - 11,000

The full description of the lot is available on our website: www.bonhams.com 314 | BONHAMS

FOR ALL MANKIND

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246 [Apollo 11] BUZZ ALDRIN EXITS THE LM EAGLE FOR HUMANITY’S FIRST EXPLORATION OF ANOTHER WORLD Neil Armstrong, 16–24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5863].

With faint traces of previous mounting and “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-40-5863” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic Apollo 11 photograph captures Buzz Aldrin descending from the Lunar Module Eagle, 19 minutes after Neil Armstrong. Taken by Armstrong from the lunar surface, this image immortalizes one of the most iconic moments in history—the beginning of humanity’s first exploration of another world.

The Eagle, adorned with its gold and black thermal insulation, dominates the frame. Aldrin, clad in his white Extravehicular Mobility Unit (EMU), carefully manoeuvres down the LM’s porch and ladder toward the Moon’s surface. His Portable Life Support System (PLSS) provides oxygen for breathing, water for cooling, electrical power, and radio communication. His boots, poised at the edge of the porch, highlight the precision required to transition safely from the spacecraft to the lunar regolith. The vast blackness of space serves as a stark backdrop, emphasizing the isolation and magnitude of this unprecedented achievement.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 316 | BONHAMS

247 [Apollo 11] BUZZ ALDRIN CLIMBING DOWN THE LM EAGLE LADDER TO MAKE HUMANITY’S FIRST STEPS ON ANOTHER WORLD Neil Armstrong, 16–24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5868].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-40-5868” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic Apollo 11 photograph, taken by Neil Armstrong from the lunar surface, captures an eager Buzz Aldrin descending the ladder of the Lunar Module Eagle.

This image symbolizes humanity’s arrival on another world— the culmination of a decade-long effort under NASA’s Apollo program. It remains a milestone that reshaped our understanding of exploration, technology, and human potential.

On July 20, 1969, as two astronauts ventured into the unknown, the entire world watched history unfold.

“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. 215) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 317

248 [Apollo 11] MAGNIFICENT DESOLATION: Buzz Aldrin standing on the LM Eagle footpad before making humanity’s first steps on another world Neil Armstrong, 16–24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5869].

With editorial annotations and “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-40-5869” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Buzz Aldrin takes in the extraordinary moment and moonscape before his first step on the Moon.

Before stepping onto the lunar surface, Buzz Aldrin paused for a crucial test. With both feet on the footpad of the Lunar Module Eagle, he attempted to jump up to the bottom rung of the ladder—a precautionary check to ensure re-entry into the spacecraft would be possible after exploration.

Though he missed on his first try, he succeeded on the second, proving that astronauts could climb back into the LM without difficulty.

Back on the footpad, just moments before joining Neil Armstrong in humanity’s first Moonwalk, Aldrin took in the stark lunar landscape. Marvelling at the surreal world before him, he famously declared: “Beautiful view! Magnificent desolation.”

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com 318 | BONHAMS

249 [Apollo 11] THE FIRST PHOTOGRAPH OF A HUMAN ON THE SURFACE OF ANOTHER WORLD Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5872].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first photograph of a human standing on another world. For Buzz Aldrin, stepping onto the sunlit Moon felt like crossing a barrier into another dimension. This historic photograph, taken by Neil Armstrong as part of his mission checklist to document Aldrin’s deployment of the Solar Wind Experiment, captures the profound significance of humanity’s transformation into an interplanetary species.

EUR4,000 - 6,000 £3,300 - 5,000 US$4,300 - 6,500

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 319

250 [Apollo 11] ‘ONE GIANT LEAP FOR MANKIND’: the astronaut bootprint on the Moon Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5880].

Numbered “NASA AS11-40-5880” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This legendary photograph, taken by Buzz Aldrin as part of a soil mechanics test, provides a visual record of the lunar surface’s density and texture. Over time, it has become one of the most iconic images of the entire space program—a lasting symbol of humanity’s first steps beyond Earth.

“I felt buoyant and full of goose pimples when I stepped down on the surface. I immediately looked down at my feet and became intrigued with the peculiar properties of the lunar dust.”

— Buzz Aldrin (NASA SP-350, p. 11.4) The full description of the lot is available on our website: www.bonhams.com 320 | BONHAMS

Although Neil Armstrong did not photograph his own first step, he provided an immediate description of the surface upon stepping off the LM Eagle (mission transcript at T+109:24:48 after launch): “Yes, the surface is fine and powdery. I can kick it up loosely with my toe. It does adhere in fine layers, like powdered charcoal, to the sole and sides of my boots. I only go in a small fraction of an inch, maybe an eighth of an inch, but I can see the footprints of my boots and the treads in the fine, sandy particles.”

EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

251 [Apollo 11] THE ONLY COLOUR IMAGE OF BOTH NEIL ARMSTRONG AND BUZZ ALDRIN ON THE MOON NASA, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-40308] Numbered “NASA S-69-40308” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An image of extraordinary significance— the only colour image officially released by NASA after the mission showing Neil Armstrong and Buzz Aldrin together on the lunar surface during humanity’s first exploration of another world.

Captured by an automatic 16mm movie camera mounted in the Pilot’s window of the Eagle Lunar Module, this rare image stands apart from all other NASA-released visuals of the two astronauts, which originate from the black-and-white TV transmission.

This historic scene captures Neil Armstrong and Buzz Aldrin setting up the U.S. flag at Tranquillity Base. In the background, the TV camera that broadcast the event to millions stands as a silent witness. The foreground features the LM’s shadow and a thruster, framing the desolate lunar landscape of humanity’s first outpost beyond Earth.

“During a pause in experiments, Neil suggested we proceed with the flag. It took both of us to set it up and it was nearly a disaster. Public Relations obviously needs practice just as everything else does. A small telescoping arm was attached to the flagpole to keep the flag extended and perpendicular.

As hard as we tried, the telescope wouldn’t fully extend. Thus the flags which should have been flat, had its own unique permanent wave.”

—Buzz Aldrin (NASA SP-350, p. 216) EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 321

252 [Apollo 11] ‘WE CAME IN PEACE FOR ALL MANKIND’: the iconic commemorative plaque left on the Moon Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5899].

With NASA caption numbered “NASA AS11-40-5899” and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context “Here men from the planet Earth first set foot upon the Moon, July 1969 A.D. We came in peace for all mankind.”

These iconic words remain on the Moon, inscribed on the plaque affixed to the Eagle Lunar Module’s leg by the Apollo 11 astronauts.

The full description of the lot is available on our website: www.bonhams.com 322 | BONHAMS

Capturing this moment was of great importance to the crew, as it symbolized the spirit of the mission. To ensure a clear shot, Neil Armstrong carefully positioned the camera over the centre of the footpad. “We had to guess at the exposures, so I took several different exposures to try to catch the plaque,” Armstrong later recalled (Apollo Lunar Surface Journal, mission transcript at 110:41:07 GET).

At a White House dinner with President Nixon following the mission, Armstrong reflected on the plaque’s lasting significance: “I hope that some wayward stranger in the third millennium may read it and say, ‘This is where it all began.’ It can be a beginning of a new era when man begins to understand his Universe and man begins to truly understand himself.”

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

253 [Apollo 11] BUZZ ALDRIN’S PORTRAIT BESIDES THE FIRST US FLAG ON THE MOON (large format) Neil Armstrong, 16–24 July 1969 Printed 1969.

Large format vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5875].

With NASA - USAF caption numbered “AS11-40-5875” and dated “20 July 1969” and “A Kodak Paper” watermark on the reverse (issued by NASA White Sands Test Facility, New Mexico).

28 x 35.6 cm. (11 x 14 in.)

Historical context A stunning and rare large-format print of one of humanity’s most iconic images.

This extraordinary photograph captures humankind’s first-ever encounter with another world. Buzz Aldrin stands at Tranquillity Base beside the first American flag planted on the Moon. Taken

by Neil Armstrong, this image epitomizes the triumph of human exploration and vision, fulfilling our greatest dream.

A rare detail makes this photograph even more exceptional: Aldrin’s face is visible through his helmet visor. Normally, the gold-plated visor obscures an astronaut’s features, but here, the direct sunlight illuminates Aldrin at just the right angle, allowing his face to shine through.

This makes it one of the very few Apollo lunar surface photographs where an astronaut’s face is distinguishable—a rare and poignant glimpse of humanity on another world.

EUR4,000 - 6,000 £4,200 - 5,800 US$5,400 - 7,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 323

254 [Apollo 11] STRIKING CLOSE-UP OF BUZZ ALDRIN ON THE MOON: setting up scientific equipment at Tranquillity Base Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5951].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the most striking photographs of an Apollo astronaut on the Moon—though the top of Aldrin’s head is cropped in the frame. Neil Armstrong captured this close-up of Buzz Aldrin as he made final adjustments to the seismometer. Notably, NASA photo editors later added black sky above his helmet to balance the composition.

Armstrong’s reflection is visible in Aldrin’s gold-plated visor, offering a rare glimpse of the photographer at work. Through the visor, Aldrin’s face is clearly distinguishable—one of the few Apollo photographs where an astronaut’s face can be seen.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com 324 | BONHAMS

255 [Apollo 11] A HUMAN AND HIS SPACECRAFT ON ANOTHER WORLD: Buzz Aldrin beside LM Eagle at Tranquillity Base Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5927].

Numbered “NASA AS11-40-5927” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context Humanity’s arrival on a previously untouched world.

This extraordinary photograph captures the essence of exploration, technology, and human achievement as the Lunar Module Eagle stands proudly on the Moon’s surface. Taken

by Neil Armstrong from a position approximately 10 meters east-southeast, Buzz Aldrin is seen preparing to remove the Passive Seismic Experiment Package (PSEP) from the lefthand compartment of the Scientific Equipment (SEQ) bay. The Solar Wind Collector and TV camera are visible in the right background, while scattered footprints mark the foreground.

“Our LM was sitting there with its black, silver and bright yellow orange thermal coating shining brightly in the otherwise colourless landscape. I had seen Neil in his suit thousands of times before, but on the Moon the unnatural whiteness of it seemed unusually brilliant.”

—Buzz Aldrin (NASA SP-350, p. 11) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900 FOR ALL MANKIND

| 325

256 [Apollo 11] BUZZ ALDRIN WALKING ACROSS THE SEA OF TRANQUILLITY WITH SCIENTIFIC EQUIPMENT Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS1140-5942].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Captured by Neil Armstrong, this image is profoundly symbolic: Aldrin’s solitary figure, silhouetted against the barren expanse of the Moon, emphasizes both the immensity of space exploration and the isolation of the astronauts, nearly a quarter-million miles from Earth. The long shadows stretching behind him, caused by the low-angle sunlight, further reinforce the surreal and stark environment of Tranquillity Base.

Aldrin carries two critical scientific instruments—the Passive Seismic Experiment (PSE) and the Laser Ranging Retroreflector (LRRR)—as he searches for a suitable deployment site.

The American flag patch on Aldrin’s Portable Life Support System (PLSS) symbolizes the achievement of the Apollo program, yet this image transcends national pride—it marks humanity’s first scientific endeavour on another world.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 326 | BONHAMS

FOR ALL MANKIND

| 327

257 [Apollo 11] BUZZ ALDRIN ON THE MOON WITH THE REFLECTION OF LM EAGLE AND THE PHOTOGRAPHER IN HIS GOLD-PLATED VISOR (large format) Neil Armstrong, 16-24 July 1969 Printed 1969.

Large-format vintage presentation chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5903].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

28 x 35.5 cm. (11 x 14 in.)

Historical context The Mona Lisa of space photography—mysterious, timeless, and the ultimate symbol of human ambition.

This legendary photograph captures Buzz Aldrin standing on the Moon, taken by Neil Armstrong during Apollo 11’s first moonwalk on July 20, 1969.

In a single frame, the universe reflects back at us—Armstrong, the Lunar Module Eagle, the vast, untouched lunar expanse, and even Earth itself as a blue dot, all mirrored in Aldrin’s goldplated visor.

The stark contrast of light and shadow, the pristine, unmarked terrain, and the fine lunar dust clinging to Aldrin’s boots evoke both the fragility and triumph of mankind’s first steps beyond Earth.

Presented in large-format, this image preserves one of the most defining moments of the Apollo era, a visual testament to human ingenuity and the relentless pursuit of the unknown.

EUR6,000 - 8,000 £5,000 - 6,700 US$6,500 - 8,700

The full description of the lot is available on our website: www.bonhams.com 328 | BONHAMS

FOR ALL MANKIND

| 329

258 [Apollo 11] BUZZ ALDRIN DEPLOYING THE FIRST SCIENTIFIC SITE ON THE MOON Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5945].

Numbered “NASA AS11-40-5945” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Science on another world begins.

This powerful image, framed against the barren, airless expanse of the Moon, captures Buzz Aldrin in the process of deploying humanity’s first scientific research station on another world—the Early Apollo Scientific Experiments Package (EASEP)—at Tranquillity Base. Aldrin had just placed the Laser Ranging Retroreflector (LRRR) on the surface, seen to his right, and was turning to his left to find a suitable location for the Passive Seismic Experiment (PSE).

The immense isolation of the lunar landscape is accentuated by the deep black sky and the long shadow cast by Aldrin.

Beyond a mission of exploration, Apollo 11 was a scientific endeavour, and this moment marks the first time humanity placed instruments on another world to expand our understanding of the cosmos.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com 330 | BONHAMS

259 [Apollo 11] CLOSE-UP OF LM EAGLE AT TRANQUILLITY BASE: the first spacecraft to land on another world Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5922].

Numbered “NASA AS11-40-5922” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking and rare photograph of Eagle standing in the Sea of Tranquillity. While inspecting the Lunar Module to assess the effects of the landing, Buzz Aldrin captured this close-up, revealing the intricate details of Eagle’s ascent stage—the vehicle that would later propel them back into lunar orbit for rendezvous with CSM Columbia and the journey home. The image highlights gold and black thermal insulation, struts, and antennas, showcasing the delicate yet robust engineering of the LM.

Designed to withstand the harsh conditions of the Moon while remaining as lightweight as possible, the foil-like insulation and exposed framework reveal its unconventional design, tailored exclusively for operation in a vacuum with one-sixth Earth’s gravity. The stark contrast between the spacecraft’s reflective materials and the deep black lunar sky emphasizes the isolation of the astronauts and the historic magnitude of their mission.

This photograph stands as a testament to human ingenuity and perseverance, capturing the Apollo program’s extraordinary achievement in landing on an unexplored world.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 331

260 [Apollo 11] BUZZ ALDRIN GAZING AT THE LM EAGLE AND U.S. FLAG AT TRANQUILITY BASE Neil Armstrong, 16-24 July 1969 Printed 1969.

He is positioned next to the Passive Seismic Experiment (PSE), designed to detect moonquakes and meteorite impacts.

Nearby, the Laser Ranging Retroreflector (LRRR), which allows precise measurements of the Earth-Moon distance, and the stereo close-up camera are visible.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS1140-5948].

Numbered “NASA AS11-40-5948” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Further in the distance, the American flag stands planted on the lunar surface, with Eagle poised for liftoff as the astronauts prepare to return to lunar orbit. The TV camera, which broadcasted the historic moonwalk to millions on Earth, is also visible.

20.3 x 25.4 cm. (8 x 10 in.)

“I don’t believe any pair of people had been more removed physically from the rest of the world than we were.”

—Buzz Aldrin (LIFE magazine, August 22, 1969, p. 26)

Historical context The significance of exploring the unknown.

Neil Armstrong captured this iconic photograph from the scientific site, 20 meters south-southwest of the Lunar Module Eagle. Buzz Aldrin looks back at Tranquillity Base, perhaps reflecting on the profound reality of standing on another world.

The full description of the lot is available on our website: www.bonhams.com 332 | BONHAMS

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

261 [Apollo 11] BUZZ ALDRIN WALKING ON ANOTHER WORLD Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5902].

Numbered “NASA AS11-40-5902” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic Apollo 11 photograph captures the profound isolation and significance of humankind’s first steps beyond Earth. Buzz Aldrin walks beside the foil-wrapped landing gear of Eagle, the Lunar Module that brought him and Neil Armstrong to the Moon. He appears to gaze back at the lander, perhaps reflecting on the extraordinary reality of standing on another world.

Surrounded by the silence of a vacuum in one-sixth gravity, Aldrin experiences a world untouched by life, hearing only the crackling of communications, the hum of his life-support system, and the rhythmic echo of his own breathing inside his helmet.

In his gold-plated visor, a tiny reflection of Neil Armstrong, the photographer, immortalizes the moment from his perspective.

EUR2,600 - 3,600 £2,200 - 3,000 US$2,800 - 3,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 333

262 [Apollo 11] EARTH ABOVE THE LM EAGLE: humanity’s first view of home from another world Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5924].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An extraordinary image capturing a profound transition in human history—astronauts on the Moon, gazing back at their home planet for the very first time. This may have been one of the most overwhelming moments of Apollo 11’s moonwalk, as Neil Armstrong and Buzz Aldrin eagerly sought to photograph Earth hanging in the black lunar sky with their shared Hasselblad camera (see mission transcript).

To get this shot, Aldrin had to unmount the camera from his RCU bracket and angle it steeply overhead to frame Earth above Eagle’s ascent stage and landing leg.

“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.”

—Neil Armstrong (1999 press conference for the 30th anniversary of the Moon landing) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com 334 | BONHAMS

263 [Apollo 11] BUZZ ALDRIN RETRIEVING EQUIPMENT FROM LM EAGLE AT TRANQUILLITY BASE Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5931].

Numbered “NASA AS11-40-5931” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking view of the first outpost of human exploration beyond Earth.

While Buzz Aldrin retrieved scientific equipment from Eagle, Neil Armstrong stepped back 20 meters southeast of the Lunar Module to capture this rare shot of both an astronaut and the LM in the same frame—part of a 360° panoramic sequence of Tranquillity Base. The TV camera and Solar Wind Collector stand in the right foreground, while the footprints of the first moonwalkers and the 35mm stereo close-up Kodak camera are visible in the foreground.

The photograph highlights both the technological feat of landing on the Moon and the personal triumph of the astronauts who dared to venture into the unknown.

“Nothing can replace the pictures that were taken on the first visit to the lunar surface. Those are always going to stand out.”

—Buzz Aldrin (Jacobs, p. 15) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 335

264 [APOLLO 11] BUZZ ALDRIN STRIDING ACROSS THE SEA OF TRANQUILLITY WITH SCIENTIFIC EQUIPMENT Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5944].

Numbered “NASA AS11-40-5944” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This Apollo 11 photograph embodies the fusion of exploration, science, and human achievement. Buzz Aldrin searches for a stable spot to deploy the first scientific site on another world, known as the Early Apollo Scientific Experiments Package (EASEP). He carries the seismometer in his left hand and the Laser Ranging Retroreflector (LRRR) in his right as he navigates the uneven lunar surface. In the one-sixth gravity of the Moon, Aldrin carefully manoeuvres across an area scattered with fragments of broken rock near a small crater (foreground), looking for a level site to position the LRRR. His deep footprints in the crater’s soft rim contrast with the shallower impressions in the firmer terrain beyond, where he was standing when Neil Armstrong captured this astonishing image.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com 336 | BONHAMS

265 [Apollo 11] BUZZ ALDRIN FACING THE CAMERA BESIDE LM EAGLE AND THE SOLAR WIND EXPERIMENT Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5873].

Numbered “NASA AS11-40-5873” in red in the top margin, with “A Kodak Paper” watermark on the reverse, originally laminated (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The composition of this stunning image embodies the essence of the Apollo 11 mission—humanity’s first presence on another world, marking the pinnacle of scientific exploration and technological achievement. Buzz Aldrin is standing in front of the Lunar Module Eagle, positioned beside the successfully deployed Solar Wind Experiment. Captured by Neil Armstrong, this image is notable as the first frontal image of Aldrin on the Moon, with Armstrong’s silhouette and the surrounding lunar landscape beautifully reflected in Aldrin’s gold-plated visor. The Eagle, draped in gold and black thermal insulation, serves as a striking backdrop, a stark contrast against the grey lunar surface. The long, sharp shadows stretching across the regolith emphasize the Moon’s airless environment and the brilliance of the sunlight in space.

EUR2,600 - 3,600 £2,200 - 3,000 US$2,800 - 3,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 337

266 [Apollo 11] LM EAGLE’S FOOTPAD AND HUMANITY’S FIRST IMPRINTS IN LUNAR SOIL Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5917].

Numbered “NASA AS11-40-5917” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context First contact—Eagle’s footpad and humanity’s first steps on another world.

While inspecting the Lunar Module, Buzz Aldrin took this closeup photograph of Eagle’s footpad resting on the surface at Tranquillity Base, with its contact probe clearly visible. Nearby, the first human footprints on another world reinforce the profound historical weight of this image—humanity’s presence in an otherwise untouched landscape.

This very rare Apollo 11 photograph, unpublished at the time, symbolizes the moment when Eagle touched down, marking one of the greatest milestones in exploration—the first successful human landing beyond Earth.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 338 | BONHAMS

267 [Apollo 11] BUZZ ALDRIN COLLECTING FINAL SAMPLES AT TRANQUILLITY BASE BEFORE RETURNING TO EAGLE FOR LIFTOFF Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5964].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-40-5964” in red in the top margin, originally laminated, (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context The rare final photograph of a human standing on the Moon during humanity’s first exploration of another world. The last EVA activity before re-entering the LM Eagle for liftoff was to extract core samples from the lunar surface—Aldrin is seen hammering a core tube into the regolith, with the hammer in his hand. Just beyond the tube, the deployed Solar Wind Collector is visible.

During this first visit to the Moon, Armstrong and Aldrin remained within about 100 meters of the LM, collected 47 pounds of samples, and deployed four scientific experiments.

The EVA lasted 2 hours and 31 minutes, concluding at 1:11:13 a.m. EDT on July 21, 1969.

“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.”

Neil Armstrong (NASA SP-350, p. 11) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

FOR ALL MANKIND

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268 [Apollo 11] LITTLE WEST CRATER: the landmark Neil Armstrong explored after skilfully avoiding it during LM Eagle’s historic landing Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-40-5955].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS11-40-5955” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The most stunning moonscape witnessed during the first mission to another world.

Shortly before re-entering the LM, Neil Armstrong ventured alone to the rim of Little West Crater, approximately 65 meters east of Eagle, to capture this dramatic photograph. The 30-meter-wide, several-foot-deep depression was a hazard Armstrong skilfully avoided in the final moments of landing.

The image reveals the crater’s rugged interior, strewn with rocks and boulders, and highlights the stark contrast between sunlit terrain and the pitch-black shadows of the lunar surface.

Armstrong’s unscheduled exploration of the crater’s rim marked the farthest point traversed on Apollo 11—a spontaneous act of scientific curiosity that underscored the vital role of photography in documenting the mission.

The full description of the lot is available on our website: www.bonhams.com 340 | BONHAMS

“I went the farthest. While Buzz was returning from the EASEP, I went back to a big crater behind us. It was a crater that I’d estimate to be 70 or 80 feet in diameter and 15 or 20 feet deep.

I went back to take some pictures of that; it was between 200 and 300 feet from the LM. I ran there and ran back because I didn’t want to spend much time doing that, but it was no trouble to make that kind of a trek – a couple of hundred feet or so. It just took a few minutes to lope back there, take those pictures, and then come back.”

Neil Armstrong (1969 Technical Debrief, from the ALSJ mission transcript at 111:12:31 GET) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

269 [Apollo 11] BUZZ ALDRIN WITH THE LM EAGLE, U.S. FLAG, AND SCIENTIFIC EXPERIMENTS AT TRANQUILLITY BASE (large format) Neil Armstrong, 16-24 July 1969 Printed 1969.

Large format vintage chromogenic print on special textured canvaslike Kodak paper [NASA image AS11-40-5949].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

28 x 35 cm. (11 x 14 in.)

Historical context This large-format print, produced on rare canvas-like paper, immortalizes humankind’s first exploration of another world.

This scenic lunar photograph presents a striking tableau of Tranquillity Base: Buzz Aldrin stands at the scientific site, positioned between the Passive Seismic Experiment (PSE) and the Laser Ranging Retroreflector (LRRR). In the background, the Lunar Module Eagle, the U.S. flag, and the TV camera that broadcasted the historic moonwalk to millions complete this extraordinary composition.

“You can see pictures, and you can appreciate from pictures.

But pictures are different from being there.”

—Neil Armstrong (Chaikin, Voices, p. 66) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 341

270 [Apollo 11] LONELY EARTHRISE: seen from CSM Columbia during LM Eagle’s lunar landing Michael Collins, 16-24 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1141-6028].

Numbered “NASA AS11-41-6028” (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A lone witness to Earthrise—Michael Collins’ view of home from lunar orbit.

As Buzz Aldrin and Neil Armstrong completed humanity’s first landing on another world, Michael Collins orbited alone in Command Module Columbia, separated from both his crewmates on the Moon and all of humanity back on Earth.

From this unique vantage point, he captured this extremely rare Earthrise, a moment of stunning isolation and beauty.

This extraordinary black-and-white photograph, taken as part of a forward-looking sequence with the Hasselblad 500 EL equipped with an 80mm lens and B&W magazine P/41, remained unpublished after the mission.

The sight of Earthrise was one of the most awe-inspiring moments of Apollo 11, eagerly anticipated by the astronauts.

According to Richard Underwood, NASA’s chief of photography, Apollo 11 brought back “the best Earthrises and sets, by far.”

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com 342 | BONHAMS

271 [Apollo 11] LUNAR HORIZON ABOVE TRANQUILITY SCIENTIFIC SITE: captured from LM Eagle’s window after humanity’s first exploration of another world Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5499].

Numbered “NASA AS11-37-5499” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This rare unpublished photograph captures the lunar horizon from the LM window after humankind’s first exploration of the surface. In the foreground, part of the Eagle’s structure is visible, including a defocused thruster, reinforcing the perspective from inside the spacecraft. It is a view no human had ever seen before—a scientific outpost on another celestial body, left behind as a footprint of human exploration in the vast, untouched lunar landscape unfolding beyond.

This image highlights a moment of transition—taken after Armstrong and Aldrin had completed their EVA and returned to the safety of Eagle, preparing for liftoff.

“The horizon looks close. But, because it’s hilly you’re probably not seeing all the horizon you could see. An intermediate hill is probably cutting it out. It wasn’t mountainous in our area; it was flat. But there were still crater rims and so on that probably affected how far out the observable horizon was.”

Neil Armstrong (from the ALSJ mission transcript at 112:20:56 GET) EUR600 - 800 £500 - 670 US$650 - 870

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272 [Apollo 11] THE FIRST HUMAN FOOTPRINTS ON THE MOON BESIDE EAGLE’S SHADOW: captured from the LM window after humanity’s first exploration of another world Neil Armstrong, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5505].

Numbered “NASA AS11-37-5505” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The simplest marks of man’s first visit to another world: footprints in the fine Moon dust and the shadow of the spacecraft.

The photograph was captured by Neil Armstrong from his LM Commander window after the EVA. As planned, the lunar surface Hasselblad data camera was not brought back into the cabin at the end of the EVA, so all post-EVA photography by the LM crew was done with the IVA (Intra Vehicular Activity) camera equipped with an 80mm lens. Consequently, the image does not have reseau crosses.

“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.”

Buzz Aldrin (acceptance speech for the Medal of Freedom, August 13, 1969) EUR700 - 1,000 £590 - 840 US$760 - 1,100

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273 [Apollo 11] COVER OF LIFE: the first U.S. flag standing on the Moon, captured from LM Eagle Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5545].

Numbered “NASA AS11-37-5545” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph graced the cover of LIFE magazine (ON THE MOON, footprints and photographs by Neil Armstrong and Edwin Aldrin) on August 8, 1969.

Surrounded by footprints left by the first men to walk upon the Moon, the American flag stands on the surface of the Sea of Tranquillity, symbolizing the first conquest of another world by humans. In the background is the deployed B&W lunar surface TV camera which broadcasted the lunar surface extravehicular activity to Earth. The shadow on the right of the flag just below the LM thruster comes from the SWC (Solar Wind Collector) pole.

From the mission transcript during the EVA: 110:17:44 Armstrong: It’s a great honour and privilege for us to be here representing not only the United States but men of peace of all nations, and with interests and the curiosity and with the vision for the future. It’s an honour for us to be able to participate here today.

The full description of the lot is available on our website: www.bonhams.com

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274 [Apollo 11] THE FIRST PORTRAIT ON ANOTHER WORLD: Neil Armstrong inside LM Eagle after the historic moonwalk Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5528].

Numbered “NASA AS11-37-5528” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This image holds profound significance—Buzz Aldrin took very few photographs of Neil Armstrong on the lunar surface, but this historic image—captured inside the Lunar Module Eagle after the moonwalk—is the first photograph showing the face of a human on the Moon. Armstrong and Aldrin had just spent over two hours on the lunar surface, collecting samples, setting up experiments, and leaving behind humanity’s first footprints on the Moon. This moment captures Armstrong as he processes the magnitude of their achievement.

The members of the Apollo 11 crew conducted themselves with a cool-even laconic-professionalism throughout the mission, to the general despair of newspaper headline writers. Once the more difficult and novel aspects of the flight had been successfully completed however, a change of mood became evident. His face, still marked by the historic experience, radiates exhaustion, exhilaration, and an unmistakable sense of accomplishment. An emotional tear is visible in his right eye.

“I wasn’t chosen to be first. I was just chosen to command that flight. Circumstance put me in that particular role. That wasn’t planned by anyone.”

Neil Armstrong (2005 interview with CBS) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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275 [Apollo 11] LM EAGLE’S SHADOW ON THE SEA OF TRANQUILLITY BEFORE HUMANITY’S FIRST LIFTOFF FROM ANOTHER WORLD Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-37-5464].

Numbered “NASA AS11-37-5464” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A brief shadow of humanity on a previously untouched world.

Like any “tourists” on a once-in-a-lifetime journey, Armstrong and Aldrin took a series of photographs through their Lunar Module windows, documenting their time on the lunar surface before humanity’s first liftoff from the Moon. This striking photograph, captured by Buzz Aldrin from his Lunar Module Pilot window, presents the bold, black shadow of Eagle stretched across the Moon’s surface—a fleeting presence of humanity on an otherwise untouched world.

In the foreground, impressions left by the astronauts’ boots are clearly visible, etched into the fine lunar soil—the first human footprints ever made beyond Earth, now left behind as the astronauts prepared for their return to Columbia in lunar orbit. Taken using the IVA Hasselblad 500 EL camera, equipped with an 80mm lens and magazine 37/R, the image serves as a poignant reminder of this historic moment.“The post-EVA checklist went very well. [...] The time period that we took while we were waiting for the canister (replacement) before starting the depressurization was comparably long. We had to put an eat period in there, as I remember, and took a lot of pictures.”

Neil Armstrong (1969 Technical Debrief, from the ALSJ mission transcript at 112:22:06 GET) “This period was prolonged a bit to try to make as much use of the film remaining. I think we probably took more pictures than we should have in an effort to make sure that we covered each particular window as thoroughly as possible and with as wide a range of settings as we could before we proceeded to jettison the camera.”

Buzz Aldrin (1969 Technical Debrief, from the ALSJ mission transcript at 112:20:56 GET).

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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276 [Apollo 11] FOOTPRINTS SURROUNDING THE U.S. FLAG AT TRANQUILLITY BASE: rare unpublished photograph from B&W magazine 39/Q Buzz Aldrin, 16-24 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1139-5802].

Numbered “AS11-39-5802” in the right margin (issued by NASA / United States Geological Survey, Flagstaff, Arizona).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A final unpublished glimpse of Tranquillity Base before departure.

This historic Apollo 11 photograph was captured from the Lunar Module Eagle’s window just moments before liftoff, using the Hasselblad IVA 500 EL camera with an 80mm lens and B&W magazine 39/Q. Frames from this magazine—used exclusively inside the LM while on the lunar surface—were not released by NASA after the mission, despite preserving some of the final images from humanity’s first exploration of another world.

The American flag stands alone in the vast, silent expanse of Tranquillity Base, surrounded by the first human footprints ever made on another celestial body. The shadow of the LM structure frames the lower part of the image, while the well-defined bootprints of Neil Armstrong and Buzz Aldrin crisscross the fine lunar dust—a silent testament to the steps of discovery, scientific exploration, and humankind’s first extraterrestrial journey.

EUR600 - 800 £500 - 670 US$650 - 870

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277 [Apollo 11] GLORIOUS EARTHRISE: the first Earthrise captured after trans-Earth injection Michael Collins, 16-24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-44-6652].

Numbered “NASA AS11-44-6652” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 11 was the first mission to capture this extraordinary view of Earthrise following trans-Earth injection. This half-lit blue Earth greeted Columbia after completing 30 orbits around the Moon and executing the crucial trans-Earth injection (TEI) burn, setting the crew on their journey home. By this stage, Columbia had climbed to an altitude of over 800 km, accentuating the pronounced curvature of the lunar surface.

Several notable landmarks are visible, including Smyth’s Sea (left) and the 120-km-wide dark-floored Crater Neper (just right of centre, with a distinct central peak).

As the astronauts witnessed this awe-inspiring sight, Buzz Aldrin exclaimed: “Hey, I hope somebody’s getting the picture of the Earth coming up.” (see mission transcript.)

This rare and breathtaking photograph—captured by Michael Collins using the Hasselblad 500EL with a 250mm telephoto lens—was not published by NASA after the mission.

EUR3,600 - 4,600 £3,000 - 3,800 US$3,900 - 5,000

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278 [Apollo 11] GHOSTLY MOONSCAPES FROM THE SPACECRAFT ON ITS THIRD ORBIT (four photos) Buzz Aldrin, Michael Collins, or Neil Armstrong, 16-24 July 1969 Printed 1969.

Four vintage gelatin silver prints on fibre-based paper [NASA images AS11-42-6285, AS11-42-6293, AS11-42-6318 and AS11-42-6324].

Numbered “NASA AS11-42-6285”, “NASA AS11-42-6293”, “NASA AS11-42-6318” and “NASA AS11-42-6324” in black in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

Historical context The Moon through a new lens: Apollo 11’s unseen views from magazine 42/U. These exceptionally rare photographs were taken using the powerful 250mm telephoto lens of the Hasselblad 500 EL, equipped with B&W magazine 42/U, during Apollo 11’s third orbit around the Moon. As the Command Module Columbia traveled westward in an equatorial plane, transitioning from the farside to the nearside, the astronauts captured these remarkable images—many of which were never released

by NASA. The full description of the lot is available on our website: www.bonhams.com 350 | BONHAMS

Magazine 42/U was exclusively used in lunar orbit, and most of its images were taken as targets of opportunity by the astronauts, who observed the Moon’s alien landscape with awe. These photographs are more than scientific records— they are a testament to the spirit of exploration, revealing landscapes never before seen by human eyes and capturing the stark beauty and mystery of the Moon.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

279 [Apollo 11] CRATER DAEDALUS ON THE FORBIDDING FAR SIDE OF THE MOON: seen by the loneliest human in the world aboard the CSM Columbia Michael Collins, 16–24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS11-44-6609].

With “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A photograph from the depths of total isolation—one human, alone off worlds.

Michael Collins took this astonishing photograph while orbiting the far side of the Moon alone in the Command and Service Module (CSM) Columbia during one of the passes between orbits 19 and 26, as Armstrong and Aldrin explored the lunar surface aboard the Lunar Module Eagle. For the first time in history, a human being was completely isolated—out of contact with both Earth, 240,000 miles away, and his crewmates on another world.

This dramatic view, captured with the Hasselblad 500EL equipped with an 80mm lens and colour magazine 44/V, was taken as the Sun set over the centre of the lunar far side. The image looks southwest toward the 93-km-wide Daedalus Crater and its rugged, forbidding surroundings. Latitude/ Longitude: 4°S / 179°E. “When the Sun is shining on the surface at a very shallow angle, the craters cast long shadows, and the Moon’s surface seems very inhospitable—forbidding almost. I did not sense any great invitation on the part of the Moon for us to come into its domain. I sensed more almost a hostile place, a scary place.”

—Michael Collins (from the documentary In the Shadow of the Moon, 2007) EUR700 - 1,000 £590 - 840 US$760 - 1,100

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280 [Apollo 11] ABSTRACT MOONSCAPES FROM THE SPACECRAFT ON ITS SIXTH ORBIT Michael Collins, Buzz Aldrin or Neil Armstrong, 24 July 1969 Printed 1969.

Two vintage gelatin silver prints on fibre-based paper [NASA images AS11-43-6439 and AS11-43-6473].

Numbered “NASA AS11-43-6439” and “NASA AS11-43-6473” in black in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Moon through a new lens: Apollo 11’s unseen views from magazine 43/T. These exceptionally rare photographs were taken using the powerful 250mm telephoto lens of the Hasselblad 500 EL, equipped with B&W magazine 43/T, during Apollo 11’s sixth orbit around the Moon. As the Command Module Columbia traveled westward in an equatorial plane, transitioning from the farside to the nearside, the astronauts captured these remarkable images.

Magazine 43/T was used exclusively in lunar orbit, and most of its images—many unpublished by NASA—were taken as targets of opportunity by the astronauts, who observed the Moon’s alien landscape with awe. More than just scientific records, these photographs stand as a testament to the spirit of exploration, revealing landscapes never before seen by human eyes and capturing the stark beauty and enduring mystery of the Moon.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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281 [Apollo 11] THE TRIUMPHANT RETURN OF THE FIRST MOON EXPLORERS, WELCOMED BY PRESIDENT NIXON NASA, 24 July 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper.

With “A Kodak Paper” watermark on the reverse (issued by NASA / US NAVY).

20.3 x 25.4 cm. (8 x 10 in.)

During a TV broadcast on the way back from the Moon, Buzz Aldrin reflected: “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.”

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Historical context Aglow with triumph, the smiling Apollo 11 astronauts—Neil Armstrong, Buzz Aldrin, and Michael Collins—peer through the window of the Mobile Quarantine Facility aboard USS Hornet as they speak with President Nixon, marking the conclusion of humanity’s first lunar landing mission. They wear the NASA insignia and the Apollo 11 emblem depicting an eagle bearing an olive branch, symbol of peace, to the Moon.

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282 [Apollo 11] SPLASHDOWN OF CM COLUMBIA: humanity’s historic first return from the surface of another world NASA, 24 July 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image S-69-21137].

Numbered “NASA S-69-21137” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context After completing the most extraordinary voyage in human history, Apollo 11’s Command Module Columbia splashed down just 13 miles from USS Hornet, 900 miles southeast of Hawaii.

The historic recovery operation was carried out by a formidable fleet: 9,000 personnel, nine ships, and 54 aircraft, all led by USS Hornet, waiting to retrieve the astronauts from the Pacific Ocean. After traveling 1,534,832 km (953,054 miles) over 8 days, 3 hours, 18 minutes, and 35 seconds, Columbia had successfully returned the first explorers of another world home.

EUR600 - 800 £500 - 670 US$650 - 870

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Apollo 12

Crew: Pete Conrad (Commander), Richard Gordon (Command Module Pilot), Alan Bean (Lunar Module Pilot) November 14-24, 1969 Spacecraft: Apollo 12 (CSM Yankee Clipper and LM Intrepid) Space Vehicle: Saturn V MISSION OVERVIEW Retrieved parts of the unmanned Surveyor 3, which had landed on the Moon in April 1967. Apollo Lunar Surface Experiments Package (ALSEP) deployed. 34kg (75 lbs) of material gathered. Two EVAs totaling 7 hours 50 minutes. Lunar surface stay-time, 31.5 hours; in lunar orbit 89 hours, with 45 orbits. LM ascent stage (purposefully) impacted on Moon (after surface crew returns to orbit).

CAMERAS AND ACCESSORIES The Apollo 12 mission carried seven 70mm Hasselblad cameras. Three individual cameras (one Hasselblad 500 EL with various Zeiss lenses (standard 80mm, telephoto 250mm and telephoto 500mm) for use in the Command Module and two Hasselblad data cameras with a 60mm Zeiss-Biogon lens for use in the LM and on the lunar surface) and a block of four cameras that made up the Lunar Multispectral Experiment. The mission also carried two 16mm Maurer data acquisition cameras and two color Westinghouse TV cameras.

MISSION PARAMETERS Duration: 10 days, 4 hours, 36 minutes Landing site: Ocean of Storms Landing Coordinates: 3.01381 degrees South, 23.41930 degrees West

detail lot 305 FOR ALL MANKIND

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283 [Apollo 12] HUMANITY’S SECOND DEPARTURE TO THE LUNAR SURFACE FROM KENNEDY SPACE CENTRE NASA, 14 November 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image 69-H-1833].

With NASA caption numbered “69-H-1833” on the reverse (issued by NASA Headquarters, Washington D.C.).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context This historic Apollo 12 photograph captures the three crew members—Commander Pete Conrad, Command Module Pilot Richard Gordon, and Lunar Module Pilot Alan Bean—departing the Kennedy Space Centre’s Manned Spacecraft Operations Building (MSOB) during the final prelaunch countdown. Suited up in their pressure garments, they are seen making their way to the special transport van that would take them to Launch Complex 39A, where their Saturn V rocket stood ready to propel them toward the Moon.

This image encapsulates the anticipation and solemnity of human spaceflight—men leaving the comfort of their world for the unknown, carrying the hopes and ambitions of humanity into the vast expanse of space, under the watchful eyes of the public and media.

EUR300 - 500 £250 - 420 US$320 - 540

The full description of the lot is available on our website: www.bonhams.com 358 | BONHAMS

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284 [Apollo 12] STREAKED SPACE WINDOW: a view from CSM Yankee Clipper en route to the Moon Richard Gordon, 14-24 November 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-50-7371].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-50-7371” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This candid image inside the Apollo 12 Command Module en route to the Moon captures an unexpected challenge— streaked and fogged-up windows. A design flaw was later identified as the cause of this condensation inside the window glass, leading to corrections in subsequent Apollo missions.

While the public saw only pristine images of deep space and the Moon, this rare unpublished photograph reveals the less glamorous, yet critical, behind-the-scenes realities of space exploration.

As historian Jeffrey Kluger noted, “Spaceflights were often reconnaissance missions, and dirty portholes could make that job impossible. 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.”

EUR600 - 800 £500 - 670 US$650 - 870

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285 [Apollo 12] EXTRAORDINARY VIEW OF THE HALFILLUMINATED PLANET EARTH Alan Bean, Pete Conrad or Richard Gordon, 14-24 November 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-50-7353].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-50-7353” in red in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This stunning photograph of a perfect half-disk of Earth captures the entire American continent. North America appears at the top, while South America extends toward the bottom.

The image was taken after translunar injection with an 80mm lens from an altitude of approximately 16,000 nautical miles, following the transposition, docking, and extraction of the Lunar Module, and the subsequent jettisoning of the Saturn IV-B stage.

Around this time, the Apollo 12 crew was transmitting live TV footage back to Earth: 004:19:55 Bean: Earth is about one and a half times the size of a basketball right now.

004:22:41 Gordon: Houston, we’re changing the scenery on you (with the TV camera); we’ll come back to that S-IVB just before it goes.

004:22:58 Gordon: How does the homeland look to you?

004:23:02 Carr (Mission Control): Beginning to look kind of small.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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| 361

286 [Apollo 12] ‘FANTASTIC’ VIEW OF CRATER COPERNICUS AT SUNRISE: seen from LM Intrepid about to descend to the lunar surface Pete Conrad or Alan Bean, November 14-24, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-6876].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-47-6876” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the most breathtaking photographs ever taken from lunar orbit.

“Boy, oh boy, Houston. Do we have a fantastic view of Copernicus.” — Pete Conrad (see mission transcript, 106:32:02) This dramatic view of Crater Copernicus at lunar sunrise truly astonished Alan Bean and Pete Conrad as they marvelled at the Moon’s stark beauty. The high-oblique, wide-angle photograph was taken from the Intrepid Lunar Module with a 60mm lens while it was still docked with Yankee Clipper during orbit 12, prior to the landing.

The stark lunar relief, with its deep shadows and sunlit peaks, is dramatically accentuated by the low Sun elevation near the terminator—an awe-inspiring sight that left the Apollo 12 astronauts in sheer admiration.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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287 [Apollo 12] FIRST CRESCENT EARTHRISE Pete Conrad or Alan Bean, November 14-24, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-6874].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-47-6874” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context The first crescent Earthrise photographed by humans, showing Earth as a delicate crescent rising over the barren Moon’s horizon.

This extraordinary wide-angle view was captured with the 60mm lens and the transparent glass reseau plate of the lunar surface Hasselblad data camera from the LM Intrepid (whose thruster is visible at the bottom right). The photograph was taken shortly after Revolution 12 Acquisition of Signal (AOS) with Earth. At this moment, Intrepid, carrying Pete Conrad and Alan Bean, remained docked with CSM Yankee Clipper, piloted

by Richard Gordon, before its undocking and descent to the lunar surface on the next orbit. The far side highlands east of Crater Pasteur are visible in the foreground.

“I don’t think any of us ever tired of looking out the window and watching the world or the Moon go by. One of the best things that our photography has done is come close to giving people down here an idea of what the hell it looks like from up there.”

— Pete Conrad (Schick and Van Haaften, p. 40) EUR1,800 - 2,200 £1,500 - 1,800 US$1,900 - 2,400 FOR ALL MANKIND

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288 [Apollo 12] STRIKING LUNAR SUNRISE OVER THE FRA MAURO HIGHLANDS FROM ORBIT Pete Conrad or Alan Bean, November 14-24, 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-50-7438].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-50-7438” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 364 | BONHAMS

Historical context Captured near the lunar nearside terminator—the boundary between day and night on the Moon—this awe-inspiring view represents what the crew observed as they crossed the terminator twice per orbit. The future Apollo 14 Fra Mauro landing site, located in the highland region within the shadowed area of this photograph, remained in darkness when this image was taken with the 80mm lens (2.5° S / 14° W).

“If you look down at the Moon, it doesn’t look that rugged until you get over near where the terminator is. 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.”

— Alan Bean (Chaikin, Voices, p.39) EUR600 - 800 £500 - 670 US$650 - 870

289 [APOLLO 12] PETE CONRAD EXITING THE LM INTREPID TO WALK ON ANOTHER WORLD: an exceptional view from inside the spacecraft Alan Bean, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6715].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6715” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Alan Bean captured this rare photograph of Pete Conrad descending from Intrepid by holding the Hasselblad camera upside-down at knee height, guessing at the framing. This is the only instance in the Apollo program where an astronaut inside the LM photographed another exiting onto the lunar surface.

Conrad’s visor reflects Intrepid’s porch and the Moon below.

His communication antenna, linking him to both Bean and Mission Control on Earth, is clearly visible.

“I couldn’t get down there, so I just turned the camera upside down and flashed a few. And they all turned out pretty good.”

—Alan Bean (ALSJ mission transcript, 115:20:07 GET) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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290 [Apollo 12] THE FIRST HUMAN STEPS ON THE OCEAN OF STORMS Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6722].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6722” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 366 | BONHAMS

Historical context This historic photograph, taken by Pete Conrad while he was briefly alone on the lunar surface awaiting Alan Bean’s arrival, captures the first-ever human footsteps on the Moon’s Ocean of Storms.

As he stepped onto the lunar surface, Conrad famously quipped: “Whoopie! Man, that may have been a small one for Neil, but that’s a long one for me.”

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291 [Apollo 12] ALAN BEAN CLIMBING DOWN THE LM INTREPID LADDER TO MAKE HIS FIRST STEP ON THE MOON Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6726].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6726” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Pete Conrad took great care in beautifully capturing the arrival of the fourth astronaut on the lunar surface (see mission transcript). Alan Bean prepares to descend the final steps of the Intrepid’s ladder. The TV camera is visible at the lower left of the Modular Equipment Stowage Assembly (MESA), pointed at the bottom of the ladder. In the background, beyond the Lunar Module, lies the southern rim of Surveyor Crater.

This image is a testament to the human presence on the Moon—one of only a handful of moments in history when a human being took their first steps on another world.

“The first frames of Apollo 12’s magazine 46/Y by Alan Bean of Pete Conrad offer the most distinctive sequence of an Apollo astronaut descending the Lunar Module to the surface of the Moon of any of the six manned landings.”

—Steven Dick, former NASA chief historian EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 367

292 [Apollo 12] THE BURN-OUT TV CAMERA ON THE OCEAN OF STORMS Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6755].

With “A Kodak Paper” watermark on the reverse (issued by NASA / North American Rockwell, Downey, California). (North American Rockwell was NASA’s prime contractor for the Apollo Command and Service Modules) 20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 368 | BONHAMS

Historical context A mission setback frozen in time. This frame from Pete Conrad’s 4 O’clock LM Panorama captures the now-lifeless TV camera in the foreground and the Solar Wind Experiment site in the distance. What should have provided live coverage of Apollo 12’s lunar activities was lost early in the mission when Alan Bean accidentally pointed the camera at the Sun during transfer from the Lunar Module.

With television transmission cut short, the only surviving visual records of their exploration are the stunning Hasselblad photographs taken by the astronauts themselves.

EUR400 - 600 £330 - 500 US$430 - 650

293 [Apollo 12] THE LM INTREPID ABOVE THE MOON PRIOR TO LANDING Richard Gordon, 14–24 November 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-51-7510].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-51-7510” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Lunar Module Intrepid soars above the Sea of Clouds west of Crater Ptolemaeus in this striking oblique photograph, taken with the 80mm lens. Captured after its separation from Yankee Clipper on orbit 13, Intrepid appears close to the surface but is actually orbiting approximately 60 nautical miles above the Moon.

This was one of Richard Gordon’s final views of Intrepid before beginning his one-and-a-half-day solo flight around the Moon while Conrad and Bean prepared for landing. As the two spacecrafts drifted apart, both crews marvelled at the sight of their spacecraft above the lunar surface (see mission transcript).

“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, 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.”

—Richard Gordon (Schick and Van Haaften, p. 80) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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294 [Apollo 12] THE LM INTREPID ON THE OCEAN OF STORMS Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6777].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6777” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A home on the Moon. Pete Conrad captured this striking photograph of the LM Intrepid as a part of the 8 o’clock panoramic sequence of Oceans of Storms Base. Standing about 9 meters southeast of Intrepid, he had descended slightly into Surveyor Crater, where the robotic Surveyor 3 spacecraft awaited their visit.

In the background, the S-band antenna and the American flag stand as testaments to Apollo 12’s presence on the Moon.

“The Lunar Module seemed much larger sitting on the Moon than I had imagined. 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.”

—Alan Bean (Constantine, p. 37) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 370 | BONHAMS

295 [Apollo 12] PORTRAIT OF PETE CONRAD WITH THE LM REFLECTED IN HIS GOLD-PLATED VISOR Alan Bean, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-6912].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-47-6912” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A portrait in reflection. Alan Bean captured this striking image of Pete Conrad while he was working at the Intrepid Lunar Module. Mesmerized by the reflection in Conrad’s gold-plated visor, Bean called out to take his portrait—a moment preserved in the mission transcript.

116:33:36 Bean: (Wanting to take a picture) “Look at me, Pete.”

(Pause) “It’s a good shot, babe. The LM and everything’s reflecting in your visor.”

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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| 371

296 [Apollo 12] PETE CONRAD DEPLOYING THE FIRST SCIENTIFIC SITE ON THE OCEAN OF STORMS Alan Bean, 14-24 November 1969 Printed 1969.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS12-47-6921].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Science on the Moon—Apollo 12’s research station takes shape. This scenic photograph captures Pete Conrad carefully aligning the antenna on the Central Station, ensuring power and communication for the deployed experiments. Nearby, in the Centre background, are additional components of the Apollo Lunar Surface Experiments Package (ALSEP), which would relay long-term data back to Earth.

The Lunar Surface Magnetometer, set up by Alan Bean, is prominently visible in the foreground in front of a small crater near the science station. Just behind Conrad, the smaller of two lunar mounds near the ALSEP deployment site rises against the barren landscape.

EUR600 - 800 £500 - 670 US$650 - 870

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297 [Apollo 12] PETE CONRAD HOLDING THE U.S. FLAG ON THE OCEAN OF STORMS Alan Bean, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-6897].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-47-6897” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This iconic photograph symbolizes human triumph on an alien world. After landing and securing their first lunar samples, Apollo 12 astronauts proudly raised the second American flag at the Ocean of Storms and took this “tourist” picture (see mission transcript). The stark lunar landscape, bathed in sunlight, frames the long shadow of the Lunar Module Intrepid, adding a dramatic contrast to the scene.

“You can see that I was holding the flag up. Because, if you look at the rest of the pictures [of the mission], it hangs straight down, because the little pin up broke.”

—Pete Conrad (from the ALSJ mission transcript at 116:20:22 GET) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 373

298 [Apollo 12] PETE CONRAD CAPTURING A LUNAR PANORAMA: west of LM Intrepid on the Ocean of Storms Alan Bean, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-6899].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-47-6899” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context Capturing history—one frame at a time. Alan Bean snapped this shot just beyond the Solar Wind Collector site, visible in the foreground. Meanwhile, Pete Conrad, at right, is busy composing a panoramic series—the 12 O’clock LM Panorama (as he was facing the LM ladder from a position west of the LM)—which would, in turn, capture Bean taking this very photograph. Behind the LM Intrepid, Surveyor Crater stretches into the distance.

To provide scientists with a comprehensive view of their surroundings, Apollo moonwalkers deliberately took overlapping images, allowing geologists and researchers to later stitch them into detailed panoramas for analysis.

EUR600 - 800 £500 - 670 US$650 - 870

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299 [Apollo 12] ALAN BEAN SETTING UP THE FIRST NUCLEAR GENERATOR NEAR THE LM INTREPID Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6787].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6787” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context Powering the first long-term lunar scientific outpost. In this iconic image featured in LIFE magazine, Alan Bean removes the protective dome from the Radioisotope Thermoelectric Generator (RTG) fuel cask, placing it aside as he and Pete Conrad prepare to deploy the Apollo Lunar Surface Experiments Package (ALSEP).

These instruments would measure the Moon’s seismic activity, solar wind flux, and magnetic field, transmitting long-term data back to Earth. This mission marked the first complete nuclearpowered ALSEP station set up by astronauts on the Moon, a milestone in lunar exploration.

EUR600 - 800 £500 - 670 US$650 - 870

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| 375

300 [Apollo 12] THE ACTIVATED OCEAN OF STORMS SCIENTIFIC SITE Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6817].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS1246-6817” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 12’s scientific site is online. Pete Conrad took this photograph just after completing the setup of the Central Station.

In the foreground, its antenna is pointed toward Earth, ready to transmit scientific data collected from the deployed instruments.

In the background, the magnetometer, one of the key ALSEP experiments, stands ready for operation.

Reflecting on the challenges of setting up equipment on the lunar surface, Conrad later remarked: “We had rough pointing angles in here. This is probably a good example of something designed by somebody that wasn’t ever going to see the lunar surface. Apparently, it is aligned all right, because you are receiving good signals.”

—Pete Conrad (ALSJ mission transcript, 117:42:57 GET) EUR400 - 600 £330 - 500 US$430 - 650

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| 377

301 [Apollo 12] PANORAMIC SEQUENCE OF PETE CONRAD AND THE LM INTREPID ON THE RIM OF SURVEYOR CRATER (four photographs) Alan Bean, 14-24 November 1969, EVA 1 Printed 1969.

Four vintage chromogenic prints on fibre-based Kodak paper [overlapping NASA images AS12-47-6990, AS12-47-6988 and AS1247-6987 and AS12-47-6985].

With “A Kodak Paper” watermark on the reverses, numbered “NASA AS12-47-6990”, “NASA AS12-47-6988”, “NASA AS12-47-6987”, “NASA AS12-47-6987” in red in the top margin, the second with NASA caption on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 378 | BONHAMS

Historical context A magnificent panoramic view of Ocean of Storms Base, humankind’s second outpost on another world. This 4-frame “4 O’clock LM Panorama”, named for its orientation toward the 4 o’clock side of the Intrepid Lunar Module, was taken by Alan Bean at the end of the first EVA. In the scene, Pete Conrad is working at the Modularized Equipment Stowage Assembly (MESA), trying to secure the rock box on the MESA table. The American flag decal is clearly visible on Intrepid, and the colour/shadow chart hangs at the edge of the MESA. The dish antenna, crucial for communication with Earth, stands prominently, while the Apollo Lunar Hand Tools (ALHT) carrier lies nearby. To the left, Surveyor Crater extends into the landscape, while to the right, the shadow of the photographer, Alan Bean, is visible.

To provide scientists with a comprehensive view of their surroundings, Apollo moonwalkers deliberately took overlapping images, allowing geologists and researchers to later stitch them into detailed panoramas for analysis.

This remarkable panorama underscores the crucial role of camera work for the astronauts. At the start of the EVA, Conrad mistakenly captured his three landing site panoramas at a 15-foot focus instead of the correct 74-foot focus. To ensure proper lunar photography, he later asked Alan Bean to retake them at the end of EVA 1. (see mission transcript) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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| 379

302 [Apollo 12] BLUE GLOW AROUND ALAN BEAN STRIDING ACROSS THE OCEAN OF STORMS Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6807].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6807” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the rarest Apollo images—an astronaut in motion on the Moon. This superb photograph, taken by Pete Conrad as part of a panoramic sequence at the Apollo Lunar Surface Experiments Package (ALSEP) site, captures Alan Bean mid-stride, kicking up lunar dust as he carries a package of scientific instruments.

Using a “barbell” carry technique, Bean transports the equipment to its deployment site, approximately 500–600 feet from the Intrepid Lunar Module. In the background, the LM, the American flag, and the S-band antenna stand as markers of Apollo 12’s presence on the Moon. The faint blue halo around Bean is due to a dust smudge on the camera lens.

Alan Bean on the challenge of moving across the Moon: “Running around is a lot of fun, but you’re usually watching exactly where you land, because you’re going to land in a hole one time, and the next time you’re going to land on a little mound, and you don’t want to land on that rock, you’ll twist your ankle. So, you’re constantly not looking up as much as you’re watching where your feet hit.”

—Alan Bean (Chaikin, Voices, p. 73) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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303 [Apollo 12] PETE CONRAD DEPLOYING SCIENTIFIC EXPERIMENTS ON THE LUNAR SURFACE Alan Bean, 14-24 November 1969 Printed 1969.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS12-47-6919].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Alan Bean captured this photograph of Pete Conrad at the scientific site (ALSEP site), located about 500 feet from the Intrepid Lunar Module, after deploying the Central Station. Conrad holds deployment tools in his hands, with his Hasselblad camera clearly visible on his chest. In the foreground, the yet-undeployed magnetometer and Bean’s shadow add depth to the scene.

Together, Conrad and Bean set up instruments designed to measure the Moon’s seismic activity, solar wind flux, and magnetic field—transmitting valuable long-term data back to Earth. This mission marked the establishment of the first complete nuclear-powered ALSEP station on the lunar surface.

Alan Bean on the reality of deploying lunar experiments: “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. And so, you’re really not doing anything, more than, like, housekeeping, almost.”

—Alan Bean (Chaikin, Voices, p. 77) EUR600 - 800 £500 - 670 US$650 - 870

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| 381

304 [Apollo 12] ALAN BEAN UNPACKING EQUIPMENT FROM THE LM INTREPID Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6783].

With “A Kodak Paper” watermarks on the reverse, numbered “NASA AS12-46-6783” in red in the top margin, originally laminated (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A hidden moment from Apollo 12. This rare photograph— unreleased after the mission—captures Alan Bean as he extracts the Radioisotope Thermoelectric Generator (RTG) package, the power source for the Apollo Lunar Surface Experiments Package (ALSEP), from the Intrepid’s Scientific Equipment (SEQ) Bay. At his left hip, Bean wears a “saddlebag” used to carry tools and samples. The astronauts had to carefully remove and deploy the ALSEP, which was packed into two sub-packages for compact storage. Pete Conrad’s shadow, cast across the foreground, serves as a subtle presence in the scene. He had already retrieved the first ALSEP package. The pulleys and tapes used to manoeuvre the equipment are clearly visible.

EUR500 - 700 £420 - 590 US$540 - 760

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305 [Apollo 12] COVER OF LIFE: Alan Bean shines with a blue halo at the Ocean of Storms scientific site Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-46-6826].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS12-46-6826” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context This timeless photograph graced the cover of LIFE magazine (APOLLO 12 ON THE MOON, December 12, 1969). Captured by Pete Conrad near a small mound, the image provides a striking view of Alan Bean at the research site—also known as the ALSEP site—where he is working near the seismometer.

At the time, many speculated about the mysterious halolike aura surrounding Bean in the image. The original NASA caption for the photograph stated, “Alan Bean’s extravehicular manoeuvring unit is surrounded by a halo of light as he deploys instruments of ALSEP on Ocean of Storms near Intrepid landing site.”

“Everybody was trying to figure out what that aura was.

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 water vapor ice crystals coming out of the water boilers on our backpacks.”

—Pete Conrad (Schick and Van Haaften, p. 47) However, later analysis revealed that the blue glow around Bean was actually due to a dust smudge on the camera lens.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900 FOR ALL MANKIND

| 383

306 [Apollo 12] LM THRUSTER AND THE OCEAN OF STORMS HORIZON: seen from the LM pilot window between EVAs Alan Bean, 14-24 November 1969, post EVA 1 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS12-47-7017].

With “A Kodak Paper” watermarks on the reverse, numbered “NASA AS12-47-7017” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A Glimpse from the Lunar Module—Colour Before Black & White This stunning colour photograph, taken by Alan Bean from his right-hand LM Pilot window, captures a rare view of the Ocean of Storms after its first exploration by humans. Shot just before changing film for the next extravehicular activity, this image is one of the last colour frames before the astronauts switched to black-and-white film for EVA-2. The S-band antenna, used for long-range communication with Earth, stands prominently in the foreground, with scattered craters visible beyond the LM thrusters. The lunar horizon, to the right of the research site, extends in the background, offering a breathtaking perspective.

This photograph serves as a quiet moment of reflection from within the Intrepid, a contrast to the demanding lunar explorations outside.

EUR500 - 700 £420 - 590 US$540 - 760

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307 [Apollo 12] THE FIRST PHOTOGRAPH OF TWO HUMAN SHADOWS ON THE MOON Pete Conrad, 14-24 November 1969, EVA 1 Printed 1969.

Vintage gelatin silver print on fibre-based paper [B&W version of NASA image AS12-46-6843].

Blank on the reverse, numbered “AS12-46-6843” in the top margin (issued by NASA / United States Geological Survey, Flagstaff, Arizona).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Taken by Pete Conrad as part of a panoramic sequence looking west from the rim of Middle Crescent Crater, the image immortalizes, for the first time, the shadows of two human beings on the surface of another world, the silhouettes of the Apollo 12 moonwalkers as they observe the edge of this vast, subdued crater—more than 300 meters across. “Wow, a monster!”, exclaimed Conrad as he captured the photograph (see mission transcript).

This impressive location was visited near the end of their first extravehicular activity (EVA). Conrad had hoped to capture a portrait of both astronauts using a self-timer, but despite his best efforts, he couldn’t locate it while on the lunar surface, making this photograph the closest attempt.

EUR600 - 800 £500 - 670 US$650 - 870

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| 385

308 [Apollo 12] THE FIRST ROBOTIC SPACECRAFT VISITED BY HUMANS ON ANOTHER WORLD: Surveyor III on the Ocean of Storms Alan Bean, 14-24 November 1969, EVA 2 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1248-7121].

Numbered “NASA AS12-48-7121” in black in the top margin, with NASA caption numbered “AS12-48-7121” on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Surveyor III—A solitary Monument to Technology on the Moon.

This beautiful photograph of Surveyor III highlights the stunning interplay of light and shadow on the lunar surface.

Alan Bean captured this shot from inside Surveyor Crater, standing just 15 feet from the robotic spacecraft. In the background, Block Crater, a small crater near the rim of Surveyor Crater, is visible at the upper left.

Apollo 12’s mission was uniquely tasked with landing near Surveyor III, a robotic lander that had touched down in Surveyor Crater thirty months earlier. This provided NASA engineers a rare opportunity to study spacecraft parts that had been exposed to the harsh lunar environment for over two years—invaluable data for the future design of space stations and lunar bases.

Bean and Conrad spent over 40 minutes photographing the lander, capturing every detail for analysis. At the time, this became the most distant photoshoot in history—conducted over 239,000 miles from Earth.

EUR600 - 800 £500 - 670 US$650 - 870

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309 [Apollo 12] PORTRAIT OF ALAN BEAN WITH THE PHOTOGRAPHER REFLECTED IN HIS VISOR NEAR SHARP CRATER Pete Conrad, 14–24 November 1969, EVA 2 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1249-7278].

With NASA caption numbered “69-H-1988” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The First Lunar Self-Portrait.

Pete Conrad captured this sublime photograph of Alan Bean near Sharp Crater, in what has been described as the first selfportrait on the Moon.

The NASA caption does not identify the photographer or the subject of this masterpiece of lunar photography, but this is indeed Alan Bean, holding a container of lunar soil in his right hand, with his Hasselblad camera mounted on the control unit of his chest. Conrad is fully reflected in sharp detail in Bean’s visor, making this a powerful and unintentional lunar selfportrait.

Reflecting on these iconic images, Pete Conrad later remarked: “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.”

—Pete Conrad (Schick and Van Haaften, p. 40) EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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| 387

310 [Apollo 12] THE ROBOTIC FOOTPRINT ON THE MOON: left by Surveyor III on the Ocean of Storms Alan Bean, 14-24 November 1969, EVA 2 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1248-7110].

With NASA caption numbered “69-H-1982” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Robotic Footprint on the Moon, precursor to the iconic human footprint on the Moon photographed by Buzz Aldrin during Apollo 11.

This striking photograph captures the landing footpad of Surveyor III, imprinted in the lunar soil of the Ocean of Storms.

A robotic precursor to Apollo, Surveyor III touched down on the Moon on April 20, 1967, paving the way for human exploration.

More than two years later, during Apollo 12’s mission, Pete Conrad and Alan Bean visited the unmanned spacecraft, studying the effects of prolonged exposure to the lunar environment. This image, taken by the astronauts, shows the footpad’s lasting impression alongside the disturbance in the soil caused by its landing impact.

Surveyor III’s successful soft landing and detailed surface analysis were critical steps toward achieving the Apollo Moon landings, making its robotic “footprint” a symbol of humanity’s first steps toward deep space exploration.

EUR600 - 800 £500 - 670 US$650 - 870

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311 [Apollo 12] “TOURIST” PHOTOGRAPH OF ALAN BEAN NEAR HALO CRATER: “Look over here at me and smile!”

Pete Conrad, 14–24 November 1969, EVA 2 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1249-7281].

With NASA credit stamp dated “11-18-69” on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context A Rare “Tourist” Photograph on the Moon Pete Conrad captured this magnificent portrait of Alan Bean on the way to Halo Crater, making it one of the few “tourist” photographs taken during the Apollo program. Unlike more technical imagery, Conrad carefully planned this shot to capture a personal moment of their lunar journey.

133:15:25 Conrad: I’ll tell you what. Let’s see, we’re cross-Sun, right? (Preparing to take a tourist picture) Look over here at me and smile.

Conrad’s reflection is beautifully visible in Bean’s visor, adding depth to this striking image. To Bean’s left, the Hand Tool Carrier is seen resting on the lunar surface, holding the tools they used for geological sampling.

“We didn’t take too many tourist photographs; in fact, nobody did. [...] We didn’t emphasize the human aspect enough, and I tell you it was a mistake.”

Alan Bean (Schick and Van Haaften, p. 100) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 389

312 [Apollo 12] FIRST HUMAN-ROBOT REUNION ON ANOTHER WORLD: Pete Conrad examines Surveyor III on the Ocean of Storms Alan Bean, 14-24 November 1969, EVA 2 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image AS1248-7134].

With NASA caption numbered “69-H-1988” on the reverse (issued by NASA Headquarters, Washington,D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Human Meets Machine—A Historic First on Another World.

This symbolic photograph of the Apollo 12 mission marks the first time in history that a human stood next to a robotic spacecraft on the surface of another world. Alan Bean captured this carefully composed image (see mission transcript) of Pete Conrad alongside Surveyor III, with their Lunar Module Intrepid visible in the background—documenting the first evidence, in one location, of human and robotic exploration on a celestial body.

The Surveyor III spacecraft had landed inside Surveyor Crater in the Ocean of Storms more than two years before the Apollo 12 astronauts arrived. After Conrad suggested taking some “tourist” photos in front of Surveyor III, Bean photographed Conrad “jiggling” the spacecraft to check if it was still firmly planted.

In the background, about 183 meters (600 feet) away, stand the LM Intrepid, the S-band antenna, and the American flag—a striking visual representation of Apollo 12’s precise landing achievement.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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313 [Apollo 12] THE FIRST SPACE SUN ECLIPSE WITNESSED BY HUMANS Alan Bean, Pete Conrad or Richard Gordon, 14-24 November 1969 Printed 1969.

Vintage gelatin silver print on fibre-based paper [NASA image 69-H1997].

With NASA caption numbered “69-H-1997”, “69-HC-1350” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context A stunning cosmic spectacle—witnessed only by Apollo 12, leaving the crew absolutely stunned (see mission transcript).

At 30,000 nautical miles from home, the Apollo 12 crew witnessed an extraordinary celestial event—the Earth passing directly between the Sun and their spacecraft. This scene, only visible from space, was uniquely experienced and imaged by the crew using the 16 mm camera and the Hasselblad camera and black-and-white film (as they had run out of colour film).

Richard Gordon on this unforgettable sight: “Now, we saw an eclipse coming back on Apollo 12, which nobody else had experienced before. 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...”

— Richard Gordon (Chaikin, Space, p. 126) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900 FOR ALL MANKIND

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314 [Apollo 12] PETE CONRAD HOLDS THE FLAG (large format) Alan Bean, 14-24 November 1969 Printed 1969.

Large-format vintage presentation chromogenic print on fibre-based textured “canvas-like” Kodak paper [NASA image AS12-47-6897].

With “A Kodak Paper” watermark on the verso (issued by NASA).

28 x 35.5 cm. (11 x 14 in.)

Historical context This exceptional large-format print, produced on rare canvas-like paper, presents a powerful tableau of Apollo 12 Commander Pete Conrad with the American flag on the Ocean of Storms.

Conrad’s dynamic stance as he straightens the flag radiates confidence and momentum. The flag’s apparent wave—an illusion in the Moon’s airless environment—became iconic.

In this cinematic moment, Conrad isn’t just saluting a nation— he’s honoring humanity’s unstoppable drive to explore the unknown.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com 392 | BONHAMS

315 [Apollo 12] CM YANKEE CLIPPER SAFELY BACK ON EARTH AFTER HUMANITY’S SECOND MISSION TO ANOTHER WORLD NASA, 24 November 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper.

With “A Kodak Paper” watermark on the reverse (issued by NASA / US NAVY).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Floating in the Pacific Ocean, the Command Module Yankee Clipper rests securely in its recovery rafts after completing humanity’s second mission to another world.

Following a successful splashdown on November 24, 1969, the spacecraft and its crew—Pete Conrad, Richard Gordon, and Alan Bean—await retrieval by the USS Hornet recovery team.

Scorched from the fiery re-entry through Earth’s atmosphere, the golden-hued heat shield bears witness to the intense journey home. Above the spacecraft, the three flotation balloons helped stabilize the capsule upon landing, while recovery divers ensure a safe extraction of the astronauts from their historic voyage.

Apollo 12 proved the feasibility of precise lunar landings, pushing the boundaries of exploration and paving the way for future Apollo missions. After 10 days in space and two moonwalks on the Ocean of Storms, humanity’s second crewed mission to another world had returned home.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 393

Apollo 13

Crew: James Lovell (Commander), Jack Swigert (Command Module Pilot), Fred Haise (Lunar Module Pilot) April 11-17, 1970 Spacecraft: Apollo 13 (CSM Odyssey and LM Aquarius) Launch Vehicle: Saturn V MISSION OVERVIEW Third lunar landing attempt. Mission aborted after rupture of service module oxygen tank. Apollo 13 had a full roster of activities scheduled in addition to lunar surface activities (experiments, sampling, etc.) and photography. After the accident, virtually all activities were related to returning quickly and safely to Earth with a slingshot around the Moon. Classed as “successful failure” because of experience in rescuing crew. Spent upper stage successfully impacted on the Moon.

CAMERAS AND ACCESSORIES The camera equipment carried by Apollo 13 consisted of two 70-mm Hasselblad EL cameras with 80 and 250mm Zeiss lenses, two 70-mm Hasselblad data cameras with 60mm Zeiss-Biogon lenses, two 16mm Maurer data acquisition cameras (DAC) with various lenses, one 35mm lunar surface close-up stereoscopic Kodak camera, one B&W Westinghouse TV camera, two color Westinghouse TV cameras and one Hycon topographic camera. However, camera use was limited to one 70-millimeter Hasselblad EL camera, one 70mm Hasselblad data camera, the 16-millimeter DACs (and a color TV camera before the explosion of the oxygen tank). The intervals and times of photography were recorded by the crew and were not tied to the onboard data systems.

MISSION PARAMETERS Duration: 05 days, 22 hours, 54 minutes Distance traveled: 622,268 miles

detail lot 330

316 [Apollo 13] THE SCRUBBED ORIGINAL APOLLO 13 CREW: replaced one day before launch due to Ken Mattingly’s exposure to measles NASA, February 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper.

With “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This historic photograph captures the original Apollo 13 prime crew, which was replaced just one day before launch due to Command Module Pilot Ken Mattingly’s exposure to measles.

Pictured in front of their Saturn V rocket at Kennedy Space Centre are Fred Haise (Lunar Module Pilot), Jim Lovell (Commander), Ken Mattingly (Command Module Pilot).

Due to concerns that Mattingly, who had never contracted measles, could develop symptoms mid-flight, NASA made the difficult decision to replace him with backup astronaut Jack Swigert at the last minute.

This last-minute crew swap became a pivotal moment in Apollo history. Just days later, the crew of Apollo 13—Lovell, Haise, and Swigert—would face one of the most dramatic survival challenges in space exploration after an onboard explosion crippled their spacecraft, turning their planned lunar mission into a heroic fight to return home safely.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com 396 | BONHAMS

317 [Apollo 13] THE ILL-FATED LAUNCH OF THE MOST PERILOUS SPACE MISSION EXPERIENCED BY HUMANS NASA, 11 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image 107-KSC-70PC-117].

With NASA caption numbered “107-KSC-70PC-117”, Technicolour photo lab quality control stamp and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The iconic launch of Apollo 13—a mission that would test the limits of human survival. On April 11, 1970, at 2:13 p.m. EST, Apollo 13 thundered into the sky atop the Saturn V, beginning what was intended to be NASA’s third lunar landing. The rocket erupted in a brilliant blaze of fire and smoke powerfully propelling Apollo 13 skyward from Kennedy Space Centre’s Launch Complex 39A. The launch proceeded flawlessly, and the shockwave rippled across the lagoon, where the towering rocket was mirrored in the still waters. But just two days later, an explosion in the Service Module turned the mission into a tense battle for survival. For four agonizing days, the world watched as the crippled spacecraft drifted toward the Moon and back, with uncertainty hanging over the fate of the crew. Apollo 13 would go down in history not for landing on the Moon—but for one of the most daring and heroic space rescues ever attempted.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 397

318 [Apollo 13] THE CREW DEPARTS FOR THE MOON: a hazardous journey into the unknown NASA, 11 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image 70-H495].

With NASA caption numbered “108-KSC-70P-168”, “70-H-495” on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Apollo 13 astronauts head for launch on what would become the most perilous space mission in history.

They are photographed walking out of the Manned Spacecraft Operations Building, heading toward the transfer van that will take them to Launch Complex 39A, where their Apollo/Saturn V rocket awaits. Dressed in their pressurized A7L space suits, Jim Lovell, Jack Swigert, and Fred Haise are moments away from embarking on what was intended to be humanity’s third lunar landing mission—but would instead become one of the most dramatic survival stories in space exploration.

James Lovell on the risks of spaceflight: “You have to remember the makeup of the people that are doing this work; all were test pilots. Every time we get in an airplane, to test it, especially in any new regime, going out to any point, any new type of thing, there’s a case it might not work. There’s a case that the wing might fall off.”

— James Lovell (Chaikin, Voices, p. 136) EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com 398 | BONHAMS

319 [Apollo 13] THE ICONIC PORTRAIT OF APOLLO 13’S LASTMINUTE CREW: James Lovell, Jack Swigert, and Fred Haise NASA, 10 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-70-36485].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-70-36485” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context the Eve of Their Perilous Mission.

Until just days before the mission, Ken Mattingly was assigned as the prime Command Module Pilot, but after being exposed to measles, he was replaced by backup astronaut Jack Swigert. With little time for adjustments, the newly formed Apollo 13 crew was hurriedly photographed for this now-iconic official portrait just one day before launch, pausing briefly in the midst of the intense pre-flight preparations.

None of them knew at the time that they were about to embark on one of the most perilous journeys in the history of space exploration—a mission that would test the limits of human ingenuity and endurance.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 399

320 [Apollo 13] THE OFFICIAL EMBLEM OF APOLLO 13: a symbol of perseverance and ingenuity born from the epic mission NASA, December 1969 Printed 1969.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-69-60662].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-69-60662” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Apollo 13 mission patch stands as a powerful representation of the resilience and determination that defined NASA’s most challenging mission.

Designed before the ill-fated flight, the emblem represents Apollo, the sun god of Greek mythology, symbolizing how the Apollo flights have extended the light of knowledge to all mankind. Three galloping horses symbolize the strength, courage, and speed of the Apollo program as it pushed the boundaries of space exploration. The Latin motto “Ex Luna, Scientia” translates to “From the Moon, Knowledge”, reflecting the mission’s original scientific goals. Below, the Apollo 13 Command and Service Module (CSM) is shown traveling toward its intended destination.

Though Apollo 13 never reached the lunar surface, the mission became an icon of human ingenuity and survival, demonstrating the heroic efforts of the crew and NASA engineers in overcoming a near-catastrophic failure and safely bringing the astronauts back home.

EUR300 - 500 £250 - 420 US$320 - 540

The full description of the lot is available on our website: www.bonhams.com 400 | BONHAMS

321 [Apollo 13] EXTRAORDINARY VIEW OF EARTH: captured on the way to the Moon before disaster struck Jack Swigert, Fred Haise, or James Lovell, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS13-60-8588].

Numbered “NASA AS13-60-8588” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 13’s awe-inspiring view of Earth before the explosion.

The original NASA caption incorrectly states that this photograph was taken during Apollo 13’s trans-Earth journey home. However, it was actually captured through the 80mm lens during translunar coast, shortly after transposition, docking, and extraction of the Lunar Module (LM)—and the jettison of the expended Saturn S-IVB third stage at approximately T+04:32:00 after launch.

At this stage of the mission, Apollo 13 was still on a nominal flight to the Moon, marvelling at Earth’s beauty, unaware of the life-threatening crisis that would soon unfold.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 401

322 [Apollo 13] “HOUSTON, WE’VE HAD A PROBLEM”: the damaged Service Module in the aftermath of disaster Jack Swigert, Fred Haise, or James Lovell, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based paper [NASA image AS1358-8458].

Numbered “NASA AS13-58-8458” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context This haunting image, taken with the Hasselblad 500 EL equipped with the 250mm telephoto lens, captures the damaged Apollo 13 Service Module after jettison, just hours before Earth re-entry. The destruction visible in this photograph is the result of the oxygen tank explosion that occurred at T+055:55:20 after launch, when the spacecraft was already 178,000 nautical miles from Earth on its way to the Moon, prompting the crew to radio the now-famous words to Mission Control: ‘Houston, we’ve had a problem.’ (See mission transcript.)

The full description of the lot is available on our website: www.bonhams.com 402 | BONHAMS

At the time of the explosion, James Lovell and Fred Haise had just entered the Lunar Module Aquarius to check its systems and were broadcasting a routine TV transmission to Earth.

Suddenly, the crew heard a loud bang, and their critical lifesupporting oxygen system began venting into space. The Service Module, which was meant to bring them home, had suffered a catastrophic failure. It was only after jettisoning the SM near Earth that they could see the full extent of the damage—an entire panel had been blown away.

For four agonizing days, the world watched as NASA engineers and the Apollo 13 crew worked against time to improvise solutions for survival and safe return. The mission would become one of the most carefully watched and heroic rescues in spaceflight history.

“I thought, when I saw that oxygen system leaking down, I figured we’d lost them. I really did. I didn’t think we’d make it.”

John Young, Apollo 13 backup crew member (from the 2007 documentary In the Shadow of the Moon).

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

323 [Apollo 13] THE HAUNTING LUNAR SURFACE LOOMS BELOW AS THE CRIPPLED SPACECRAFT SLINGSHOTS AROUND THE MOON Jack Swigert or Fred Haise, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS13-60-8635].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS13-60-8635” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context A breathtaking view of the lunar far side terminator—captured during Apollo 13’s slingshot around the Moon. This fantastic view looking east welcomed Apollo 13 as it approached the illuminated portion of the lunar far side. Captured using the Hasselblad 500 EL equipped with the 250mm telephoto lens, the image looks southeast over the 160-km-wide Crater Keeler at sunset (9.5° S / 163° E).

“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 manoeuvre 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 manoeuvre 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.”

James Lovell (NASA SP-350, p. 13.4) “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.”

Fred Haise (Chaikin, Voices, p. 146) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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324 [Apollo 13] LOST MOON IN DARKNESS: seen from the spacecraft struggling to return to Earth Jack Swigert or Fred Haise, 11–17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS1362-8938].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS13-62-8938” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 13’s Lost Moon—captured in the darkness of deep space.

While the Apollo 13 astronauts never set foot on the surface, they remain among the rare few who journeyed to the Moon and back.

After the Service Module explosion, the lunar landing was aborted, and the crew’s photography plans were abandoned as survival became their priority. Following the slingshot around the Moon, which propelled them toward home, Jack Swigert and Fred Haise took it upon themselves to document their perilous voyage, capturing images without knowing if they would survive.

This haunting photograph of the receding Moon was taken while Apollo 13 was in “barbecue mode”—a slow rotation to regulate temperature. It was shot using the Hasselblad Lunar Surface Data Camera, equipped with a 60mm lens and colour magazine 62/JJ—a rare and poignant image from a mission that became an unplanned fight for survival in deep space.

The full description of the lot is available on our website: www.bonhams.com 404 | BONHAMS

EUR500 - 700 £420 - 590 US$540 - 760

325 [Apollo 13] STRIKING NEARLY FULL MOON AS THE PERILOUS JOURNEY BACK TO EARTH BEGINS Jack Swigert or Fred Haise, 11–17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS1360-8709].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS13-60-8709” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context This magnificent photograph, taken from the lifeboat LM Aquarius during the incredible voyage of Apollo 13, captures the nearly full Moon in breathtaking clarity. Shot with the Hasselblad 500 EL equipped with the 250mm telephoto lens, the image was taken when the spacecraft was approximately 11,500 nautical miles from the Moon. At the top right of the image, the terminator (the dividing line between lunar day and night) highlights Craters Ptolemaeus and Alphonsus, adding depth and contrast to this celestial scene.

Between December 1968 and December 1972, only 24 Apollo astronauts—including the Apollo 13 crew—had the privilege of witnessing the entire globe of the Moon from this unique perspective, a view that no human on Earth has ever seen with the naked eye.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 405

326 [Apollo 13] EARTH IN DARKNESS: seen from the stricken spacecraft during the perilous homeward journey J. Lovell, J. Swigert or F. Haise, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS13-62-8979].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS13-62-8979” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Apollo 13’s Fragile Home Hanging in the Void.

A rare and haunting image from Apollo 13’s harrowing return journey, capturing the vast emptiness of deep space that separated the stranded astronauts from their fragile home.

Taken after the slingshot around the Moon, this photograph symbolizes the sheer isolation the crew faced as they fought for survival.

The full description of the lot is available on our website: www.bonhams.com 406 | BONHAMS

At this point, the crippled Command and Service Module and its lifeboat, the Lunar Module Aquarius, had passed into Earth’s gravitational sphere of influence and were accelerating toward home. As Apollo 13 remained in “barbecue mode”—a slow rotation to regulate temperature—Jack Swigert and Fred Haise used the Hasselblad 500 EL Data Camera (originally intended for lunar surface photography) with a 60mm lens and colour magazine 62/JJ to capture this distant view of Earth—over 100,000 nautical miles away.

James Lovell on the possibility of being lost forever in deep space: “Our idea was, if all hope was lost, if we went by the Earth, say we missed the Earth, and we were on an orbit about the Sun, if we had exceeded the escape velocity... My idea was to hold off, you know, as long as we had options, as long as we could stand it, send back data... We probably would have been farther out than anybody.”

— James Lovell (Chaikin, Voices, p. 139) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

327 [Apollo 13] THE DRAMATIC HIDDEN FACE OF THE MOON: seen from the crippled spacecraft during its tense slingshot manoeuvre Jack Swigert or Fred Haise, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS1360-8659].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS13-60-8659” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context Apollo 13’s lunar pass—capturing the hidden face of the Moon.

The Apollo 13 crew may have been forced to cancel their landing, but their slingshot trajectory around the Moon provided a rare opportunity to capture some of the finest photographs ever taken of the lunar surface, while enduring extreme conditions in their “lifeboat” Lunar Module Aquarius.

Following the free-return trajectory, Apollo 13’s altitude over the lunar far side was approximately 100 km (54 nautical miles) higher than that of other Apollo lunar missions. This increased altitude resulted in particularly striking images of the rugged, cratered terrain of the Moon’s far side—a region forever hidden from Earth.

As they gazed upon the Moon from more than 240,000 nautical miles away from Earth, uncertain if they would ever return home, the Apollo 13 astronauts knew one thing for certain— they would not be landing on the lunar surface.

“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 manoeuvre 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 manoeuvre.

So, we really didn’t have much to do except to look, and shoot pictures.”

— Fred Haise (Chaikin, Voices, p. 146) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 407

328 [Apollo 13] CRIPPLED SPACECRAFT AND LOST MOON FROM DEEP SPACE Jack Swigert or Fred Haise, 11-17 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image AS1359-8523].

Numbered “NASA AS13-59-8523” in black in the top margin (issued

by NASA Manned Spacecraft Center, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Apollo 13’s crippled Service Module—a shocking sight in deep space (see mission transcript).

This extremely rare, unreleased photograph from Apollo 13’s near-disastrous journey captures a haunting view of the crippled Service Module, adrift in deep space with the distant Moon in the background. The image was taken from the lifeboat LM Aquarius with the Hasselblad 500 EL Data Camera, using a 60mm lens and black-and-white magazine 59/R, following the jettison of the Service Module just hours before reentry.

Due to the explosion of an oxygen tank en route to the Moon, Apollo 13 became the only mission to bring back photographs of a Service Module in space.

The full description of the lot is available on our website: www.bonhams.com 408 | BONHAMS

The crew had relied on this module for propulsion and life support, but an entire panel had been blown away, leaving twisted wreckage exposed to space. The catastrophic failure occurred at T+055:55:20 after launch, while James Lovell and Fred Haise were inside LM Aquarius, conducting routine checks and sending a live TV broadcast back to Earth.

Suddenly, they heard a loud explosion, marking the beginning of a desperate struggle for survival.

For four tense days, Apollo 13 became the most carefully watched mission in spaceflight history. Flight procedures were completely rewritten in real-time, and no one knew if the crew would make it back safely.

“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. With one whole panel missing, and wreckage hanging out, it was a sorry mess as it drifted away.”

— James Lovell (NASA SP-350, p. 13.5) EUR600 - 800 £500 - 670 US$650 - 870

329 [Apollo 13] THE ABANDONED LIFEBOAT LM AQUARIUS BEFORE EARTH RE-ENTRY Jack Swigert or Fred Haise, 11-17 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image AS1359-8562].

Numbered “AS13-59-8562” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.).

Historical context Farewell, Aquarius—the lifeboat that saved Apollo 13.

Just over an hour before splashdown, the Apollo 13 crew transferred back into the Command Module Odyssey, leaving behind their lifeboat, Lunar Module Aquarius. Though it never landed on the Moon, Aquarius became an essential refuge, keeping the astronauts alive through their harrowing journey home. Once undocked, the abandoned LM drifted away before ultimately burning up on re-entry into Earth’s atmosphere.

From the mission transcript at the moment of LM jettison: 141:30:05 Kerwin (Mission Control): Farewell, Aquarius, and we thank you.

From this moment onward, the mission resembled previous Apollo landings, with the Command Module executing a safe splashdown in the South Pacific, just one mile from the target point.

“Survive we did, but it was close. Our mission was a failure, but I like to think it was a successful failure.”

— James Lovell (NASA SP-350, p. 247) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 409

330 [Apollo 13] JACK SWIGERT AND JAMES LOVELL BATTLE FOR SURVIVAL: a critical last-minute fix in LM Aquarius Fred Haise, 11-17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS13-62-9004].

Numbered “NASA AS13-62-9004” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Possibly the most dramatic image of the Apollo Moon missions. This rare photograph captures Jack Swigert and James Lovell inside the lifeboat LM Aquarius, desperately working on a last-minute fix that prevented carbon dioxide poisoning—a crisis that could have been fatal.

As Apollo 13 drifted through deep space, the astronauts faced a life-threatening buildup of CO₂ due to failing lithium hydroxide canisters. Mission Control engineers, working tirelessly on the ground, devised a crude but effective solution using only materials available onboard. CapCom [capsule communication] Joe Kerwin guided Swigert and Lovell step by step as they built a contraption using a suit hose, duct tape, a plastic bag, and the CM’s square canisters—famously known as “the mailbox.”

In this extraordinary image, Swigert sits next to the taped-over double canister, holding one end of a suit nozzle, while Lovell manipulates the long hose. This ingenious fix, tested on Earth and then replicated in space, saved the crew from suffocation.

James Lovell on facing death in space: “I think that as long as we had an option, it [thoughts of confronting death] never really came up. [...] If there was a chance to get home, you work on the plus side; you don’t work on the minus side.”

— James Lovell (Chaikin, Voices, p. 139) EUR2,600 - 3,600 £2,200 - 3,000 US$2,800 - 3,900

The full description of the lot is available on our website: www.bonhams.com 410 | BONHAMS

331 [Apollo 13] STUNNING CRESCENT EARTH: framed in the window of approaching lifeboat LM Aquarius Fred Haise, 11-17 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image AS1359-8497].

Numbered “NASA AS13-59-8497” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Earth Rushes Toward Apollo 13—A rare unreleased photograph from the miracle journey. To the relief of the Apollo 13 crew, Earth is “whistling in like a high-speed freight train” through their spacecraft window (see mission transcript).

While enduring the freezing darkness of their crippled spacecraft, Fred Haise captured this breathtaking photograph of the crescent Earth growing larger in the window of the Lunar Module. Using the Hasselblad 500 EL Data Camera (originally intended for lunar surface photography) with a 60mm lens and black-and-white magazine 59/R, he documented their impending return.

At this moment, Apollo 13 was 48,000 nautical miles from Earth—just seven hours from re-entry. The crew was about to begin their final critical manoeuvres: jettisoning the damaged Service Module, transferring back into the Command Module, and preparing for re-entry.

“We do not realize what we have on Earth until we leave it.”

James Lovell (upon receiving the Medal of Freedom from President Nixon after his safe return from the Moon) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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| 411

332 [Apollo 13] CRITICAL UNDOCKING OF LM AQUARIUS FROM CSM ODYSSEY WITH EARTH REFLECTED IN THE LM WINDOW Jack Swigert or Fred Haise, 11-17 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image AS1359-8553].

Numbered “NASA AS13-59-8553” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A slice of Earth reflected in Aquarius’ window during its critical undocking. This haunting image captures the final moments of LM Aquarius, the lifeboat that saved the Apollo 13 crew, as it was undocked just over 11,000 nautical miles from Earth, roughly an hour before splashdown. A faint reflection of Earth—their long-awaited home—appears in the docking window of the LM, while RCS thrusters are visible in the Centre of the frame, and a footpad can be seen on the left.

Due to the unprecedented mission crisis, re-entry procedures had to be completely rewritten on the fly. Unlike previous Apollo missions, the Service Module (SM) was jettisoned first, exposing the full extent of the damage from the explosion.

Only then was the frozen Command Module Odyssey powered up, before the final jettisoning of LM Aquarius—the fragile spacecraft that had sustained them through their perilous journey.

EUR400 - 600 £330 - 500 US$430 - 650

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333 [Apollo 13] CELEBRATIONS AT MISSION CONTROL AFTER THE ASTRONAUTS’ SAFE RETURN NASA, 17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA S-7035472].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-70-35472” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A Wave of Relief and Celebration in Mission Control as Apollo 13 Returns Home.

Engineers, flight controllers, and NASA officials erupt in applause after guiding the crippled spacecraft through one of the most harrowing rescues in spaceflight history.

Flight directors Gerald Griffin, Eugene Kranz, and Glynn Lunney remain at their consoles, absorbing the magnitude of their achievement. Robert Gilruth, Director of the Manned Spacecraft Centre, and Christopher Kraft, the first director of Mission Control, light cigars in celebration. Nearby, NASA Administrator Thomas Paine, former Apollo Program Director Samuel Phillips, and Associate NASA Administrator George Low join their colleagues in applause.

The success of Apollo 13 was not just a testament to the resilience of its crew—James Lovell, Jack Swigert, and Fred Haise—but also to the tireless dedication and ingenuity of the men and women in Mission Control. As NASA legend Gene Kranz famously wrote, “Failure is not an option.”

Across America and around the world, millions joined in this moment of triumph, watching as three astronauts who had defied impossible odds returned safely home.

“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.”

—James Lovell (NASA SP-350, p. 13.2) EUR400 - 600 £330 - 500 US$430 - 650

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| 413

334 [Apollo 13] THE MIRACULOUS RETURN OF CM ODYSSEY: parachuting safely through the clouds after a harrowing mission NASA, 17 April 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-70-35652].

Numbered “NASA S-70-35652” in red in the top margin, with NASA caption and “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A symbol of survival and triumph. Suspended beneath three red-and-white parachutes, Odyssey drifts through the clouds toward its final destination—the blue Earth and its vast Pacific Ocean. This hauntingly beautiful image captures the final moments of Apollo 13’s extraordinary survival story.

Now, against all odds, the battered spacecraft is moments from splashdown, a testament to human ingenuity, teamwork, and perseverance. As millions watched on live television, Odyssey fell gently toward the South Pacific, carrying James A. Lovell Jr., John L. Swigert Jr., and Fred W. Haise Jr. safely home. The spacecraft touched down about four miles from the USS Iwo Jima, the prime recovery ship for the mission.

The mission had failed to land on the Moon, but Apollo 13 became one of the greatest triumphs in space history—a story of courage, quick thinking, and the unwavering resolve to bring three men back from the brink of disaster.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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335 [Apollo 13] THE APOLLO 13 HEROES SAFELY BACK ON EARTH AFTER THEIR HARROWING ODYSSEY THROUGH THE UNKNOWN NASA, 11-17 April 1970 Printed 1970.

Vintage gelatin silver print on fibre-based paper [NASA image 70-H641].

With NASA caption numbered “70-H-641” on the reverse (issued by NASA Headquarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The iconic Apollo 13 recovery—a hero’s welcome on the USS Iwo Jima.

Just moments after their miraculous return to Earth, the Apollo 13 crew—Fred Haise (waving), Jack Swigert, and Jim Lovell—are welcomed aboard the USS Iwo Jima. The crew was transported by helicopter to the prime recovery ship after a near-perfect splashdown, just four miles from the Iwo Jima, concluding one of the most harrowing missions in space history.

Though physically exhausted from their ordeal, the astronauts emerged as heroes, unaware of the immense global impact their survival had made.

“Nobody believes me, but during this six-day odyssey we had no idea what an impression Apollo 13 made on the people of Earth. We never dreamed a billion people were following us on television and radio, and reading about us in banner headlines of every newspaper published... Only when we reached Honolulu did we comprehend our impact.”

—James Lovell (NASA SP-350, p. 263) EUR400 - 600 £330 - 500 US$430 - 650

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| 415

Apollo 14

Crew: Alan Shepard (Commander), Stuart Roosa (Command Module Pilot), Edgar Mitchell (Lunar Module Pilot) January 31-February 9, 1971 Spacecraft: Apollo 14 (CSM Kitty Hawk and LM Antares) Launch Vehicle: Saturn V MISSION OVERVIEW ALSEP and other instruments deployed. Lunar surface stay-time, 33.5 hours; 67 hours in lunar orbit, with 34 orbits. 2 EVAs of 9 hours, 25 minutes. Third stage impacted on Moon. 42 kg (94 lbs) of materials gathered, using hand cart for first time to transport rocks.

CAMERAS AND ACCESSORIES Apollo 14 carried a number of cameras for collecting data and recording various aspects of the mission. Two 70mm Hasselblad EL cameras with multiple Zeiss lenses (80mm, 250mm and 500mm), one 16mm Maurer camera with various lenses, a Westinghouse color TV camera and the Hycon Lunar Topographic camera were carried on the Command Module. The Lunar Module carried two 70mm Hasselblad Data cameras with 60mm Zeiss-Biogon lenses, two 16mm Maurer data-acquisition cameras (one with a 10mm lens and one with a 5mm lens), one Westinghouse color TV camera, one B&W Westinghouse back-up TV camera and the 35mm lunar surface close-up stereoscopic Kodak camera.

MISSION PARAMETERS Duration: 9 days, 0 hour, 2 minutes Landing site: Fra Mauro Landing Coordinates: 3.64544 degrees south, 17.47139 degrees West

416 | BONHAMS

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detail lot 345 FOR ALL MANKIND

| 417

336 [Apollo 14] THE APOLLO 14 CREW: NASA returns to the Moon after the perils of Apollo 13 NASA, December 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-66-9230].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-66-9230” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Apollo 14 crew—preparing for NASA’s return to the Moon after the drama of Apollo 13.

This official crew portrait features (left to right) Edgar Mitchell, Lunar Module Pilot (LMP); Alan Shepard, Commander (CDR); and Stuart Roosa, Command Module Pilot (CMP). Behind them, the Apollo 14 mission emblem prominently displays a lunar trajectory and a stylized starburst, symbolizing their journey to Fra Mauro—the landing site originally intended for Apollo 13.

Apollo 14 marked two significant returns: Alan Shepard, America’s first astronaut in space, was making his longawaited comeback after a decade grounded by an inner ear condition, while NASA resumed extended lunar exploration.

This mission introduced the Modularized Equipment Transporter (MET)—a hand-pulled cart designed to assist astronauts in carrying tools and lunar samples—and included the ambitious long-range exploration of Cone Crater.

EUR300 - 500 £250 - 420 US$320 - 540

The full description of the lot is available on our website: www.bonhams.com 418 | BONHAMS

337 [Apollo 14] THE GIANT SATURN V MOON ROCKET ROLLING OUT TO PAD 39A BEFORE LAUNCH NASA, 9 November 1970 Printed 1970.

Vintage chromogenic print on fibre-based Kodak paper [NASA 107-KSC-70C-4571].

With NASA caption, Technicolour photo lab quality control stamp and “A Kodak Paper” watermark on the reverse (issued by NASA Kennedy Space Centre, Florida).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking photograph captures the towering Apollo 14 Saturn V rocket as it rolls out to Launch Pad 39A at Kennedy Space Centre in preparation for its historic mission to the Moon. Viewed from a high vantage point near the Vehicle Assembly Building (VAB), the image showcases the sheer scale of the 363-foot (111-meter) rocket—the most powerful ever flown by humans—standing on its massive Mobile Launcher Platform. The Launch Umbilical Tower (LUT), with its intricate network of red service arms, is still attached to the rocket, providing crucial access to the spacecraft and supporting systems before liftoff. The white Launch Escape System (LES) sits prominently atop the Command Module, ready to propel the crew to safety in the event of an emergency during launch.

The Apollo 14 mission, crewed by Alan Shepard, Stuart Roosa, and Edgar Mitchell, marked NASA’s return to lunar exploration following the near-disaster of Apollo 13. With a renewed commitment to precision and safety, the astronauts would soon embark on a journey to Fra Mauro, the intended landing site of Apollo 13, to conduct extended scientific exploration on the Moon’s surface.

EUR500 - 700 £420 - 590 US$540 - 760

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| 419

338 [Apollo 14] THE FIRST AMERICAN IN SPACE ALAN SHEPARD TAKING HIS FIRST STEPS ON THE MOON AT FRA MAURO: captured from the LM pilot window Edgar Mitchell, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-66-9230].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-66-9230” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Alan Shepard’s Dream Fulfilled—first steps on the moon at Fra Mauro.

Alan Shepard takes his first steps on the Moon, realizing a decade-long dream after becoming the first American in space on May 5, 1961. As he touched the surface, he exclaimed, “Al is on the surface. And it’s been a long way, but we’re here.” (See mission transcript.)

This is the only photograph from the Apollo program showing an astronaut on the lunar surface as seen from the spacecraft’s window. Edgar Mitchell captured this historic image from his LMP window before descending the Antares ladder himself.

Shepard is seen lowering his gold-plated visor against the glare of the lunar Sun, looking up toward Cone Crater—the key exploration site of Apollo 14.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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339 [Apollo 14] CSM KITTY HAWK IN LONE LUNAR ORBIT: seen from LM Antares before the historic landing Edgar Mitchell or Alan Shepard, 31 January - 9 February 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-66-9216].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-66-9216” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Apollo 14 Lunar Module Antares undocks, capturing a stunning view of the Command Module Kitty Hawk in lunar orbit.

This photograph was taken from LM Antares after undocking in lunar orbit, as Alan Shepard, Commander, and Edgar Mitchell, Lunar Module Pilot, prepared to descend toward the Fra Mauro region of the Moon. Meanwhile, Stuart Roosa, Command Module Pilot, remained aboard the CSM Kitty Hawk, tasked with conducting solo lunar orbital operations and photographing the Moon’s surface while awaiting the safe return of his crewmates.

103:51:19 Shepard (Antares): Okay, Stu. We have you and have the camera on, and you look mighty pretty out there.

103:51:24 Roosa (Kitty Hawk): Yes. I’ve been taking a few shots of you there. Pretty impressive.

Reflecting on his time alone orbiting the Moon, Roosa later recalled: “I think this solo aspect of being in that spacecraft by yourself, being 250,000 miles away from Earth, you feel fairly lonely. A lot of mixed emotions. None of which is fear. I guess, some wonderment. Awe, I suppose, thankfulness that you’re there, that you have the opportunity to experience that.”

—Stuart Roosa (Chaikin, Voices, p. 106) EUR600 - 800 £500 - 670 US$650 - 870

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| 421

340 [Apollo 14] THE SATURN V THIRD STAGE DRIFTING THROUGH DEEP TRANSLUNAR SPACE Stuart Roosa, Edgar Mitchell, or Alan Shepard, 31 January - 9 February 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-72-9927].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-72-9927” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20 x 25.4 cm. (8 x 10 in.)

Historical context The S-IVB’s final journey into the void.

This striking image captures the S-IVB third stage of the Saturn V rocket drifting beyond the Lunar Module’s thrusters after being jettisoned from the docked CSM-LM spacecraft en route to the Moon. The hollow compartment, once occupied by the LM Antares, is clearly visible—a stark reminder of the immense scale of the launch vehicle that propelled the astronauts on their lunar voyage.

However, before this jettison manoeuvre, Command Module Pilot Stuart Roosa faced an unexpected challenge. Docking Kitty Hawk with Antares took five attempts and over 90 minutes, making it one of the most difficult docking sequences of the Apollo program. Once completed, Roosa described the S-IVB’s departure as both a relief and a breathtaking sight: “The manoeuvre looks like it’s going well. She’s sure manoeuvring away from looking at us, and it’s a beautiful sight.”

—Stuart Roosa (Mission Transcript, 005:58:34) After separation, the S-IVB was deliberately targeted to crash on the Moon.

EUR500 - 700 £420 - 590 US$540 - 760

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341 [Apollo 14] ALAN SHEPARD PLANTING THE U.S. FLAG AT FRA MAURO BASE Edgar Mitchell, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS1466-9232].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The return to the Moon—Apollo 14 plants the flag at Fra Mauro.

A superbly composed photograph capturing the triumphant return of Apollo astronauts to the lunar surface—just nine months after the near-disaster of Apollo 13. The crew carefully staged this historic image, which was also recorded by the TV camera and the 16mm Data Acquisition Camera.

Alan Shepard, Apollo 14 Commander, is seen steadying the American flag as it stands firmly in the lunar soil. The shadow of the Antares Lunar Module extends along the left, while the partial shadow to the right is cast by the erectable S-band antenna. In the foreground, Edgar Mitchell’s shadow looms over the scene, as he photographs Shepard. The red stripes on Shepard’s helmet, arms, and legs help distinguish him from Mitchell, who wore an unmarked suit.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 423

342 [Apollo 14] THE LM ANTARES REFLECTING A ‘JEWEL-LIKE’ CIRCULAR FLARE Alan Shepard, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS14-66-9306].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A dazzling jewel-like glare on the LM Antares. This striking image from Alan Shepard’s 12 o’clock panoramic sequence of the landing site captures Antares bathed in sunlight. A brilliant glare reflects off the LM’s roof, creating an unusual ball of light that astronauts described as having a jewel-like appearance. At the far left, the lower slope of Cone Crater—the key exploration site of Apollo 14—is visible.

With no atmosphere to scatter sunlight, the lunar surface is starkly illuminated, making the Sun appear far more intense than on Earth. The Apollo 14 crew landed with the Sun at their backs to prevent glare from obstructing their view of the terrain. This positioning made it particularly difficult to photograph the front of the LM after landing—but here, the result is nothing short of extraordinary.

“In retrospect, I think it is even more amazing now than it was then. Imagine, going to another planet! With these fragile, primitive, little craft that we used then.”

—Edgar Mitchell (ALSJ mission transcript at 141:53:01 GET) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 424 | BONHAMS

343 [Apollo 14] EDGAR MITCHELL RETURNING TO THE LM ANTARES AFTER COMPLETING SCIENTIFIC EXPERIMENTS Alan Shepard, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-67-9389].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-67-9389” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A lone explorer retraces his steps—Apollo 14 at Fra Mauro.

In this superb photograph taken by Alan Shepard, Edgar Mitchell is seen making his way back toward the Lunar Module Antares from the scientific site, carrying the extension handle used during their geologic sampling. The long shadow of Shepard dominates the foreground, adding depth to the image as it stretches across the rugged lunar terrain.

As Mitchell moves across the stark, rolling landscape of Fra Mauro, his footprints—etched in the powdery lunar regolith— serve as a reminder of humanity’s brief but historic presence on this alien world. Originally designated as the landing site for Apollo 13, Fra Mauro remained unexplored until Apollo 14 finally unveiled its secrets.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 425

344 [Apollo 14] FRA MAURO SCIENTIFIC SITE Alan Shepard, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-67-9376].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-67-9376” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The Apollo 14 ALSEP scientific site—unlocking the Moon’s secrets.

This historic photograph captures the Apollo Lunar Surface Experiments Package (ALSEP) deployed at the Fra Mauro landing site. The central station (the larger object with the antenna) serves as the hub, transmitting scientific data back to Earth. Around it, several key instruments are visible: the Active Seismic Experiment (ASE) mortar assembly, designed to send shockwaves through the lunar surface to study its structure; the Charged Particle Lunar Environmental Experiment (CPLEE), which monitored the Moon’s interaction with solar wind and cosmic rays; the Radioisotope Thermoelectric Generator (RTG), providing power to the station’s instruments.

In the foreground, part of the Modular Equipment Transporter (MET), a pull-cart used by the astronauts to transport tools and samples.

The ALSEP experiments continued to send invaluable scientific data long after the Apollo 14 crew had returned to Earth, helping scientists gain a deeper understanding of the Moon’s seismic activity, heat flow, and magnetic environment.

EUR500 - 700 £420 - 590 US$540 - 760

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345 [Apollo 14] THE GLEAMING PATH LEADING TO THE SUNLIT LM ANTARES Alan Shepard, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS14-67-9367].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The path of exploration—Apollo 14’s illuminated journey across Fra Mauro.

Alan Shepard captured this stunning photograph looking east from the Fra Mauro research site, showing its position relative to the Lunar Module Antares, seen in the background beneath the brilliant, unfiltered glare of the Sun. The gleaming tracks of the Modular Equipment Transporter (MET)—a two-wheeled, hand-pulled cart—trace the astronauts’ traverse across the rugged lunar terrain. Edgar Mitchell, born in Texas, likened the scene to “driving a tractor through a ploughed field,” while Shepard had a more pragmatic take: “Nothing like being up to your armpits in lunar dust.” (Mason, p. 186) To the left of Antares, the inverted umbrella of the S-band antenna is visible, providing crucial communications with Earth. While Shepard and Mitchell explored Fra Mauro, Stuart Roosa remained in lunar orbit aboard the Command Module Kitty Hawk, preparing for their return.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

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| 427

346 [Apollo 14] STRIKING CLOSE-UP OF ALAN SHEPARD AT FRA MAURO SCIENTIFIC SITE: captured by the 16mm camera on the MET NASA, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-19510].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-19510” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This remarkable close-up captures Apollo 14 Commander Alan Shepard on the lunar surface, with a dazzling reflection of the Sun on his gold-plated visor. Visible on his left wrist is his Omega Speedmaster watch, alongside a checklist detailing key EVA tasks—a crucial reference for the astronauts as they worked through their timeline on the Moon.

In the background, Lunar Module Pilot Edgar Mitchell is seen setting up the Apollo Lunar Surface Experiments Package (ALSEP)—a vital suite of scientific instruments designed to collect long-term data about the Moon’s seismic activity, solar wind, and magnetic field.

“We’re there to do a job. That idea is never out of your head for one instant. Very much aware that it is a professional exploratory mission, and you’re explorers and you’ve got a hell a lot of people and a hell a lot of money tied up behind you, trying to find out what this new planet’s all about. And you’re their eyes and their ears. You’re there to observe and report.”

—Edgar Mitchell (Chaikin, Voices, p. 77) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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347 [Apollo 14] EDGAR MITCHELL OPERATING THE LIVE COLOUR TV CAMERA ON THE LUNAR SURFACE Alan Shepard, 31 January - 9 February 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS14-66-9241].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS14-66-9241” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Edgar Mitchell transmits to Earth the first live colour TV Images of the unknown at Fra Mauro.

This frame from Alan Shepard’s panoramic sequence of the landing site was taken from the 4 o’clock position relative to the LM hatch, northeast of the Lunar Module Antares. In the image, Edgar Mitchell provides a guided tour of the Fra Mauro landing site to Mission Control—part of Apollo 14’s historic first full-colour TV transmission from the Moon.

After Apollo 12’s TV camera failure, these images gave audiences on Earth an unprecedented real-time colour view of lunar exploration.

EUR600 - 800 £500 - 670 US$650 - 870

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| 429

348 [Apollo 14] ASTRONAUT’S SHADOW AT THE FARTHEST LUNAR TRAVERSE BY FOOT IN HISTORY, STATION C1 Edgar Mitchell, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1468-9453].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context The shadow of exploration—Apollo 14 at humanity’s farthest footsteps on the Moon The shadow of astronaut Ed Mitchell stretches across the foreground, captured at Station C1 near the rim of Cone Crater, serving as a solemn reminder of humanity’s farthest lunar footsteps at the time. Apollo 14 astronauts Alan Shepard and Edgar Mitchell had struggled through the undulating, deceptive landscape of Fra Mauro to reach this high ground, coming within mere metres of Cone Crater’s rim before ultimately turning back due to time constraints.

Their geological sampling at this site provided crucial insights into the Moon’s ancient and violent history. A hammer and sample collection bag rest atop a small lunar boulder, offering a sense of scale for the rugged terrain. The surrounding boulders— “Layered Rock” (left) and “Saddle Rock” (right)— are remnants of a cataclysmic impact that shaped the Moon’s landscape. Scientists believe these rocks were ejected from deep within the lunar crust during the colossal event that formed the Imbrium Basin billions of years ago.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 430 | BONHAMS

349 [APOLLO 14] EDGAR MITCHELL LOST ON THE MOON Alan Shepard, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1464-9089].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Lost in the Lunar Wasteland—Edgar Mitchell Navigates the Unknown This iconic photograph, a frame from the panorama taken by Alan Shepard at Station B1—645 metres east-northeast of the LM Antares—captures Edgar Mitchell consulting a traverse map as he struggles to pinpoint their location. The undulating terrain of Fra Mauro, with its deceptively smooth hills rising over ten feet high, obscured key landmarks, making navigation toward Cone Crater unexpectedly difficult.

Lunar dust clings to Mitchell’s boots and legs, evidence of the gruelling trek.

This image—symbolic of the Apollo 14 traverse as a whole— remains one of the most evocative photographs of the Apollo program. (ALSJ caption for AS14-64-9089) “The one thing that was a surprise was, we couldn’t navigate like we thought we could, because the dunes were much higher. And you couldn’t see where you were. You’d lose the LM when you went down into a depression, and trying to navigate up to Cone Crater we had very precise points laid out to get to, and we were never sure whether we were near one of them or not [...] within ten yards of it or exactly on top of it. Or whether it was over in the next valley.”

—Edgar Mitchell (Chaikin, Voices, p. 94) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 431

350 [Apollo 14] THE BOULDER FIELD AT STATION C’: where the crew abandoned their quest for Cone Crater Alan Shepard, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1464-9103].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 432 | BONHAMS

Historical context Just 90 metres away—Apollo 14’s abandoned hunt for Cone Crater This frame from Alan Shepard’s panoramic sequence at Station C’—1,345 metres east-northeast of the LM Antares— captures the rugged boulder field the astronauts explored after abandoning their search for the elusive rim of Cone Crater.

A three-foot-high boulder sits prominently on the left, they were unaware that the near horizon, just 90 metres ahead, concealed their ultimate goal.

Ignoring how close they were, Shepard and Mitchell, under strict time constraints, decided to collect samples here instead of pressing forward. The ridge ahead was, in fact, the true edge of Cone Crater—hidden in plain sight.

“We had to give up because of the time constraint [...] for the last two hundred yards we thought, the next one is the edge of Cone Crater, and it was just another ridge. We assumed that the next one would be just another ridge also, and it turned out, no, in this case, the next one really was the edge of Cone Crater.”

—Edgar Mitchell (Chaikin, Voices, p. 95) EUR700 - 1,000 £590 - 840 US$760 - 1,100

351 [Apollo 14] EDGAR MITCHELL RETURNING TO LM ANTARES WITH THE MET AFTER THE LONGEST TREK ON THE MOON, STATION F Alan Shepard, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1464-9140].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context The long trek back—A lunar explorer returns to Antares.

This frame from Alan Shepard’s panoramic sequence at Station F—330 metres east of the Lunar Module Antares, visible in the left background—captures Edgar Mitchell pulling the Modular Equipment Transporter (MET) across the rugged terrain. Despite falling behind schedule due to the difficulty of navigating Fra Mauro’s undulating landscape, the return journey was quick and uneventful.

Apollo 14 demonstrated that, in the event of a Lunar Rover breakdown on future missions, astronauts could walk back to the LM from a significant distance. “You know, you’re not heavy, and you have the feeling that you’re floating a lot of the time,” Mitchell recalled. “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) EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 433

352 [Apollo 14] THE TINY LM ANTARES IN THE VAST LUNAR WILDERNESS: seen from the farthest lunar traverse by foot in history, station C1 Edgar Mitchell, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1468-9448].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 434 | BONHAMS

Historical context The Lunar Module—a tiny speck in the distance at Apollo 14’s farthest traverse.

This remarkable photograph, taken at Station C1 near the rim of Cone Crater, captures a dramatic view of “Contact Rock” in the foreground. In the vast, featureless lunar landscape, the Lunar Module Antares is barely visible as a tiny speck in the distance, highlighting the immense journey Shepard and Mitchell undertook—mostly uphill and without the aid of the Lunar Rover, which would only be introduced on later J-missions.

After abandoning the hunt for Cone Crater at Station C’, the astronauts paused at this location—approximately 1.25 kilometres east-northeast of the LM, 70 metres northwest of Station C’, and just 35 metres from the crater’s rim, at an elevation 80 metres higher than the landing site.

Judging distances on the Moon proved to be a major challenge. With no atmospheric haze, no familiar objects to provide scale, and a monochrome, high-contrast environment, only the LM served as a reference point.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

353 [Apollo 14] COVER OF NATIONAL GEOGRAPHIC: Alan Shepard with the MET during the excursion to Cone Crater Edgar Mitchell, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1468-9405].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context Starting the first long-range exploration of the Moon—Apollo 14 at Station A. This famous photograph from the Station A panoramic sequence—captured by Edgar Mitchell and later featured on the cover of National Geographic (July 1971)—shows Alan Shepard at the first stop on Apollo 14’s traverse to Cone Crater, about 150 metres east-northeast of the LM Antares. Shepard is handling a double core sampling tube, with a hammer in his right hand. Deeply etched in the powdery regolith, the astronauts’ footprints mark the untouched lunar surface, a testament to the Moon’s isolation for billions of years.

To Shepard’s right stands the Modular Equipment Transporter (MET)—a crucial tool for the mission. While the MET lacked the mobility of the Lunar Rover used in later Apollo missions, it significantly enhanced the astronauts’ ability to transport more samples, tools, and containers than they could have carried by hand. Mounted on the MET is the 16mm camera, which captured their movements as they ventured into one of the most geologically intriguing sites of the Apollo program.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200 FOR ALL MANKIND

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354 [Apollo 14] ‘TURTLE ROCK’ AT STATION H: final site of the first long-range exploration of the Moon Edgar Mitchell, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1468-9476].

Blank on the reverse (issued by NASA).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 436 | BONHAMS

Historical context Turtle Rock—The final site of Apollo 14’s lunar exploration.

This rare, unreleased frame from Edgar Mitchell’s panoramic sequence at Station H captures Turtle Rock, the largest boulder in a scattered field located 70–80 metres northwest of LM Antares. Scientists believe these boulders were ejected from Cone Crater over a kilometre away during its ancient impact.

Measuring approximately 1.5 metres across and 0.75 metres high, Turtle Rock earned its name from the smaller, turtle-like fragments perched atop the main boulder.

As their historic Moonwalk drew to a close, Mitchell carefully photographed and sampled this boulder field while Shepard performed a final check at the scientific site on the ALSEP antenna alignment due to weak signals reported by Houston.

“That was it. Antares was in sight, as it had been throughout much of the traverse, and our long Moon Walk was almost over.

I went on past Antares to the ALSEP site to check antenna alignment... Ed took some more samples from a nearby field of boulders.”

—Alan Shepard (NASA SP-350, p. 238) EUR500 - 700 £420 - 590 US$540 - 760

355 [APOLLO 14] ALAN SHEPARD RETURNS TO THE LM ANTARES Edgar Mitchell, 31 January - 9 February 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1468-9487].

Numbered “NASA AS14-68-9487” in black in the top margin, blank on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Back to Fra Mauro Base after the longest trek performed on the Moon.

A splendid frame from the panoramic sequence taken by Edgar Mitchell near Turtle Rock at Station H, capturing the end of the second and final moonwalk of Apollo 14.

The tracks of the Modular Equipment Transporter (MET), made when the astronauts ascended toward Cone Crater, are visible beyond Shepard, while Mitchell’s own tracks from Station G1 to Station H appear in the foreground. Old Nameless Crater rises in the background.

At Houston’s request, Shepard is seen adjusting the TV camera to focus on the MESA (Modular Equipment Stowage Assembly) for Mission Control to observe the final closeout procedures before departure.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 437

356 [Apollo 14] THE FIRST IMAGE OF LIFTOFF FROM THE MOON: captured from the LM window NASA, 31 January - 9 February 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-19500].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-19500” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Liftoff from Fra Mauro—Apollo 14 departs the Moon in the first onboard view captured from the LM. This historic image, taken by the 16mm camera aboard Antares, captures the dramatic moment of Apollo 14’s ascent from the lunar surface. As the LM ascent stage blasts off, the powerful force of its engine disturbs the scene below—scattering gold-coloured foil from the descent stage and sending the U.S. flag flapping violently in the exhaust.

For Alan Shepard and Edgar Mitchell, the moment of liftoff was charged with anticipation and apprehension. “There was really not any worry; it’s just the apprehension, the anticipation of waiting for it to go,” recalled 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) With this ascent, Apollo 14 successfully concluded its groundbreaking return to lunar exploration— the first landing after the near-tragedy of Apollo 13.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 438 | BONHAMS

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| 439

Apollo 15

Crew: David Scott (Commander), James Irwin (Lunar Module Pilot), Alfred Worden (Command Module Pilot) July 26-August 7, 1971 Spacecraft: Apollo 15 (CSM Endeavour and LM Falcon) Launch Vehicle: Saturn V MISSION OVERVIEW 3 EVAs of 18 hours, 30 minutes plus 33-minute Stand-up EVA. First mission to carry orbital sensors in service module of CSM. ALSEP deployed.

Scientific payload landed on Moon doubled. Improved spacesuits gave increased mobility and stay-time. Lunar surface stay- time, 66.9 hours.

Lunar Roving Vehicle (LRV), electric-powered, 4-wheel drive car, traversed total 27.9 km (17 mi). In lunar orbit 145 hours, with 74 orbits. Small subsatellite left in lunar orbit for first time. 76.6 kgs (169 lbs) of material gathered. Worden performed 38-minute transearth EVA. CAMERAS AND ACCESSORIES The camera equipment operated on the lunar surface or in the LM by astronauts Scott and Irwin included three 70mm Hasselblad Data Cameras (two with 60mm Zeiss-Biogon lenses and one equipped with a 500mm Zeiss telephoto lens), a 16mm Maurer Data Acquisition Camera (DAC), and a color RCA lunar surface TV camera. The main photographic tasks in the Command Module during orbit were performed with the Fairchild Mapping Camera System and the Itek Panoramic Camera, which were in the SIM bay. Various tasks were also accomplished using four Command Module cameras: a 70mm Hasselblad 500EL camera (with standard 80mm lens, 105mm UV lens and telephoto 250mm lens), a 16mm Maurer DAC, a 35mm Nikon, and a Westinghouse color TV camera.

MISSION PARAMETERS Duration: 12 days, 17 hours, 12 minutes Landing site: Hadley-Apennine region near Apennine Mountains Landing Coordinates: 26.13224 degrees North, 3.63400 degrees East

440 | BONHAMS

detail lot 363

357 [Apollo 15] THE AWE-INSPIRING LAUNCH OF THE FIRST GREAT VOYAGE OF LUNAR EXPLORATION NASA, 26 July 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-41411].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-41411” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This striking wide-angle image captures the dawn of a new era in lunar exploration.

At 9:34 a.m. EDT on July 26, 1971, the towering 363-foot Apollo 15 rocket (Spacecraft 112/Lunar Module 10/Saturn 510) roared off Pad A, Launch Complex 39.

Apollo 15 was the first mission of true scientific exploration, outfitted with extra supplies that allowed extended lunar stays and the most ambitious surface activities yet undertaken. For the first time, astronauts had the freedom to explore for three full days, embarking on moonwalks lasting up to seven hours— the equivalent of a full working day. Even more revolutionary, Apollo 15 carried the first Lunar Rover, a battery-powered vehicle that allowed astronauts to traverse vast distances and even ascend the slopes of lunar mountains.

The full description of the lot is available on our website: www.bonhams.com 442 | BONHAMS

The mission set new standards for human and robotic spaceflight, proving that lunar exploration could go beyond simple landings to in-depth scientific discovery.

“Our destiny, at that time, was to go to the Moon. In fact, probably one of the clearest definitions of an objective or a destiny that mankind has ever experienced has been ‘Man, Moon, 1970.’ How could it be any clearer than that?”

—David Scott (Chaikin, Voices, p. 183) EUR700 - 1,000 £590 - 840 US$760 - 1,100

358 [Apollo 15] DOCKING OF LM FALCON WITH SPACE FIREFLIES EN ROUTE TO THE MOON James Irwin, 26 July - 7 August 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-91-12334].

Numbered “NASA AS15-91-12334” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20 x 25.4 cm. (8 x 10 in.)

Historical context Docking with the Lunar Module and the “fireflies” of space This stunning image captures the Lunar Module Falcon still attached to the S-IVB third stage of the Saturn V rocket, as seen from the Command and Service Module Endeavour during the docking manoeuvre. Roughly 30 minutes after the translunar injection burn, the CSM separated from the LM-SIVB and manoeuvred to inspect the LM before docking.

The top hatch of the LM—used for docking—is clearly visible, along with its rendezvous window. Tiny particles released during separation from the launch vehicle create the striking “firefly” effect, a phenomenon frequently observed in spaceflight. Part of the Saturn V’s S-IVB third stage can be seen in the background, providing a stark reminder of the immense machinery required to propel humans toward the Moon.

From the mission transcript as the CSM approached for docking: 003:28:29 Irwin: There’s sure a lot of crap flying out...

003:30:35 Scott: Okay. I would say we were - what, Jim? 20 feet? 15? 10?

003:30:40 Irwin: I have 15 feet on the camera.

003:30:54 Worden: Okay. We’re sliding in there, David.

003:30:56 Scott: Okay. I think we’re about a couple feet away.

EUR500 - 700 £420 - 590 US$540 - 760

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| 443

359 [Apollo 15] THE ‘BLACK MARBLE’: rare UV photograph of Planet Earth during translunar coast Alfred Worden, David Scott or James Irwin, 26 July – 7 August 1971 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1599-13413].

Numbered “NASA AS15-99-13413” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

An exceptionally rare ultraviolet portrait of Earth from deep space.

James Irwin described this profound view of our home planet from Apollo 15: “As we got further and further away, the Earth diminished in size. Finally, it shrank to the size of a marble—the most beautiful you can imagine. That beautiful, warm, living object looked so fragile, so delicate, that if you touched it with a finger, it would crumble and fall apart. Seeing this has to change a man.” (Kelley, Plate 38) This unreleased ultraviolet photograph of our home planet was taken from a distance of 49,511 nautical miles (91,694 km) using a specialized 105mm lens and spectroscopic film.

This was a meticulously planned shot, executed to expand our understanding of Earth’s atmospheric properties from deep space. To capture this unique ultraviolet image, the Apollo 15 crew had to carefully manoeuvre the Command Module Endeavour, ensuring that window 5, the only UV-transmitting window, was precisely aligned with Earth. The Hasselblad camera, equipped with a special 105mm UV-transmitting lens and magazine 99/N, was mounted in a bracket at the window to achieve the required exposure. (From the AFJ mission transcript at 010:10:07 GET.) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 444 | BONHAMS

360 [Apollo 15] THE SOLAR CORONA FROM LUNAR ORBIT: an exceptional view captured from CSM Endeavour Alfred Worden, 26 July - 7 August 1971 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1598-13400].

Numbered “NASA AS15-98-13400” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context An extremely rare Space Oddity: the solar corona from lunar orbit.

This pioneering and mesmerizing unpublished photograph is among the first of its kind, taken by Apollo 15 Command Module Pilot Alfred Worden while he orbited the Moon alone aboard CSM Endeavour.

The solar corona—the outermost atmosphere of the Sun—is seen extending beyond the Moon’s horizon in this remarkable image, captured just before lunar sunrise. This was part of one of three such photographic series obtained by Worden during the solo phase of his mission, marking one of humanity’s firstever views of this region of the Sun’s light.

These images not only provided groundbreaking insight into the coronal structure and solar wind—demonstrating the unique advantage of space exploration in studying the Sun’s outer atmosphere without interference from Earth’s atmosphere—but also revealed the otherworldly beauty of space imagery, offering a rare glimpse of the Sun’s ethereal glow from deep space.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 445

361 [Apollo 15] PORTRAIT OF JAMES IRWIN AND THE LUNAR ROVER IN FRONT OF MOUNT HADLEY David Scott, 26 July - 7 August 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-86-11603].

Numbered “NASA AS15-86-11603” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 446 | BONHAMS

Historical context Exploration at its greatest.

This extraordinary photograph, taken by David Scott at the end of Apollo 15’s first EVA, captures James Irwin and the Lunar Rover beneath Mount Hadley. In the foreground, the Lunar Module’s shadow stretches across the surface, adding to the haunting beauty of this alien world.

Amidst the barren, majestic landscape of Hadley-Apennine, James Irwin tends to the first Lunar Rover, the $13 million Moon buggy that allowed Scott and Irwin to travel 18 miles across the lunar highlands—farther than all previous Apollo astronauts combined. The Rover transformed the mission into what Scott called “exploration at its greatest.”

On this meticulously rehearsed and specifically scientific mission, Scott and Irwin explored some of the Moon’s most rugged and treacherous terrain with the childlike glee of firsttime tourists and the practiced eyes of trained geologists (LIFE, 20 August 1971, pp. 26-27) “Vistas without parallel in human experience surrounded the crews on the great voyages of exploration.”

—Apollo 17 astronaut Harrison Schmitt (NASA SP-250, p. 265) EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

362 [Apollo 15] CRATER HUMBOLDT FROM LUNAR ORBIT Alfred Worden, 26 July - 7 August 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-93-12644].

Numbered “NASA AS15-93-12644” in red in the top margin, with “A Kodak Paper” watermark on the reverse, with three filing holes in the top margin not affecting the image (issued by NASA Manned Spacecraft Center, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context Crater Humboldt: a mesmerizing telephoto view from lunar orbit.

This remarkable image captures Crater Humboldt, one of the Moon’s largest and most complex impact craters, as seen from Apollo 15 during its 71st orbit. Taken with a 250 mm telephoto lens, the image reveals the intricate details of Humboldt’s rugged terrain, including fractured floors, central peaks, and secondary cratering, all shaped by ancient lunar geological processes.

Located on the southeastern limb of the Moon, Humboldt spans approximately 207 km (129 miles) in diameter and features an extensive system of rilles and radial cracks, which are particularly visible in this high-resolution photograph.

These fractures are believed to be the result of volcanic activity and crustal stress following the impact that formed the crater.

Apollo 15, the first of the “J-series” missions, revolutionized lunar exploration with its advanced scientific objectives and extended stay on the Moon. From orbit, Command Module Pilot Alfred Worden imaged the lunar surface in unprecedented detail and beauty.

EUR600 - 800 £500 - 670 US$650 - 870 FOR ALL MANKIND

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363 [Apollo 15] DAVID SCOTT WITH THE TELEPHOTO HASSELBLAD CAMERA BESIDE THE LUNAR ROVER AT STATION 10 James Irwin, July 26 - August 7, 1971, EVA 3 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1582-11168].

Numbered “NASA AS15-82-11168” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A final photography stop to immortalize Hadley’s grandeur.

This photograph, part of a panoramic sequence taken

by James Irwin at Station 10, shows David Scott with the Hasselblad 500mm telephoto camera at the last stop of the mission dedicated solely to photography. Positioned on the north rim of the 45-meter-wide “Rim Crater,” on the edge of Hadley Canyon, Scott was preparing to capture high-resolution images of its breathtaking landscape before returning to the Lunar Module Falcon for EVA closeout and liftoff, 1.8 km to the east.

The full description of the lot is available on our website: www.bonhams.com 448 | BONHAMS

The canyon’s edge is visible in the left background, while behind Scott, the Lunar Rover stands ready, its high-gain antenna pointed toward Earth, transmitting the scene in real time to Mission Control.

Reflecting on the mission’s relentless pace, Scott later spoke of the overwhelming excitement of lunar exploration and the desire to see and do more: “I was surprised that time went so fast. We never had enough time. And, boy, we had trained to make sure we were efficient.

And when we got there, we never had enough time to explore a site like we would have liked to. Because it was so exciting.

There was so much there. And you just wanted more and more and more and more...”

—David Scott (Chaikin, Voices, p. 96) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

364 [Apollo 15] SPECTACULAR VIEW OF THE MOON THROUGH THE WINDOW OF THE ORBITING SPACECRAFT James Irwin, David Scott or Alfred Worden, 26 July - 7 August 1971 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1590-12284].

Numbered “NASA AS15-90-12284” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A captivating wide-angle view of the Moon’s horizon over the Ocean of Storms.

This perspective from lunar orbit emphasizes the Moon’s barren and isolated beauty, offering a rare and immersive view of its horizon curving away into the blackness of space.

Captured through the window of the Apollo 15 Command Module Endeavour, this unreleased wide-angle photograph showcases the lunar horizon as seen looking west over the 10km wide and 2-km deep Crater Angström and Schröters Valley in the Ocean of Storms (29.9°N 41.6°W).

Taken with the Hasselblad 500 EL Data Camera equipped with a 60mm lens, this image provides an expansive and dramatic view of the Moon’s surface. The vast lunar landscape, bathed in stark sunlight, highlights the sharp relief of impact craters, rolling plains, and winding rilles.

EUR500 - 700 £420 - 590 US$540 - 760

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| 449

365 [Apollo 15] THE BREATHTAKING HADLEY CANYON: highresolution lunar surface panorama from station 10 David Scott, 26 July - 7 August 1971, EVA 3 Printed 1971.

Original montage comprising thirteen vintage gelatin silver prints on fibre-based paper collaged together [NASA image AS15-89-12100 to AS15-89-12159].

Numbered between “NASA AS15-89-12100” and “AS15-89-12159” in black in the top margin, blank on the reverse (issued by NASA Manned Spacecraft Center, Houston, Texas).

Overall size: 43 x 116 cm. (21 x 45 in.)

The full description of the lot is available on our website: www.bonhams.com 450 | BONHAMS

Historical context The most spectacular moonscape of all Apollo missions.

Spanning up to 1.5 km wide and plunging 400 meters deep, Hadley Canyon—winding across the lunar plain at the foot of the towering 15,000-foot Mount Hadley—remains one of the Moon’s most enigmatic geological formations.

For the first time on the lunar surface, Apollo 15 astronauts used a 500mm telephoto lens mounted on a Hasselblad 500EL data camera, allowing them to capture distant features in unprecedented detail.

From the canyon’s edge at Station 10, David Scott captured this extraordinary telephoto panorama, stretching across the far wall of Hadley Canyon from Bennett Hill (left) to Hill 305 (right) beyond the mare surface. Through the powerful 500mm lens, the rille appears much narrower than its actual one-kilometer width, with the photographed area covering approximately 800 meters. The canyon’s edge—where Scott stood to take these images—is visible in the foreground.

Reflecting on the surreal landscape before him, Scott was overwhelmed by the sheer beauty of Hadley:

“Oh, the beauty! The spectacular beauty! Oh, yeah, that is, to coin a phrase, mind-boggling. It’s absolutely mind-boggling, because you cannot believe that it is really that spectacular. I didn’t expect the beauty of it. That’s the one thing everybody talks about, and you can’t appreciate it until you get there and see it.”

— David Scott (Chaikin, Space, p. 66) EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 451

366 [Apollo 15] DAVID SCOTT, THE ROVER AND THE AWEINSPIRING HADLEY CANYON, STATION 2 James Irwin, 26 July - 7 August 1971, EVA 1 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA images AS1585-11451].

Numbered “NASA AS15-85-11451” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Exploring beauty: David Scott and the rover on the edge of Hadley Canyon.

This striking image, part of the second panoramic sequence captured by James Irwin at station 2, shows David Scott and the Lunar Rover perched on the steep slope of Mount Hadley Delta, overlooking the spectacular Hadley Canyon. In the foreground, Irwin’s shadow and footprints mark the lunar surface.

The full description of the lot is available on our website: www.bonhams.com 452 | BONHAMS

The view from Hadley Delta’s slopes was nothing short of breathtaking. The sinuous rille, winding northward from Mount Hadley, defined the dramatic landscape. In the early morning light, the eastern wall of the rille remained in deep shadow, while the western wall and portions of the canyon floor were brightly illuminated. Scattered across the valley floor, housesized boulders hinted at the Moon’s dynamic geological past.

This view was so extraordinary that National Geographic later described it as the most stunning scenery ever witnessed on the Moon, defying prior descriptions of the lunar surface as “barren and drab.” (National Geographic, February 1972, “The Mountains of the Moon,” pp. 242-43) “Possibly of equal importance with all the findings by Apollo 15 was the discovery—shared through television by millions of people—that there existed beauty and majesty in views of nature that had previously been outside human experience.”

—Harrison Schmitt (NASA SP-350, p. 279) EUR800 - 1,000 £670 - 840 US$870 - 1,100

367 [Apollo 15] FIRST TELEPHOTO IMAGES ON THE MOON: Mount Hadley from station 6 (diptych) James Irwin, 26 July - 7 August 1971, EVA 2 Printed 1971.

Diptych comprising: one vintage gelatin silver print on fibre-based paper [NASA image AS15-84-11320]. Numbered “NASA AS15-84-11320” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.) and: one original montage comprising two vintage gelatin silver prints on fibre-based paper collaged together, numbered “NASA AS15-8411328” to “NASA AS15-84-11329” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

Despite appearing as a smooth sand dune, its surface is strewn with sharp ridges and outcrops, visible only through the powerful lens. Each telephoto frame captures an area approximately 2.4 km wide.

Scott later recalled the challenge of justifying the 500mm lens for the mission and how its stability was surprisingly superior on the Moon: “That’s pretty good for no viewfinder, just a ring sight. And we had a tough time getting the 500 on the flight. A lot of people said, ‘You can’t hold a 500-mm lens still on the Moon.’ Actually, it’s a lot easier on the Moon than it is on the Earth! And it sure was a useful tool.”

—David Scott (ALSJ mission transcript, 144:46:38 GET) EUR600 - 800 £500 - 670 US$650 - 870

Overall size: 26 x 26 cm. (10 x 10 in.)

Historical context A historic first: the Moon revealed through a telephoto lens.

These groundbreaking photographs, including a rare composite panorama, mark the first use of a 500mm telephoto lens on the Moon—introduced on Apollo 15 to allow astronauts to capture distant lunar features they could not physically explore. This innovation provided geologists with unprecedented detail for studying the Moon’s ancient history.

At Station 6 on the flank of Mount Hadley Delta, David Scott took a series of 500mm telephoto images from 18 km away, focusing on Mount Hadley’s towering 4,200-meter peak above the Marsh of Decay—a vertical rise seen in only a few places on Earth.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 453

368 [Apollo 15] THE GOLF POSE: James Irwin digging a trench at the Hadley scientific site David Scott, 26 July - 7 August, 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1592-12424].

Numbered “NASA AS15-92-12424” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A Golfer on the Moon.

This remarkable frame, part of a panoramic sequence captured

by David Scott at a lunar science station, shows James Irwin at work—not with a putter, but with a lunar surface scoop. Here, Irwin digs a trench by forcing the scoop into the ground and propelling the soil backward between his legs. He would later use a device to measure the mechanical properties of the lunar soil.

“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) In the background, the towering slopes of Mount Hadley rise, its base approximately 14 kilometres away, providing a dramatic backdrop to the scientific work unfolding on the Moon.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 454 | BONHAMS

369 [Apollo 15] DAVID SCOTT TAKING PHOTOGRAPHS IN FRONT OF THE HADLEY-APENNINE MOUNTAINS AT STATION 6 James Irwin, 26 July - 7 August, 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1585-11514].

Numbered “NASA AS15-85-11514” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A lone photographer on an alien world.

This stunning frame, part of the second panoramic sequence taken at Station 6 by James Irwin, captures Apollo 15 Commander David Scott high on the north-facing slope of Mount Hadley Delta, approximately 100 meters above the valley floor and 5 km southeast of the Lunar Module Falcon.

Scott is using the Hasselblad 500EL Data Camera, mounted on the Remote-Control Unit of his chest, to photograph a rock sample of scientific significance. The Lunar Rover, parked at a steep angle, is visible in the distance behind him. The white spots above Scott are lens flares, created by the camera facing east toward the Sun.

Footprints made by Scott and Lunar Module Pilot James Irwin mark the terrain, emphasizing the challenge of navigating the steep lunar slope. The Swann Range stretches across the horizon, approximately 17 km away, while to Scott’s right, the dramatic 3,500-meter peak of Mount Hadley Delta rises sharply above the Marsh of Decay below.

“When I look at the Moon, I do not see a hostile, empty world. I see the radiant body where man has taken his first steps into a frontier that will never end.”

—David Scott (National Geographic, September 1973, “What Is It Like to Walk on the Moon?”, p. 329) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 455

370 [Apollo 15] DUNE CRATER IN FRONT OF MOUNT HADLEY AT STATION 4 James Irwin, 26 July - 7 August 1971, EVA 2 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1590-12244].

Numbered “NASA AS15-90-12244” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Hadley’s majesty.

This photograph is a frame from a panorama captured during a brief stop on the first rover return traverse from Station 7 on the slopes of Hadley Delta to the Lunar Module Falcon. In the foreground, the 500-meter-wide Dune Crater—originally planned as the first stop of EVA 2 (Station 4)—remains unexplored, its visit cancelled due to time constraints. Rising behind its rim, the towering slopes of Mount Hadley dominate the background, adding to the breathtaking desolation of Hadley-Apennine.

“It had a majestic feeling about it. And one says this after talking about how it’s dusty, it’s grey, 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.” — Apollo 14 astronaut Alan Shepard (Chaikin, Voices, p. 66) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 456 | BONHAMS

371 [Apollo 15] HADLEY’S RESEARCH OUTPOST (diptych) James Irwin, 26 July - 7 August 1971, EVA 2 and 3 Printed 1971.

Two vintage chromogenic prints on fibre-based Kodak paper [NASA images AS15-87-11849 and AS15-88-11879].

Numbered “NASA AS15-87-11849” and “NASA AS15-88-11879” in red in the top margin, with “A Kodak Paper” watermark on the reverses (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context Pioneering science on the Moon: a laboratory in the scenery of Hadley.

This pair of remarkable photographs showcases the complex scientific instruments deployed at the scientific site (ALSEP) site, where David Scott and James Irwin set up an array of automated experiments designed to continue gathering data long after their departure. The shadowy lunar hills beyond, including Hill 305, provide a dramatic backdrop to this moment of scientific advancement.

These experiments, powered by a Radioisotope Thermoelectric Generator (RTG), provided invaluable data on lunar seismic activity, the Moon’s tenuous magnetic field, and the composition of the solar wind, shaping our understanding of planetary science.

EUR600 - 800 £500 - 670 US$650 - 870

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| 457

372 [Apollo 15] DAVID SCOTT AT THE LUNAR ROVER IN FRONT OF HADLEY CANYON AND MOUNT HADLEY DELTA, STATION 9A James Irwin, 26 July - 7 August, 1971, EVA 3 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1582-11121].

Numbered “NASA AS15-82-11121” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Exploring the edge of Hadley Canyon.

A magnificent frame from the panoramic sequence taken

by James Irwin at station 9A, one of the most spectacular locations of the Apollo program, perched on the very edge of Hadley Canyon, about 1.8 km west of the Lunar Module.

David Scott is seen retrieving the 500mm telephoto Hasselblad camera from the Lunar Rover to photograph the far side of the canyon, which spans approximately 1 km across. This powerful telephoto lens allowed him to capture distant lunar features with unprecedented clarity.

Behind the rover, Mount Hadley Delta looms approximately 18 km away, with the vast 2.4-km-wide St. George Crater punched into its side. Below, Hadley Canyon bends southward near Elbow Crater, while Silver Spur is visible to the left of Mount Hadley Delta.

The awe-inspiring terrain surrounding Hadley Base was unlike anything encountered on previous missions—steep mountains, dramatic canyons, and a landscape that evoked the grandeur of Earth’s most rugged geological formations, leaving the crew in awe (see mission transcript).

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 458 | BONHAMS

373 [Apollo 15] DAVID SCOTT SALUTING THE FLAG AT HADLEY BASE James Irwin, 26 July - 7 August 1971, EVA 3 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-88-11863].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS15-88-11863” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Saluting the stars at Hadley Base.

At the start of EVA 3, Apollo 15 Commander David Scott paused to salute the American flag, standing proudly against the breathtaking lunar landscape of Hadley Base. Captured as part of a series of “tourist” photographs taken by James Irwin, this moment symbolizes the spirit of exploration and achievement.

In the background, the towering slopes of Hadley Delta rise approximately 4,000 meters (13,000 feet) above the plain, with its base stretching 5 kilometres (3 statute miles) away. To the right, the Lunar Module Falcon glistens under the relentless Sun, marking the temporary home of humanity’s first extended scientific expedition on the Moon.

Scott and Irwin, enabled by the Lunar Rover, spent three days exploring the rugged lunar terrain, collecting samples, conducting experiments, and leaving behind a legacy of discovery that forever expanded our understanding of the Moon.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 459

374 [Apollo 15] DAVID SCOTT LEANING IN ONE-SIXTH GRAVITY, SETTING UP EXPERIMENTS AT HADLEY James Irwin, 26 July - 7 August 1971, EVA 2 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-87-11847].

Numbered “NASA AS15-87-11847” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25,4 cm. (8 x 10 in.)

Historical context Gracefully moving in a one-sixth gravity world.

This stunning photograph, part of a panoramic sequence taken

by James Irwin at the Apollo 15 scientific site (ALSEP site), captures David Scott leaning to his right to pick up the drill for the Heat Flow Experiment.

Early in the Apollo program, astronauts moved cautiously in their spacesuits, acutely aware of the lethal risks of their environment. By later missions, however, their confidence in the suits’ durability had grown, allowing them to leap, stumble, and manoeuvre with greater ease—transforming the Moon into a true field laboratory for human exploration.

In the foreground, the Solar Wind Spectrometer sits prominently, while astronaut footprints mark the fine lunar soil, a testament to the extensive scientific work conducted in this area. Towering in the background is the immense Mount Hadley, rising 4,200 meters (14,765 feet) above the HadleyApennine plain, bathed in full sunlight.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 460 | BONHAMS

375 [Apollo 15] DAVID SCOTT EXAMINING A BOULDER AT STATION 2 AFTER THE FIRST EXCURSION WITH THE LUNAR ROVER James Irwin, 26 July - 7 August 1971, EVA 1 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA images AS1585-11437].

Numbered “NASA AS15-85-11437” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context The first true excursion on the Moon with the rover.

Station 2 was perched near the rim of St. George Crater on the flank of Mount Hadley Delta, about 50 meters above the valley floor—a magnificent site where the crew discovered a large boulder, ideal for sampling.

The Lunar Rover, parked in the foreground, allowed the astronauts to reach this breathtaking location, considered one of the most scenic landscapes of any Apollo mission and the primary objective of the first EVA. While James Irwin struggled to maintain balance on the steep slope of Hadley Delta, he managed to capture this image—part of the Station 2 panoramic sequence—showing David Scott placing a gnomon next to the boulder for scale and reference.

To Scott’s left, the slopes of Mount Hadley Delta rise sharply, while to his right, Bennett Hill and Hadley Canyon dominate the background below. In the foreground, Irwin’s shadow and the tracks of the Lunar Rover are clearly visible.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 461

376 [Apollo 15] HADLEY BASE NESTLED AT THE FOOT OF THE TOWERING APENNINE MOUNTAIN RANGE James Irwin, 26 July - 7 August, 1971, EVA 3 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS1582-11057].

Numbered “NASA AS15-82-11057” in black in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The most beautiful landing site of all Apollo missions.

This striking photograph, taken by James Irwin at the Apollo 15 scientific site (ALSEP site), captures Hadley Base set against the dramatic backdrop of the Apennine Mountains.

The towering slopes of Hadley Delta rise to the right, while the rugged Apennine Front dominates the left background. In the foreground, astronaut boot prints and the winding tracks of the Lunar Rover crisscross the lunar soil.

The LM Falcon stands at the heart of the scene, alongside the American flag and the deployed Solar Wind Composition experiment. Just to the right of the LM lies Last Crater, its rim barely visible in the stark lunar light. A faint, light spherical object in the upper portion of the frame— a lens reflection— adds a surreal touch to the scene.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 462 | BONHAMS

377 [Apollo 15] JAMES IRWIN, THE FIRST LUNAR ROVER, AND THE LM FALCON AT HADLEY BASE David Scott, 26 July - 7 August 1971, EVA 1 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-86-11598].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS15-86-11598” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context The first base of extended human exploration beyond Earth.

James Irwin stands next to the Lunar Rover near the Lunar Module Falcon at Hadley Base, with Mount Hadley delta in the background. Footprints and Rover tracks crisscross the foreground, marking the historic path of Apollo 15’s groundbreaking exploration.

Apollo 15 was the first mission of true scientific exploration on the Moon. The Lunar Rover revolutionized surface operations, enabling Scott and Irwin to cover greater distances and collect more geological samples than the three previous Apollo landings combined. With this mobility, they explored diverse terrain, from the base of mountains to the edge of deep craters, offering unprecedented insight into the Moon’s history.

“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.”

—David Scott (Chaikin, Voices, p. 192) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300 FOR ALL MANKIND

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378 [Apollo 15] THE CSM ENDEAVOUR WITH EXPOSED SIM BAY ABOVE THE SEA OF FERTILITY James Irwin, 26 July - 7 August 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-88-11972].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS15-88-11972” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Rendezvous over the Moon.

Captured by James Irwin from the window of the LM Falcon shortly after its ascent from the Moon, this remarkable photograph showcases the Command and Service Module Endeavour in lunar orbit with its exposed SIM (Scientific Instrument Module) bay during the critical rendezvous before the crew’s return to Earth.

At this moment, Endeavour, piloted solo by Alfred Worden, was completing its 49th orbit, flying 115 km above the northeastern shore of the Sea of Fertility (7° N / 48.5° E). As part of the manoeuvre, Worden pitched the spacecraft nose-down toward the Moon, allowing Scott and Irwin in Falcon to inspect and photograph the SIM bay—used for the first time on Apollo 15— before Worden later conducted history’s first deep-space EVA to retrieve film cassettes from its panoramic cameras.

The photograph was taken with the 60mm lens of the lunar surface Hasselblad 500 EL Data Camera.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 464 | BONHAMS

379 [Apollo 15] SPECTACULAR LUNAR HORIZON ABOVE THE SEA OF RAINS: pioneering high-resolution metric camera view Alfred Worden, 26 July - 7 August 1971 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS15-M-1550].

With NASA metric camera ID number “AS15-M-1550” written on the reverse (issued by NASA).

23 x 23 cm. (9 x 9 in.)

Historical context Apollo 15 was the first mission to deploy the metric camera in lunar orbit, revolutionizing our ability to study the Moon’s landscape with precision.

This rare and unreleased photograph captures the breathtaking lunar horizon in exceptional detail, taken from an altitude of 102 km over the northern Sea of Rains (Mare Imbrium). The image was acquired during Apollo 15’s 35th revolution around the Moon using the automatic Fairchild metric camera, mounted in the Scientific Instrument Module (SIM) bay of the Endeavour Service Module and operated by Command Module Pilot Alfred Worden.

With its 3-inch focal length, the metric camera provided an unparalleled perspective on the rugged lunar surface, offering a level of clarity essential for geological mapping.

The sun, positioned at a 13° elevation, casts long shadows that accentuate the Moon’s vast topography. This high-resolution view (28° N, 16.5° W) showcases the immense scale of Mare Imbrium while revealing intricate surface textures and crater formations.

On the right side of the frame, the silhouette of the gammaray spectrometer mounted on the SIM bay is visible. This instrument played a key role in mapping the Moon’s elemental composition by detecting gamma radiation from the surface, helping scientists better understand its geological history.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 465

380 [Apollo 15] THE ABSTRACT BEAUTY OF THE MOON: orbital views from lunar orbit (4 photos) James Irwin, David Scott or Alfred Worden, 26 July - 7 August 1971 Printed 1971.

First photograph: floor of Crater Langrenus on the eastern shore of the Sea of Fertility (8.5° S / 59.5° E).

Second photograph: area of Crater Lubbock H on the western edge of the Sea of Fertility (3° S / 42° E).

Four vintage chromogenic prints on fibre-based Kodak paper [NASA images AS15-93-12659, AS15-93-12663, AS15-93-12665 and AS15-93-12686].

Numbered “NASA AS15-93-12659”, “NASA AS15-93-12663”, “NASA AS15-93-12665” and “NASA AS15-93-12686” in red in the top margin, with “A Kodak Paper” watermark on the reverses (issued by NASA Manned Spacecraft Center, Houston, Texas).

Third photograph: the 29-km Crater Maskelyne A (foreground) and the 4-km bright Crater Censorinus in the southeastern Sea of Tranquillity (0.5° S / 32° E).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

“We left the Moon indelibly impressed with its stark, surrealistic features, its nearly overwhelming variety of landforms, and, above all, its awesome beauty.”

Apollo 15 crew observations

Historical context The beauty of another world from orbit.

These spectacular unpublished photographs from color magazine 93/P were taken from the Command Module Endeavour over the nearside of the Moon through the powerful 250mm telephoto lens, featuring great detail of the moonscape.

The full description of the lot is available on our website: www.bonhams.com 466 | BONHAMS

Fourth photograph: Rima Bradley IV in area of the Montes Apenninus range, along the eastern edge of the Sea of Rains (21.5° N / 2.5° W).

EUR600 - 800 £500 - 670 US$650 - 870

381 [Apollo 15] ALFRED WORDEN PERFORMING THE HISTORIC FIRST DEEP SPACE EVA ON THE JOURNEY BACK TO EARTH James Irwin, 26 July - 7 August 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-43202].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-43202” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first human in deep space: Alfred Worden’s historic EVA. Approximately 18 hours after trans-Earth injection, Alfred Worden became the first human to perform a deep-space EVA, stepping outside the Command Module Endeavour to retrieve film cassettes from the SIM bay. Captured from a frame of motion picture film taken by the 16mm Maurer camera mounted on the hatch, this image shows Worden floating 316,000 km from Earth—farther than any human had ventured outside a spacecraft.

His 22-minute spacewalk, described as the first “interplanetary” EVA, set a precedent in an era where space “firsts” carried immense prestige. Beyond the Apollo 15, 16, and 17 EVAs for SIM bay retrieval, every other extravehicular activity from a spacecraft in freefall has occurred in low Earth orbit, never more than about 600 km from home.

Re-entering the cramped confines of Endeavour after experiencing the vastness of space, Worden wryly remarked: “I wish I were back outside. It’s hell in here.”

—Alfred Worden (mission transcript, T+242:27:11 after launch) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 467

382 [Apollo 15] “DOUBLE EARTHRISE”: an extraordinary UV photograph of the Earth rising over the Moon Alfred Worden, 26 July - 7 August 1971 Printed 1971.

Vintage gelatin silver print on fibre-based paper [NASA image AS15-99-13441].

Numbered “NASA AS15-99-13441” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context “Double Earthrise”: a unique ultraviolet view of Earth over the Moon This extraordinary and exceptionally rare image captures a “Double Earthrise” over the lunar horizon, taken by Apollo 15 Command Module Pilot Alfred Worden during the spacecraft’s 24th revolution around the Moon. Using a Hasselblad camera fitted with a special ultraviolet-transmitting 105-mm lens and a UV-sensitive film housed in magazine N, Worden captured this otherworldly scene from an altitude of approximately 120 km.

The unique optical effect, created by the combination of lens properties, exposure time, and specialized filters, gives the illusion of two Earths rising over the stark lunar surface, producing an image of remarkable abstract beauty.

While mission commander David Scott and lunar module pilot James Irwin spent 66 hours exploring the Moon’s Hadley-Apennine region, Worden orbited solo in the Command Module Endeavour, taking scientific observations and reflecting on the grand scale of space and Earth’s fragile beauty.

“Now I know why I’m here. Not for a closer look at the Moon, but to look back at our home, the Earth.”

—Alfred Worden (Kelley, plate 52).

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 468 | BONHAMS

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383 [Apollo 15] EXTRAORDINARY VIEW OF EARTH: a slender, ethereal crescent almost entirely in shadow Alfred Worden, James Irwin or David Scott, 26 July - 7 August 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS15-96-13131].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS15-96-13131” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 470 | BONHAMS

Historical context A fragile crescent adrift in the vastness of space.

From 100,000 km away, Earth appears as an ethereal, razorthin crescent, bathed in sunlight and partially obscured by a soft lens flare—an almost surreal, science-fiction-like vision of our home planet. Taken with a Hasselblad camera fitted with a 105mm lens, this extraordinary image captures the Earth after the last sleep period of the crew before coming back to Earth, about 8 hours from splashdown. With the Sun positioned just outside the camera’s field of view, the planet is illuminated from the side, revealing only the faintest sliver of daylight. Meanwhile, behind the spacecraft, a full Moon was receding into the blackness. At this moment, the astronauts were hurtling toward the Pacific, where they would soon reenter Earth’s atmosphere. Because Endeavour’s flight path has carried it over the night-time side of the Earth, only the slightest glimpse of the daylight side can be seen. Reflecting on this breathtaking sight, Commander David Scott radioed Mission Control: “Well, we just got our first view of the Earth this morning, and, can you believe it’s getting larger and it’s getting smaller? We see just a very, very thin sliver of a very large round ball.” —David Scott (Mission transcript, 286:51:57 GET) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

384 [Apollo 15] THE CREW RETURNS TO EARTH AFTER THE FIRST GREAT VOYAGE OF EXPLORATION TO ANOTHER WORLD NASA, 7 August, 1971 Printed 1971.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-71-42738].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-71-42738” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context “There is a fundamental truth to our nature... Man must explore. And this is exploration at its greatest.”

David Scott (first words on the Moon) This moment, captured on August 7, 1971, 290 nautical miles north of Pearl Harbor, Hawaii, is the conclusion of exploration at its greatest.

Apollo 15 Commander David Scott steps onto the deck of the USS Okinawa and is greeted by Dr. Robert R. Gilruth, Director of NASA’s Manned Spacecraft Centre, after completing the first great voyage of exploration to another world. Behind Scott, Command Module Pilot Al Worden and Lunar Module Pilot Jim Irwin descend from the recovery helicopter, marking the successful return of the crew from their groundbreaking expedition to the Hadley-Apennine region of the Moon.

Apollo 15, the first of the extended “J missions,” set new milestones in lunar exploration, including the first use of the Lunar Rover and the first deep-space EVA. EUR400 - 600 £330 - 500 US$430 - 650

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Apollo 16

Crew: John Young (Commander), Ken Mattingly (Command Module Pilot), Charles Duke (Lunar Module Pilot) April 16-27, 1972 Spacecraft: Apollo 16 (CSM Casper and LM Orion) Launch Vehicle: Saturn V MISSION OVERVIEW First study of highlands area. Selected surface experiments deployed, ultraviolet camera/spectrograph used for first time on Moon, and LRV used for second time. LRV traversed 26.7 km. Three EVAs totaling 20 hours 14 minutes. 95.8 kg (213 lbs) of lunar samples collected. Lunar surface stay-time, 71 hours; in lunar orbit 126 hours, with 64 orbits. Subsatellite released in lunar orbit. Mattingly performed 1-hour trans-Earth EVA. CAMERAS AND ACCESSORIES The camera equipment operated on the lunar surface or in the LM by astronauts Young and Duke included three 70mm Hasselblad Data Cameras (two with 60mm Zeiss-Biogon lenses and one equipped with a 500mm Zeiss telephoto lens), a 16mm Maurer Data Acquisition Camera (DAC), and a color RCA lunar surface TV camera. The main photographic tasks in the Command Module during orbit were performed with the Fairchild Mapping Camera System and the Itek Panoramic Camera, which were in the SIM bay. Various tasks were also accomplished using four Command Module cameras: a 70mm Hasselblad 500EL camera (with standard 80mm lens, 105mm UV lens and telephoto 250mm lens), a 16mm Maurer DAC, a 35mm Nikon, and a Westinghouse color TV camera.

MISSION PARAMETERS Duration: 11 days, 1 hour, 51 minutes Landing site: Descartes Highlands.

Landing Coordinates: 8.97341 degrees South, 15.49859 degrees East

472 | BONHAMS

detail lot 410

385 [Apollo 16] THE MIGHTY SATURN V LIFTING OFF FROM EARTH TO THE MOON: a striking contrast between Nature and the Space Age NASA, 16 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-35347].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-35347” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking contrast between Nature and the Space Age. In this breathtaking photograph, the mighty Saturn V carrying Apollo 16 thunders skyward, framed by the stark silhouette of a dead tree and reflected in the still waters of the Florida marsh. This evocative composition juxtaposes the ancient and the modern, the natural and the technological—symbolizing humanity’s audacious leap from Earth to the Moon.

Apollo 16, the penultimate lunar landing mission, launched from Kennedy Space Centre on April 16, 1972, at 12:54 p.m. EST, carrying astronauts John Young, Charles Duke, and Ken Mattingly.

Young and Duke would explore the rugged Descartes Highlands, while Mattingly conducted scientific observations from lunar orbit aboard the Command Module Casper.

Reflecting on the magnitude of the journey, Ken Mattingly later remarked: “Going to the Moon is an extraordinary thing! It doesn’t matter if you’re first or last; it’s extraordinary.”

—Ken Mattingly (Chaikin, Voices, p. 165) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 474 | BONHAMS

FOR ALL MANKIND

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386 [Apollo 16] BREATHTAKING VIEW OF THE NEARLY FULL PLANET EARTH Ken Mattingly, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA AS16118-18880].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-118-18880” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A nearly full planet hanging in the void. While Apollo 17 remains the only mission to capture a fully illuminated Earth, this Apollo 16 image stands among the most striking views of our home world ever taken in deep space.

Captured from 9,000 nautical miles (16,662 km) away, this stunning photograph of Earth was taken approximately one hour after translunar injection, following the successful transposition and docking of the Command and Lunar Modules but before the extraction of the Lunar Module from the Saturn V’s S-IVB third stage.

Most of North and Central America is clearly visible, with the nearly full planet bathed in sunlight. The terminator—the dividing line between night and day—appears along the right edge, adding depth to this awe-inspiring perspective.

Reflecting on this unforgettable sight, Lunar Module Pilot Charles Duke later recalled: “The Earth is the most beautiful sight in space, with all its colours of lands, seas, and clouds. Looking at it against the blackness of space was almost a religious experience for me.”

—Charles Duke (National Geographic, December 1972, p. 865) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

The full description of the lot is available on our website: www.bonhams.com 476 | BONHAMS

387 [Apollo 16] MISSION CONTROL WATCHING IN AWE THE LIVE TV VIEW OF EARTH NASA, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-35351].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-35351” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Mission Control marvelling at the astronauts’ journey through deep space.

Inside the Mission Operations Control Room (MOCR) at the Mission Control Centre (MCC), engineers and flight controllers watch in awe as Apollo 16 transmits a live television feed of Earth from 7,500 nautical miles (13,890 km) away. This broadcast occurred three hours and 27 minutes after launch, following the successful docking of the Command Module and Lunar Module en route to the Moon.

On the large TV monitor, Earth appears as a fully illuminated sphere, with two-thirds of the planet visible. The entire North American continent, along with the vibrant reds of the deserts and the blues of the Great Lakes, can be seen—a breathtaking view described in real-time by Command Module Pilot Ken Mattingly: “I bet it’s good, but you just can’t believe how beautiful it is.

See the reds in the desert down there and the Southern United States and northern part of Mexico. And from here, you see the Great Lakes and the State of Florida out there. And it’s just absolutely something.”

—Ken Mattingly (Mission transcript, 003:27:17 GET) EUR400 - 600 £330 - 500 US$430 - 650

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| 477

388 [Apollo 16] CSM CASPER ORBITING THE LUNAR FARSIDE AFTER SEPARATING FROM LM ORION Charles Duke or John Young, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-113-18280].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-113-18280” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The beauty of a human spacecraft above another world.

This stunning photograph captures the Command Module Casper from the Lunar Module Orion shortly after undocking.

Taken from 57 km above the surface during Apollo 16’s 12th revolution, the image showcases Casper’s sleek design, its metallic surfaces gleaming against the stark, cratered landscape of the lunar far side west of Crater Abul Wafa.

Using the Hasselblad EVA 500 EL Data Camera with a 60mm lens, Charlie Duke preserved a moment of quiet beauty—a lone spacecraft suspended over the desolate Moon. The crew couldn’t help but admire the sight: “Boy, Ken, you look great!” —John Young (Mission transcript, 096:16:31 GET) “You really got a pretty spacecraft!”

—Charlie Duke (Mission transcript, 096:16:33 GET) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 478 | BONHAMS

389 [Apollo 16] COMMAND MODULE CASPER AND EARTHRISE Charles Duke, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-113-18289].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-113-18289” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Command Module Casper and Earthrise: a rare convergence of worlds.

This extraordinary photograph captures two celestial bodies and the manned spacecraft that linked them way and back, in a single frame—a sight only Apollo 16 had the opportunity to witness.

The full description of the lot is available on our website: www.bonhams.com

This image was taken from Lunar Module Orion, which was orbiting at 57 km above the Moon’s surface, after an unexpected engine issue on the Command Module Casper jeopardized the planned landing. Due to the failure of Casper’s circularization burn, John Young and Charles Duke had to rendezvous with Ken Mattingly, forcing the two spacecraft to reunite in lunar orbit before Houston could resolve the issue.

At this moment, Duke was aiming the EVA Hasselblad camera (60mm lens) westward to capture Casper, about a mile away.

Just then, the extraordinary sight of Earthrise unfolded before them, adding a poetic dimension to this critical moment. In the background, the lunar far side highlands east of Crater Saha stretches toward the horizon.

Duke later recalled the tension of the moment and the unexpected beauty they encountered: “We had a problem with the Command Module before landing.

Mattingly reported a major engine problem that required us to rendezvous. This photograph was taken as we closed in on Mattingly for a little station keeping until they solved the problem. 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 land. Fortunately, Houston solved the problem.”

— Charles Duke (Schick and Van Haaften, p. 119) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

FOR ALL MANKIND

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390 [Apollo 16] PORTRAIT OF JOHN YOUNG ON THE MOON AT THE DESCARTES SCIENTIFIC SITE Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-114-18388].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-114-18388” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A superb lunar portrait.

This iconic photograph of Apollo 16 Commander John Young was taken by Lunar Module Pilot Charles Duke at the Descartes scientific site (ALSEP site), 90 metres from the Lunar Module Orion.

Young is seen with the Hasselblad camera mounted on the remote-control unit of his chest, carefully working with a sample bag and using the top of the camera as a work surface.

His backpack’s communication antenna extends above him, silhouetted against the blackness of space.

This image encapsulates the scientific ambition of Apollo 16—an exploration mission that pushed the boundaries of human knowledge by venturing into one of the Moon’s most geologically complex regions.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 480 | BONHAMS

391 [Apollo 16] JOHN YOUNG DEPLOYING EXPERIMENTS AT THE SUNLIT DESCARTES SCIENTIFIC SITE Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-114-18374].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-114-18374” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Bathed in brilliant sunlight, John Young is seen working among the scientific instruments of Apollo 16’s Descartes landing site, a scene that captures both the stark beauty of the lunar landscape and the meticulous human effort to explore and understand it.

Young is near the Central Station and the RTG (Radioisotope Thermoelectric Generator), using the thumper device to activate the geophones of the Active Seismic Experiment, which would help scientists analyse the Moon’s subsurface structure. In the foreground, the deployed magnetometre stands ready to measure the Moon’s weak magnetic field.

Apollo 16’s ALSEP (Apollo Lunar Surface Experiments Package) was one of the most extensive scientific deployments of the Apollo program, requiring both precise execution and thorough photographic documentation for future analysis. As Charles Duke later recalled: “We practiced all the photographic sequences that we had.

Every time we put out the ALSEP in training, we would go through not only the experiments deployment but we’d go through the photo layout and sequence so we knew what to do and it was second nature.”

—Charles Duke (ALSJ mission transcript at 122:13:07 GET) EUR600 - 800 £500 - 670 US$650 - 870

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| 481

392 [Apollo 16] CHARLES DUKE BESIDE THE ROVER, ADMIRING THE MOONSCAPE FROM STATION 4 ON STONE MOUNTAIN John Young, 16-27 April 1972, EVA 2 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-107-17446].

Numbered “NASA AS16-107-17446” in red in the top margin, with “A Kodak Paper” watermark on the reverse (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 482 | BONHAMS

Historical context Looking at the Moon in awe.

For their second EVA, John Young and Charles Duke drove 4 km south to Station 4, a site near the Cinco Craters, high on the slopes of Stone Mountain. At 152 metres (499 feet) above the valley floor, this fantastic viewpoint marked the highest elevation reached above the LM of any Apollo mission. As they gazed out over the spectacular moonscape, the awe in their voices was unmistakable.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

393 [Apollo 16] JOHN YOUNG’S ICONIC “JUMPING SALUTE” Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-113-18339].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-113-18339” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the most iconic images of human exploration, this exuberant moment captures Apollo 16 Commander John Young mid-jump as he salutes the American flag. In a demonstration of the Moon’s weak gravity, Young effortlessly lifts 0.42 metres (16.5 inches) off the surface, despite his spacesuit and 360-pound (163 kg) Earth weight—reduced to just 60 pounds (27 kg) in lunar gravity.

As Young prepared for the salute, Lunar Module Pilot Charles Duke recognized the perfect composition unfolding before him: “Hey, John, this is perfect, with the LM and the Rover and you and Stone Mountain. And the old flag. Come on out here and give me a salute. Big Navy salute.”

— Charles Duke (See mission transcript, 120:25:23 GET)

This remarkable scene includes the flag, the Lunar Module Orion, the Lunar Rover, the UV astronomy camera, and the rolling slopes of Stone Mountain in the background.

Reflecting on the moment years later, Young noted its significance for future lunar missions: “This shows the advantage of lunar gravity. I weighed, with my suit and backpack, about 360 Earth pounds, but only 60 pounds (30 kg) in the 1/6 gravity of the Moon. The ‘jumping salute’ photo is one of my favourite pictures, as it shows how nice it will be to live and work on the Moon.”

— John Young (Jacobs, p. 109) EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

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394 [Apollo 16] JOHN YOUNG WITH THE ROVER AND FLAG IN THE SUNLIT MOONSCAPE OF DESCARTES Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18576].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18576” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A remarkable scene of human exploration on the Moon, bathed in sunlight.

John Young is seen working at the Lunar Rover, parked near the American flag planted in the foreground. The Rover’s tire tracks crisscross the surface, marking the astronauts’ path through the desolate terrain.

Charles Duke took this image as part of a panoramic sequence of Descartes Base from a position west of the Lunar Module Orion’s ladder strut (plus-Z in LM coordinates) at the start of the final EVA. As he framed the scene, he commented: “Here we are (at) sleepy little Descartes. [...] Ah, the old U.S. flag. Looks colourful.” (See mission transcript.)

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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395 [Apollo 16] PANORAMIC SEQUENCE OF STONE MOUNTAIN WITH CHARLES DUKE AND THE ROVER IN THE DISTANCE, STATION 4 (diptych) John Young, 16-27 April 1972, EVA 2 Printed 1972.

Two vintage chromogenic prints on fibre-based Kodak paper [overlapping NASA images AS16-107-17473 and AS16-107-17475].

Numbered “NASA AS16-107-17473” and “NASA AS16-107-17473” in red in the top margin, with “A Kodak Paper” watermark on the reverses (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context These two overlapping frames are part of a panoramic sequence taken by John Young from the rim of a 25-metre-wide crater uphill from the Lunar Rover at Station 4. The steep and uneven terrain made parking the Rover a challenge, as seen in the first photograph, where Charles Duke is storing core tubes at the back of the vehicle, which is partially obscured by a depression in the lunar surface. Scattered across the northeast wall of the crater (visible in the second photograph) are numerous boulders, likely ejecta from South Ray Crater. The footprints left by Young as he climbed to this vantage point are clearly visible, alongside a white Sample Collection Bag (SCB) in the foreground.

Reflecting on the experience, Duke later recalled: “Stone Mountain was really steep. Driving up the slope, you felt as if you were going to go over backward, but the Rover handled it beautifully. We found a small ledge to park so we could work around the Rover. It seemed as if the South Ray Crater ejecta was everywhere.”

—Charles Duke (Constantine, p. 103) EUR700 - 1,000 £590 - 840 US$760 - 1,100 FOR ALL MANKIND

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396 [Apollo 16] CHARLES DUKE SALUTING THE U.S. FLAG AT DESCARTES LANDING SITE John Young, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-113-18342].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-113-18342” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The image embodies the human spirit of discovery and the symbolic importance of planting the American flag on another celestial body, marking the U.S.’s achievement in space exploration.

The LMP Charles Duke honours the flag, the Nation, and the American people in this salute to the Stars and Stripes. Stone Mountain, 5 km in the distance and approximately 500 m higher than the landing site, forms the skyline behind the astronaut.

The Lunar Rover is parked near the LM. The far- UV camera/ spectrograph sits on a tripod partially shaded by the shadow of the LM. (Apollo 16 Preliminary Science Report, NASA SP-315, p. 4.9)

The full description of the lot is available on our website: www.bonhams.com 486 | BONHAMS

For Duke and Young, this moment was more than a ceremonial gesture—it was a personal tribute to their journey and the pioneering spirit of those who made it possible. Their exchange, captured in the mission transcript, highlights their pride and camaraderie: 120:26:05 Young: I’d like to see an Air Force salute, Charlie, but I don’t think they salute in the Air Force.

120:26:08 Duke: Yes, sir; we do.

120:26:09 Young: (Laughing) 120:26:10 Duke: And fly high and straight and land soft.

120:26:13 Young: Okay, Charlie, say when.

120:26:15 Duke: Here we go.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

397 [Apollo 16] PORTRAIT OF JOHN YOUNG AT PLUM CRATER, STATION 1 Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-114-18423].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-114-18423” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

124:03:01 Duke: “John, you are just beautiful. That is the most beautiful sight.”

With Young’s reflection visible in Duke’s visor, this composition uniquely captures both astronauts—one behind the camera, the other framed against the lunar landscape—immortalizing a rare moment of human presence on another world.

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking otherworldly portrait.

This magnificent photograph, part of a panoramic sequence taken by John Young at Station 1, captures Charles Duke standing near the rim of Plum Crater, framed by the stark beauty and isolation of the Moon.

Duke, equipped with his Hasselblad camera mounted on his chest and a sample bag hanging from his life-support backpack, faces his photographer with his scoop planted in the regolith for scale. He acknowledges Young with a gesture, recognizing the profound beauty of the scene from both perspectives:

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| 487

398 [Apollo 16] JOHN YOUNG BEYOND LM ORION AND ROVER AT DESCARTES BASE Charles Duke, 16-27 April 1972, EVA 2 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-107-17436].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-107-17436” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A busy base of human exploration on another world.

This superbly composed photograph is a frame from a 360° panoramic sequence of the Descartes landing site, captured

by Charles Duke from a position 20 metres NNE of the Lunar Module Orion, facing the 4 o’clock position relative to the hatch.

The full description of the lot is available on our website: www.bonhams.com 488 | BONHAMS

In the background, John Young is seen beyond the Lunar Rover, just south of the LM shadow, actively collecting lunar samples. To the left, Stone Mountain—rising 500 metres and located 5 kilometres away—forms an imposing backdrop. The parked Lunar Rover stands ready for further exploration, while dark streaks in the foreground—boot prints and Rover tracks— serve as tangible evidence of the astronauts’ activity on the untouched lunar terrain.

“This and similar views of the LM, Rover, and our flag were always special. Other than the grey and white of the Moon, this was the only colour. 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.”

—Charles Duke (Constantine, p. 99) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

399 [Apollo 16] CHARLES DUKE AT OUTHOUSE ROCK, STATION 11 John Young, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18653].

With three filing holes in the top margin not affecting the image, with “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18653” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in).

Historical context Uncovering the Moon’s ancient secrets.

Charles Duke stands beside the impressive Outhouse Rock at Station 11, holding the hammer in his left hand and pointing to the boulder where he successfully chipped off a sample.

Nearby, the rake—another essential geological tool—leans against the rock, ready for use. A pack of sample bags hangs from his finger, underscoring the methodical nature of lunar fieldwork.

Outhouse Rock, a large break-off fragment measuring approximately 5 by 2 by 2.5 metres, was located just south of the massive House Rock, which itself spanned 10 by 20 metres.

Distinctive mission markings on Duke’s suit stand out: the bright orange “LMP” decal on his chest-mounted Hasselblad camera and the iconic blue “NASA” emblem on his right shoulder, reinforcing the human presence in this stark lunar landscape.

This image embodies the essence of Apollo fieldwork—precise, methodical, and dedicated to uncovering the Moon’s geological history.

EUR600 - 800 £500 - 670 US$650 - 870

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| 489

400 [Apollo 16] CHARLES DUKE CARRYING ‘BIG MULEY’ NEAR THE LM ORION, UV ASTRONOMY CAMERA, LUNAR ROVER, AND U.S. FLAG John Young, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-114-18439].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-114-18439” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A striking moment near the Lunar Module Orion at the end of Apollo 16’s first EVA. Charles Duke stands in the LM’s shadow, carrying the largest rock sample of the mission— nicknamed “Big Muley.” In the foreground, the gold ultraviolet (UV) astronomy camera is in operation, designed to capture celestial objects in far-ultraviolet light, including Earth. In the background, the U.S. flag and the Lunar Rover complete this evocative lunar tableau, symbolizing Apollo 16’s dual mission— human exploration and groundbreaking scientific research.

“Big Muley”, a 11.7 kg boulder collected near the Lunar Rover at Station 1 is the largest sample returned from the Moon as part of the Apollo program. The rock is named after Bill Muehlberger, the Apollo 16 field geology team leader.

EUR600 - 800 £500 - 670 US$650 - 870

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401 [Apollo 16] JOHN YOUNG COLLECTING LUNAR SAMPLES BELOW THE ROVER PARKED UPHILL AT STATION 11 Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16106-17340].

With NASA caption numbered “72-H-595” on the reverse (issued by NASA Head Quarters, Washington, D.C.).

25.4 x 20.3 cm. (10 x 8 in).

The full description of the lot is available on our website: www.bonhams.com

Historical context A superb side portrait of Charles Duke.

The stunning detail of this black-and-white photograph (captured on magazine 106/K) highlights Duke’s chest-mounted Hasselblad camera in the foreground and the Lunar Rover in the background, creating a powerful composition.

On his way from the Lunar Rover, parked at Station 11 on the rim of North Ray Crater, to the massive House Rock, John Young stopped about halfway to collect samples. The Rover is positioned over the rise in a field of boulders visible in the background, while large white breccia boulders previously explored by the crew appear along the right horizon.

Young is seen using a lunar surface rake in his right hand while holding a sample bag in his left. The tongs mark the area to be sampled. The rake was designed to collect a comprehensive selection of small rock fragments (1 to 3 cm in diametre) along with finer sand-sized material, offering a more complete geological history of the area than isolated rock samples alone.

The mobility afforded by the lunar suit made raking a one-arm operation.

EUR700 - 1,000 £590 - 840 US$760 - 1,100 FOR ALL MANKIND

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402 [Apollo 16] THE LM ORION IN THE SUNLIT MOONSCAPE OF DESCARTES Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18576].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18576” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in).

Historical context “The Moon was the most spectacularly beautiful desert you could ever imagine. Unspoiled. Untouched. It had a vibrancy about it, and the contrast between it and the black sky was so vivid, it just created the impression of excitement and wonder.”

—Charles Duke (from the 2007 documentary In the Shadow of the Moon)

The full description of the lot is available on our website: www.bonhams.com 492 | BONHAMS

This stunning photograph, part of a panoramic sequence taken

by Charles Duke at Descartes Base at the start of the final EVA, captures the stark contrast between the sunlit lunar surface and the deep black sky. Taken from a position west of the Lunar Module Orion’s ladder strut (plus-Z in LM coordinates), it highlights the desolate yet awe-inspiring beauty of the Moon, with the LM standing in the frame—a solitary human presence in this vast, untouched landscape. The UV astronomy camera is also visible, positioned to the right of the ladder.

In the foreground, the distinctive tracks of the Lunar Rover carve through the regolith, a lasting testament to the astronauts’ journey across the rugged terrain.

EUR500 - 700 £420 - 590 US$540 - 760

403 [Apollo 16] JOHN YOUNG WITH THE LUNAR HAMMER ON THE RIM OF PLUM CRATER AT STATION 1 Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16109-17804].

Numbered “NASA AS16-109-17804” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A Dramatic Scene on the Steep West Rim of Plum Crater John Young prepares to break a sample off a partially buried boulder using the lunar hammer. Measuring 40 metres in diametre and 10 metres deep, Plum Crater posed a serious challenge, requiring careful navigation. As Duke later recalled: “Plum was smaller but no less dangerous than its bigger brother, Flag.”

—Charles Duke (Constantine, p. 93) The Lunar Rover is visible on the east rim, while the deployed gnomon in the Centre provides scale and reference for scientists back on Earth. A bright reflection near Young’s visor, caused by light bouncing off the camera lens, adds an almost theatrical intensity to the scene.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 493

404 [Apollo 16] INCREDIBLE LONG-DISTANCE VIEW OF LM ORION FROM THE HEIGHTS OF STONE MOUNTAIN, STATION 4 Charles Duke, 16-27 April 1972, EVA 2 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16110-17981].

With NASA caption on the reverse, numbered “NASA AS16110-17981” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context LM Orion lost in the immensity of the Descartes Highlands As John Young guided the Lunar Rover down the steep slopes of Stone Mountain from Station 4 to Station 5, Charles Duke captured this breathtaking scene with the Hasselblad camera mounted on his chest from his passenger seat. This vantage point—152 metres (499 feet) above the valley floor—marked the highest elevation reached by astronauts on any Apollo mission.

In the vast expanse of the lunar highlands, the Lunar Module Orion appears as a tiny dark speck in a slightly lighter area, just above the second fiducial cross from the right, 4 km away. In the background, Smoky Mountain rises approximately 8 km in the distance, emphasizing the isolation of the astronauts in this alien world.

The sheer scale of the scene highlights the immense challenge and triumph of Apollo lunar exploration, as Young and Duke carefully navigated this rugged and unforgiving terrain.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 494 | BONHAMS

405 [Apollo 16] VISION FROM SPACE: incredible far-UV photograph of Planet Earth taken from the lunar Surface John Young, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on early resin coated Kodak paper [NASA image 72-HC-463].

With NASA caption numbered “72-HC-463” and “A Kodak Paper” watermark on the reverse(issued by NASA Head Quarters, Washington, D.C.).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A fantastic vision of our home planet from another world.

This abstract and mesmerizing photograph of Earth was captured by John Young from the Moon’s surface using the gold UV astronomy camera, a specialized scientific instrument brought to the lunar surface by the Apollo 16 crew. The image not only reveals Earth’s atmospheric glow in a wavelength invisible to the human eye but also transforms a scientific observation into a strikingly beautiful exploration of our planet’s interaction with space.

National Geographic caption: Apollo 16 brings us visions from space In the vastness of the heavens lies beauty in abundance. Man has honed his skills as a space traveller, and each lunar voyage now returns with aesthetic as well as scientific cargo.

A record haul from the April flight of Apollo 16 produced this unearthly portrait of our planet glowing like a psychedelic vision in a colour-enhanced ultraviolet photograph made from the moon. Sensitive to radiation unseen by the human eye, the camera recorded oxygen levels surrounding the earth at various altitudes—a new look at the upper atmosphere that could benefit communications and help measure long-term effects of air pollution.

Scientists added colour to black-and-white photographs to enhance differences in the brightness of the oxygen glow.

Reacting to the sun’s ultraviolet radiation, oxygen atoms fluoresce, appearing here as a cloak of gold closest to the earth’s surface, where the life-sustaining gas lies heaviest. As it thins with altitude, oxygen appears green, red, and finally blue.

On earth’s night side the gas shows blue in two intersecting arcs over the Equator, a phenomenon scientists do not yet fully understand.

An aurora shimmers over the south magnetic pole, extreme right. Stars dot the film; one appears as a bright yellow lump on earth’s left side.

EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

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| 495

406 [Apollo 16] THE ROVER PARKED AT ITS FINAL VIP SITE, FACING THE LM ORION John Young, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18715].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18715” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), with three filing holes in upper margin not affecting the image.

25.4 x 20.3 cm. (10 x 8 in).

Historical context The VIP view of one of humanity’s greatest explorations.

This rare and outstanding photograph of the Lunar Module Orion, unpublished after the mission, was taken by John Young at the conclusion of EVA-3, after he drove the Lunar Rover to its final parking spot, 80 metres east of the LM, nicknamed the VIP site. This strategic placement ensured that the Rover’s TV camera could capture and transmit Orion’s dramatic ascent from the lunar surface.

In the foreground, the Rover’s aft section is visible, with the lunar penetrometre resting near the edge of the Aft Pallet behind the seats. Just beyond, the American flag stands in the Centre background. Footprints crisscross the lunar surface, leading toward the LM in the right foreground and beyond— evidence of the astronauts’ final movements before leaving Descartes for their return journey to Earth.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 496 | BONHAMS

407 [Apollo 16] JOHN YOUNG BY THE ROVER ON THE STEEP SLOPES OF STONE MOUNTAIN, STATION 4 Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16110-17960].

Numbered “NASA AS16-110-17960” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The incredible stop at Stone Mountain.

This frame, part of a panoramic sequence taken by Charles Duke near the Lunar Rover at Station 4, captures John Young replacing tools in the Apollo Lunar Hand Tool (ALHT) carrier at the aft end of the Rover, parked on the steep, barren 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.”

—Charles Duke (Chaikin, Voices, p. 90) At 152 metres (499 feet) above the valley floor, Station 4 marked the highest elevation reached on Stone Mountain—and the highest point above the LM of any Apollo mission. Looking northeast, Smoky Mountain rises in the left background, with the large Ravine Crater carved into its flank, approximately 8 km away. North Ray Crater and the LM Orion lie just out of view to the left.

The full description of the lot is available on our website: www.bonhams.com

EUR600 - 800 £500 - 670 US$650 - 870 FOR ALL MANKIND

| 497

408 [Apollo 16] LUNAR BOULDER AND SCOOP AT STATION 9 John Young, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-107-17561].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-107-17561” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A firsthand look at an extraterrestrial boulder.

At Station 9, near a 50-metre crater and about 3 km southsouthwest of the Lunar Module, John Young and Charles Duke examined one of the first extraterrestrial boulders ever visited by humans. In this image, the scoop is planted into the lunar surface to provide scale for the overturned rock and its shadow, allowing scientists to study the distribution of the darker soil beneath it.

During their exploration, the Apollo 16 crew gathered a diverse array of samples, including boulder fragments, a single-length core tube sample, and specialized contact soil samples. The material from beneath the boulder was particularly valuable, as it had been shielded from space weathering for millions of years, providing a rare glimpse into the Moon’s geological past.

EUR400 - 600 £330 - 500 US$430 - 650

The full description of the lot is available on our website: www.bonhams.com 498 | BONHAMS

409 [Apollo 16] JOHN YOUNG EXPLORING THE MOON NEAR PLUM CRATER AT STATION 1 Charles Duke, 16-27 April 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-114-18427].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-114-18427” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This photograph is a powerful representation of humanity’s first steps into the great unknown.

Charles Duke strides across the lunar surface, actively investigating the mysteries of an unknown world. He is heading south to examine angular rocks while looking toward South Ray Crater (out of view to the right). His movement, leaving a trail of disturbed regolith, is a testament to humanity’s determination to explore beyond Earth.

This splendid frame of the station 1 panorama was captured

by John Young beside Plum Crater (out of view to the left). In the distance, Stone Mountain—rising 500 metres above the lunar plains and located 5 kilometres away—dominates the horizon. To the right, a small crater measuring approximately five metres in diametre punctuates the rugged terrain. Duke’s Sample Collection Bag (SCB), an essential tool for gathering lunar material, is clearly visible attached to his Portable Life Support System (PLSS).

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 499

410 [Apollo 16] SHADOW ROCK AT STATION 13 Charles Duke, 16-27 April 1972, EVA 3 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16106-17393].

With NASA caption on the reverse, numbered “NASA AS16106-17393” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in).

Historical context A boulder fit for the history books.

This striking photograph, taken by Charles Duke as part of a panoramic sequence at Station 13, showcases Shadow Rock, a distinctive boulder measuring approximately 5 metres wide and 3 metres high. The site, located about 800 metres from the rim of North Ray Crater near the base of Smoky Mountain (seen in the background), was a key geological stop for Apollo 16.

[NASA caption] ON THE MOON---This large boulder was given the nickname, “Shadow Rock,” because of the permanently shadowed area noted by the Apollo 16 crewmen during their third extravehicular activity (EVA-3). Astronaut Charles M. Duke Jr., lunar module pilot, took the photograph. When Astronaut John W. Loung, commander, reached under the big rock, Duke remarked, “You do that in West Texas and you get a rattlesnake.”

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 500 | BONHAMS

411 [Apollo 16] CHARLES DUKE AT SHADOW ROCK, STATION 13 John Young, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18671].

With three filing holes in the top margin not affecting the image, with “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18671” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in).

Historical context Scooping up the Moon’s secrets.

Charles Duke leans on Shadow Rock at Station 13, closely inspecting the rock’s mineral composition. The scoop, a crucial geological hand tool, rests against the boulder, ready for sample collection. The 5-m-wide and 3-m-high boulder offered a fascinating scientific target for the crew due to its unique mineral inclusions, and also a permanently shadowed area beneath its deep overhang on the western end (out of picture to the left), giving it its name.

“In the back of my mind was, you never knew what was going to be behind the next rock. So, it was like an Easter-egg hunt.

What am I going to find next?”

Charles Duke (Chaikin, Voices, p. 82) EUR600 - 800 £500 - 670 US$650 - 870

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| 501

412 [Apollo 16] CHARLES DUKE BY THE LM ORION BEFORE LIFTOFF FROM THE MOON John Young, 16-27 April 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-116-18723].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-116-18723” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in).

Historical context A final glimpse of humankind’s boldest journey.

Charles Duke is seen by the Lunar Module Orion, preparing for departure. The American flag stands in the background, a symbol of the extraordinary human achievement of reaching another world.

Captured by John Young on his way back from the VIP site where he parked the Lunar Rover, this image immortalizes the final moments on the Descartes Highlands before liftoff. Duke’s presence near the LM is a powerful testament to the triumph of exploration—securing precious lunar samples, uncovering the Moon’s geological history, and preparing to return these scientific treasures to Earth.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 502 | BONHAMS

413 [Apollo 16] LM ORION REUNITING WITH CSM CASPER IN LUNAR ORBIT Ken Mattingly, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS16-122-19534].

With three filing holes in the top margin not affecting the image, with “A Kodak Paper” watermark on the reverse, numbered “NASA AS16-122-19534” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A breathtaking view of one of the first manned spacecraft returning from another world.

After more than three days on the Moon’s surface, the ascent stage of Lunar Module Orion, carrying John Young and Charles Duke, closes in on the Command and Service Module Casper, where Ken Mattingly awaits to reunite for their journey back to Earth.

Captured by Mattingly from Casper’s 53rd orbit, this striking photograph—taken with an 80mm lens from an altitude of 110 km—shows Orion silhouetted against the Moon’s Sea of Fertility (3° S, 47° E). At this moment, Orion is performing a yaw manoeuvre for inspection before docking (see mission transcript). The stresses of lunar liftoff visibly buckled parts of Orion’s thermal panels, but the damage posed no risk to the crew’s safe reunion with Casper.

“That machine (the LM) just flies so nice. It’s just unbelievable!

But once you get to ascent stage, it’s really light and responsive. Boy, you fire one of those thrusters and it does exactly what you want it to.”

—John Young (from the mission transcript at 203:12:21 GET after trans-Earth injection) EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 503

414 [Apollo 16] THE LM ORION LIFTING OFF FROM THE LUNAR SURFACE NASA, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-35614].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-35614” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A spectacular departure from the Moon, witnessed by the world.

In a spray of rocket exhaust and fluttering foil insulation, the ascent stage of Lunar Module Orion blasts off from the Moon, beginning its journey back to lunar orbit. This remarkable still image is a reproduction from the live colour TV transmission, captured by the RCA camera mounted on the Lunar Rover and remotely operated by Mission Control.

This historic broadcast gave the world a front-row seat to Apollo 16’s departure, marking the final moments of human presence on the Descartes Highlands before Orion soared toward home.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 504 | BONHAMS

415 [Apollo 16] STUNNING SUNSET HORIZON ABOVE THE FAR SIDE HIGHLANDS: high-resolution metric camera view NASA, 16-27 April 1972 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS16-M-0729].

With NASA metric camera ID number “0729” written on the reverse (issued by NASA).

23 x 23 cm. (9 x 9 in.)

Historical context The untamed beauty of the Moon’s most remote terrain.

This rare and unreleased high-resolution photograph captures the mesmerizing lunar horizon at sunset in exceptional detail.

Taken from an altitude of 116 km, the view looks north over the rugged far side highlands, with Crater Kohlshütter at its Centre. The image was acquired during Apollo 16’s 27th lunar revolution using the automatic Fairchild metric camera, mounted in the Scientific Instrument Module (SIM) bay of the Endeavour Service Module and operated by Command Module Pilot Ken Mattingly.

With its 3-inch focal length, the metric camera provided an unparalleled perspective on the Moon’s dramatic topography, crucial for geological mapping. The sun, positioned at a 15° elevation, casts long shadows that emphasize the depth and complexity of the cratered landscape. This striking highresolution view (11.6° N / 154.7° E) showcases the immense scale of the rugged far side highlands, revealing intricate surface textures with striking detail.

“The last three Apollo missions carried large-format high resolution cameras which enabled the surface of the Moon to be photographed with a precision never before attempted.

To those used to the best that Earthbound telescopes can produce through the distortions of our atmosphere, results like this image are a revelation. Craters of very small size can be seen, and this is particularly valuable as much of this image is of the far side of the Moon, which never faces Earth”.

Space and photography historian H.J.P. Arnold (Arnold, plate 39) EUR700 - 1,000 £590 - 840 US$760 - 1,100

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| 505

416 [Apollo 16] BREATHTAKING VIEWS OF THE MOON AT SUNRISE: high-resolution metric camera views above Crater Ptolemeaus and craters Bonpland and Parry (2 photos) NASA, 16-27 April 1972 Printed 1972.

Two vintage gelatin silver prints on fibre-based paper [NASA images AS16-M-0990 and AS16-M-1685].

With NASA metric camera ID numbers written “0990” and “1685” on the reverses (issued by NASA).

Each: 23 x 23 cm. (9 x 9 in.)

Historical context The beauty of the Moon at sunrise, captured with the incredible resolution of the Fairchild metric camera.

These rare and unreleased high-resolution photographs capture the lunar nearside at sunrise with exceptional clarity.

With its 3-inch focal length, the metric camera, operated by Command Module Pilot Ken Mattingly, provided an unparalleled perspective on the Moon’s dramatic topography, crucial for geological mapping, while also revealing the breathtaking beauty of the lunar landscape.

Taken from an altitude of 112 km during orbit 28, the first photograph presents a stunning view over Crater Ptolemaeus.

With the Sun positioned at a 9° elevation, long shadows accentuate the crater’s intricate interior, revealing fine surface textures in remarkable detail (9.2° S / 2.5° W).

The second photograph, captured from 115 km during orbit 38, showcases the striking landscape of Craters Bonpland and Parry. The Sun, lower at 5° elevation, casts even longer shadows, dramatically enhancing the depth and complexity of the terrain. This high-resolution view (9.5° S / 15.8° W) reveals an intricate network of rilles, smaller craters, and rugged lunar features with stunning precision.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 506 | BONHAMS

417 [Apollo 16] KEN MATTINGLY’S HISTORIC DEEP SPACE EVA: assisted by Charles Duke in the hatch of CSM Casper NASA, 16-27 April 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-37001].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-37001” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Ken Mattingly’s phenomenal deep space EVA, retrieving the lunar mission’s visual legacy.

Assisted by Charles Duke, visible in the open hatch of the Command Module Casper (foreground), Ken Mattingly ventures into the dark void to retrieve precious film canisters from the Mapping and Panoramic Cameras in the Service Module’s Scientific Instrument Module (SIM) Bay—essential imagery that would be lost forever if not recovered before the Service Module’s jettisoning prior to re-entry.

This breathtaking moment, captured 173,000 nautical miles from Earth during the homeward journey, is a frame from motion picture film exposed by the Maurer camera. Mattingly wears John Young’s red-striped lunar EVA helmet for additional sun protection. It remains one of the most striking depictions of an astronaut performing extravehicular activity in deep space.

“You open the hatch, and you go outside, and it’s dark. I mean, there’s Sun shining on the side of the spacecraft; you can tell that because you can see it—it’s illuminated. [...] You look around, and you don’t see anything. There’s no stars out there. That’s really strange. In fact, the only thing there is, is this platform I’m holding on to. That’s all there is! Nothing else! Nothin’. I’ve never seen anything like it! You had to turn your body to see [the Earth and the Moon]. And you can, and there’s a thing that is the size of [an orange], and that’s one of them, and there’s one over there, and it’s a crescent, and it’s not quite so big, but that’s all there is! [...] That’s the only time I ever felt what it means to be in space. There’s nothing around.

Absolutely nothing. No up, no down.”

—Ken Mattingly (Chaikin, Voices, p. 122) EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 507

Apollo 17

Crew: Eugene Cernan (Commander), Ronald Evans (Command Module Pilot), Harrison Schmitt (Lunar Module Pilot) December 7-19, 1972 Spacecraft: Apollo 17 (CSM America and LM Challenger) Launch Vehicle: Saturn V MISSION OVERVIEW Last lunar landing mission. Three EVAs of 22 hours, 4 minutes total duration. First scientist-astronaut to land on Moon, Schmitt. Sixth automated research station set up.

LRV traverse total 30.5 km. 110.4 kg (243 lbs) of material gathered. Lunar surface stay-time, 75 hours. (CSM) in lunar orbit 148 hours, with 75 orbits. Evans performed trans-Earth EVA lasting 1 hour 6 minutes.

CAMERAS AND ACCESSORIES The camera equipment operated on the lunar surface or in the LM by astronauts Cernan and Schmitt included three 70mm Hasselblad Data Cameras (two with 60mm Zeiss-Biogon lenses and one equipped with a 500mm Zeiss telephoto lens), a 16mm Maurer Data Acquisition Camera (DAC), and a color RCA lunar surface TV camera. The main photographic tasks in the Command Module during orbit were performed with the Fairchild Mapping Camera System and the Itek Panoramic Camera, which were in the SIM bay. Various tasks were also accomplished using four Command Module cameras: a 70mm Hasselblad 500EL camera (with standard 80mm lens, 105mm UV lens and telephoto 250mm lens), a 16mm Maurer DAC, a 35mm Nikon, and a Westinghouse color TV camera.

MISSION PARAMETERS Duration: 12 days, 13 hours, 52 minutes Landing site: Taurus-Littrow, highlands and valley area.

Landing Coordinates: 20.18809 degrees North, 30.77475 degrees East

508 | BONHAMS

detail lot 441

418 [Apollo 17] THE DRAMATIC NIGHTTIME LAUNCH OF THE FINAL HUMAN MISSION TO THE MOON (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) NASA, 7 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-55070].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA S-72-55070” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-3) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This photograph is NASA’s own archival copy of the dramatic final launch of humans to another world, used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

An estimated 750,000 spectators witnessed history as the Saturn V rocket ignited the night sky at Kennedy Space Centre, shortly after midnight on December 7, 1972. Astronauts Eugene Cernan, Harrison Schmitt, and Ron Evans became the last humans to voyage to the Moon.

“Apollo 20 was taken off the schedule five months after Neil Armstrong and Buzz Aldrin had ‘won’ the Moon race. Apollo 18 and 19 were cancelled soon afterward, as budget cuts, and changing political priorities, impacted NASA. When Schmitt, Cernan and Evans prepared for a dramatic nighttime launch on December 7, 1972, they knew that it would be a good few years before anyone followed them to the Moon, but they never imagined that another half a century would pass, and still no one would have built upon their achievements.”

Space historian Piers Bizony (Bizony, p. 169) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com 510 | BONHAMS

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| 511

419 [Apollo 17] EARTH SETTING BELOW THE MOON’S DARK HORIZON: the first “Earthset” captured by humans (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Harrison Schmitt, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-151-23175].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-151-23175” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-10) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The first Earthset photographed by humans, an extraordinary visual moment in space exploration.

This photograph is NASA’s own archival copy used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

The full description of the lot is available on our website: www.bonhams.com 512 | BONHAMS

As the spacecraft rounded the Moon’s western limb for the second time and crossed over to the far side—preparing to lose radio contact with Mission Control—the crew used a 250mm telephoto lens to capture this exceptional view of their gibbous home planet sinking below the dark lunar horizon, as this region of the Moon lay in shadow.

[Apollo 17 Preliminary Science Report caption] FIGURE 4-10.-Earthset. As the CSM and the LM rounded the western limb of the Moon on revolution 2, the crew photographed this unusual view of the gibbous Earth disappearing below the lunar horizon. The north pole of the Earth is toward the top of the photograph. On the left, the relief of the lunar surface near the western limb is sharply etched against the white clouds of the Earth; on the right is the sunset terminator of the Earth (AS17151-23175).

“Very often on Apollo, the crews would take photos of Earthrise over the Moon’s sunlit horizon. On this occasion, one of the Apollo 17 crew has had the wit to take a unique series of shots showing Earth setting behind the Moon’s night-time horizon” (Apollo Flight Journal mission transcript at 092:45:53 GET).

EUR1,500 - 2,000 £1,300 - 1,700 US$1,600 - 2,200

420 [Apollo 17] HUMMOCKY 40-KM CRATER FLOOR ON THE LUNAR FAR SIDE NEAR SNIADECKI (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Harrison Schmitt, Eugene Cernan or Ronald Evans, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-151-23193].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-151-23193” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-39) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This photograph is NASA’s own archival copy used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

The hummocky texture of the Moon’s surface is very palpable in this photograph captured over the area of crater Sniadecki on the far side.

“I look at it [the Moon] very three-dimensionally. I mean I can look beyond the moon. I can see the three dimensions. I think, prior to going there, and I think most people just look at it as something flat out there in the night sky. But I look at it as a sphere. I can feel the depth of it. I know that it is in inner space. I mean, I know that it’s not at the end of that blackness” (Chaikin, Voices, p. 180) EUR500 - 700 £420 - 590 US$540 - 760

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 513

421 [Apollo 17] THE BLUE MARBLE: first full-disk photograph of Planet Earth, captured by humans Harrison Schmitt or Ronald Evans, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-148-22727].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-148-22727” in red in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A marvelous print of the Blue Marble—the most reproduced photograph in history.

The Apollo 17 astronauts were the only humans to witness this breathtaking view of Earth’s full disk, capturing it in stunning detail from approximately 30,000 km away. This iconic image embodies the awe-inspiring beauty and fragile isolation of our planet, serving as a timeless reminder of our shared responsibility to cherish and protect our Blue Marble.

As they gazed at their home planet, all three astronauts were equally struck by the view.

Commander Gene Cernan marveled, “And I suppose we’re seeing as 100 percent full Earth as we’ll ever see. [...] Bob, it’s these kind of views—these kind of views that stick with you forever.”

Meanwhile, Harrison Schmitt reflected on Earth’s delicate beauty, “I’ll tell you, if there ever was a fragile-appearing piece of blue in space, it’s the Earth right now.” (see mission transcript).

While initially credited to Schmitt, who took most of the Earth photographs en route to the Moon, there is a possibility that Command Module Pilot Ronald Evans may have taken it as the mission transcript suggests he had the camera in hand at one point. At the time this photograph was taken, no astronaut was specifically assigned to do so, making it an impromptu shot during a rare, unscheduled moment in the tightly orchestrated Apollo timeline.

Released by NASA on Christmas Eve, exactly four years after the Apollo 8 Earthrise, this image quickly became known as the Blue Marble and remains one of the most widely reproduced photographs in history. Interestingly, NASA editors cropped the original black sky of space to magnify Earth’s appearance, enhancing its visual impact.

Schmitt later reflected on the profound significance of the image: “This now-famous picture of the Earth [...] shows all of Africa, the continent of human origins and later migrations [...] 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.”

EUR7,000 - 10,000 £5,800 - 8,400 US$7,600 - 11,000

The full description of the lot is available on our website: www.bonhams.com 514 | BONHAMS

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| 515

422 [Apollo 17] CSM AMERICA FLYING LOW OVER THE TAURUSLITTROW LANDING SITE: seen from the LM Challenger window before landing (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Eugene Cernan, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-147-22464].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-147-22464” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-13) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Gene Cernan captured this wide-angle photograph using the 60mm lens of the EVA Hasselblad camera from the Lunar Module Challenger during Apollo 17’s 12th orbit—just before final descent to the lunar surface. Taken from a low altitude of only ten nautical miles, this image provides a breathtaking perspective of the Valley of Taurus-Littrow, nestled within the towering massifs that frame the plains of the Sea of Serenity in the background. In the centre of the image, the Command Module America, piloted solo by Ron Evans, appears in the distance, tracing its orbit above the Moon.

The full description of the lot is available on our website: www.bonhams.com 516 | BONHAMS

From the mission transcript when the photograph was taken: 110:59:42 Cernan: Gordo, we got the landing site. We’re coming right over the front of it. Stand by a minute. You can see the Slide. I think you can see the Great Cross.

110:59:54 Fullerton (Mission Control): Roger.

110:59:57 Cernan: We’ll get a picture of America coming right across it.

“The valley of Taurus-Littrow 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.”

—Harrison Schmitt (National Geographic, September 1973, p.

292) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

423 [Apollo 17] HARRISON SCHMITT, THE FIRST SCIENTISTASTRONAUT, IN THE VALLEY OF TAURUS-LITTROW AT STATION 1 (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Eugene Cernan, 7-19 December 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-134-20425].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-134-20425” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-30) for publication in the report.

[Apollo 17 Preliminary Science Report caption] FIGURE 4-30.The LMP uses the rake to collect a sample of rocks ranging from 1 to 4 cm in diametre. A soil sample was collected in the same area. The Hasselblad camera is attached to the remotecontrol unit; the PLSS and the oxygen purge system comprise the backpack (AS17-134-20425).

Station 1, located approximately 150 metres from the northwest rim of Steno Crater, provided a unique geological opportunity.

Formed by an ancient impact, the crater ejected material from beneath the lunar surface, allowing Apollo 17 astronauts to collect valuable subsurface samples. The vast, rugged terrain of West and Old Family Mountain and the left side of the North Massif rise in the background.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A stunning side portrait of the first scientist-astronaut on the Moon as he conducts his first geological investigations.

This remarkable photograph of Harrison Schmitt standing in the extraordinary setting of Taurus-Littrow is a frame from a panoramic sequence captured by Eugene Cernan at Station 1 near Steno Crater. It is NASA’s own archival copy, used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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424 [Apollo 17] EUGENE CERNAN AND THE ROVER AT THE TAURUS-LITTROW SCIENTIFIC SITE, FRAMED BY THE TOWERING NORTH MASSIF (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Harrison Schmitt, 7-19 December 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-147-22549].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-147-22549” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-23) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This image symbolizes the isolation and boldness of Apollo explorations: amid the vast and desolate expanse of TaurusLittrow, Eugene Cernan and the Lunar Rover appear almost insignificant against the towering lunar landscape.

This spectacular photograph is NASA’s own archival copy used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

The full description of the lot is available on our website: www.bonhams.com 518 | BONHAMS

Eugene Cernan, working at the Lunar Rover, is framed by the 2,100-metre North Massif in this exceptional and rare view from a panoramic sequence captured by Harrison Schmitt at the Taurus-Littrow scientific site (ALSEP site), near one of four deployed geophone experiments.

[Apollo 17 Preliminary Science Report caption] FIGURE 4-23.

-The gnomon with colour chart sits next to one of the lunar seismic profiling geophones, indicated by the orange flag. The gold-coloured, rectangular object near left centre is the ALSEP central station; the white antenna extending above the central station telemetres data to Earth from each of the surrounding experiments. North Massif, 3 km in the distance, forms the skyline. On the slope of North Massif, to the right of the LRV, is a track made by a massive boulder as it rolled down the side of the mountain. The sharpness of the track suggests that the boulder may have been in its present position only a relatively short time (AS17-147-22549).

EUR700 - 1,000 £590 - 840 US$760 - 1,100

425 [Apollo 17] EUGENE CERNAN TEST-DRIVING THE FINAL ROVER ON THE MOON’S SURFACE Harrison Schmitt, 7-19 December 1972, EVA 1 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-147-22526].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-147-22526” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Taking the Lunar Rover for a spin in the majestic scenery of Taurus-Littrow.

Shortly after extracting and deploying the Lunar Roving Vehicle (LRV) from Challenger, Eugene Cernan gives it a test drive at Taurus-Littrow Base, with the imposing South Massif rising in the background. Note the dust being kicked up by the rightfront wheel, even at low speeds—an effect of the Moon’s lower gravity and lack of atmosphere. This successful checkout was a moment of relief for the crew, as Apollo 17’s mission plan called for longer traverses than any previous Apollo expedition.

Once confirmed operational, the Rover was loaded with tools, scientific instruments, a TV camera, and communication antennas for the extensive lunar explorations ahead.

“What really seemed fast was the fact that you kept bouncing off the surface. You didn’t want to go any faster! The rover left the surface at every bump.”

—Harrison Schmitt (Chaikin, Voices, p. 78) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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426 [Apollo 17] HARRISON SCHMITT AND THE ROVER AT THE SEP SITE, WITH THE LM CHALLENGER IN THE BACKGROUND Eugene Cernan, 7–19 December 1972, EVA 1 Printed 1972-1973.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS17-134-20435].

With NASA caption numbered “72-H-1602”, “72-HC-947”, “G-735355” and “A Kodak Paper” watermark on the reverse (issued by NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Magnificent lunar vista.

With bright mountains rising above the dark lava plains, the Apollo 17 landing site at Taurus-Littrow offered breathtaking views. This photograph, taken by Eugene Cernan from the end of the east arm of the SEP (Surface Electrical Properties) transmitter array, captures Harrison Schmitt working at the end of the west arm, with the Rover nearby and the Lunar Module Challenger beyond. Also visible in the background are Geophone Rock and the scientific site (ALSEP site).

The challenge of judging distances on the Moon is well illustrated in this image: The Lunar Rover is just 35 metres away.

Harrison Schmitt stands 70 metres from the camera.

The Lunar Module (LM) Challenger is 150 metres away.

The ALSEP site is positioned at 350 metres.

Beyond the foreground, West Family Mountain, behind the Rover, is 20 km from the LM, while Old Family Mountain (out of frame to the right) is 11 km away. In the far distance, the towering South Massif provides a dramatic backdrop behind the LM, reinforcing the scale of Apollo’s final lunar exploration.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 520 | BONHAMS

427 [Apollo 17] HARRISON SCHMITT SEATED IN THE REPAIRED LUNAR ROVER AT NANSEN CRATER, STATION 2 (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Eugene Cernan, December 7-19, 1972, EVA 2 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-137-20979].

Original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-137-20979” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-21) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A field repair on the Lunar Rover, enabling the last great exploration of another world.

This photograph is NASA’s own archival copy used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

This photograph, taken by Eugene Cernan just before departing Station 2 at Nansen Crater, captures a close-up view of the Lunar Rover and its modifications. Harrison Schmitt is already seated in the Rover, while the dust-coated Traverse Gravimeter, originally blue, is mounted on the back just above the replacement right rear fender.

Cernan took this image to document the condition of the Rover after a 9.1-kilometre drive from the Lunar Module Challenger and to record his handiwork repairing the damaged fender. The right rear fender had been accidentally knocked off during EVA1, allowing dust to be kicked up as the Rover moved—creating visibility issues and coating the astronauts’ suits. At the start of EVA-2, following a suggestion from John Young at Mission Control, the crew ingeniously repaired the fender using lunar maps and clamps from the Optical Alignment Telescope lamp, restoring its functionality for the rest of the mission.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

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428 [Apollo 17] THE FANTASTIC FINAL MOONSCAPES WITNESSED

BY HUMANS ON THE MOON, TRAVERSING ON BOARD THE ROVER (2 photos) Harrison Schmitt, 7-19 December 1972, EVA 3 Printed 1972.

Two vintage gelatin silver prints on fibre-based paper [NASA images AS17-142-21755 and AS17-142-21784].

Numbered “NASA AS17-142-21755” and “AS17-142-21784” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

Each: 20.3 x 25.4 cm. (8 x 10 in.)

Historical context The ultimate off-road experience: Harrison Schmitt’s view from the Lunar Rover.

These two remarkable images capture Harrison Schmitt’s perspective as he rode in the right-hand seat of the Lunar Rover during the traverse from Station 8 in the Sculptured Hills to Station 9 at Van Serg Crater. Navigating the rugged landscape of the Taurus-Littrow Valley, the rover’s television camera—remotely controlled from Earth—relayed their activities in real time, allowing scientific colleagues in Houston to monitor the mission and provide guidance. At these locations, the Lunar Module Challenger was nearly 4 kilometres away—an isolating distance that posed a real danger if any issue arose with the Rover, an astronaut’s suit, or the LM itself.

“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.”

—Harrison Schmitt (Reynolds, p. 201) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com 522 | BONHAMS

429 [Apollo 17] HARRISON SCHMITT TAKING PHOTOGRAPHS AT TRACY’S ROCK, STATION 6 Eugene Cernan, 7-19 December 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-146-22294].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-146-22294” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Exploring the Moon with a camera.

Harrison Schmitt, the first scientist-astronaut to explore the Moon, holds the Hasselblad camera equipped with a powerful 500mm telephoto lens while leaning against Tracy’s Rock (also known as Split Rock or the Station 6 Boulder). Using this stable vantage point, he prepares to capture high-resolution images of distant lunar features.

In the foreground, the Lunar Rover stands ready for the next traverse, its front section prominently visible. Behind Schmitt, the vast slope of the North Massif looms, emphasizing the dramatic scale of the Taurus-Littrow Valley—one of the most geologically intriguing Apollo landing sites. The massive split boulder beside him tumbled approximately 1.5 km down the North Massif’s slope before coming to rest at Station 6.

From the mission transcript when the photograph was taken: 165:43:48 Schmitt: How am I going to see up there to shoot this thing [distant features upslope on the North Massif]?

165:43:52 Cernan: Well, why don’t you lean against the rock?

Go over there and lean against it.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

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430 [Apollo 17] HARRISON SCHMITT AND THE ROVER IN THE DESOLATE LUNARSCAPE OF SHORTY CRATER, STATION 4 Eugene Cernan, 7-19 December 1972, EVA 2 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-137-21011].

With NASA caption and “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-137-21011” in red in the top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context An astronaut and his vehicle in one of the most awe-inspiring sites of the Apollo era.

A famous frame from the panoramic sequence captured by Eugene Cernan near the east rim of Shorty Crater. Harrison Schmitt is seen working near the Rover, parked at the edge of Shorty Crater, while holding a double core tube. The area where the crew made the historic discovery of orange soil— rich in pyroclastic material—lies between the Rover and the large boulder just beyond it.

The full description of the lot is available on our website: www.bonhams.com 524 | BONHAMS

To the right, the western wall of Shorty Crater rises, while in the background, the 1,000-metre-high West Family Mountain stands beyond the Lincoln-Lee Scarp, a prominent mare wrinkle ridge crossing the Valley of Taurus-Littrow. A portion of South Massif is on the horizon at the left edge.

The absence of atmospheric haze on the Moon makes judging distances challenging: West Family Mountain, which appears deceptively close, is actually 16 km away.

“The clarity brought on by the lack of atmosphere gives the impression that objects are closer than they really are. 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.”

— Harrison Schmitt (Constantine, p. 139) EUR700 - 1,000 £590 - 840 US$760 - 1,100

431 [Apollo 17] HARRISON SCHMITT JUMPING INTO THE ROVER SEAT AT VAN SERG CRATER, STATION 9 Eugene Cernan, 7-19 December 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-134-20454].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-134-20454” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context Mounting the Rover for one last ride across the Moon.

Before departing from the last station visited on the Moon, Van Serg Crater, Eugene Cernan stepped to the front of the Lunar Rover to capture this dynamic image of Harrison Schmitt leaping into his seat.

“Mounting the Rover when space-suited 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.”

—Harrison Schmitt (NASA SP-350, p. 14.3) The fully loaded Rover is prominently displayed, with its segmented mirror on the TV camera in the foreground.

Schmitt’s Hasselblad camera is mounted on his chest, ready to shoot pictures of the traverse. In the background, the towering East Massif forms a striking lunar backdrop, framing this unplanned yet iconic moment from Apollo 17’s final EVA. “It was sort of a target of opportunity (photograph). It was just one of those (unplanned) things you do. And it’s a pretty good picture.”

—Eugene Cernan (ALSJ transcript at 168:47:03 GET) EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

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432 [Apollo 17] EUGENE CERNAN KNEELING ON THE MOON AT THE TAURUS-LITTROW SCIENTIFIC SITE (NASA’s own copy, used and annotated, for the preparation of its final Apollo Science report) Harrison Schmitt, 7-19 December 1972, EVA 1 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS17136-20695].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with traces of previous mounting on the reverse, numbered “NASA AS17-136-20695” in black in the top margin (issued by NASA Manned Spacecraft Center, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-25) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context One of the only Apollo images showing an astronaut kneeling on the Moon, defying its one sixth gravity.

This extraordinary photograph, part of a panoramic sequence captured by Harrison Schmitt at the scientific site (ALSEP site) using B&W magazine 136/H, is NASA’s own archival copy, used and annotated for the production of the Apollo 17 Preliminary Science Report (NASA SP-330) on humanity’s final voyage to the Moon.

The full description of the lot is available on our website: www.bonhams.com 526 | BONHAMS

In this extremely rare and unreleased image, Apollo 17 Commander Eugene Cernan is seen kneeling on the lunar surface, carefully extracting the deep core sample—a crucial effort to uncover the Moon’s subsurface history. This sample, drilled deep into the lunar regolith, would later be used for thermal and neutron probe experiments, offering unprecedented insights into the Moon’s interior and geologic past.

Beyond him, Wessex Cleft stretches toward the horizon, while the Sculptured Hills rise to the right. To the left of Cernan, the drill-stem rack holds additional equipment, and to his right, Rover tracks mark the astronauts’ journey through the desolate lunar landscape.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

433 [Apollo 17] PORTRAIT OF EUGENE CERNAN, THE LAST MAN ON THE MOON, WITH EARTH ABOVE THE ROVER’S ANTENNA Harrison Schmitt, 7-19 December 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-134-20473].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-134-20473” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A human on another world, with Earth in the sky.

One of the very few Apollo photographs capturing a human being standing on another celestial body with his home planet in the background, this image holds profound philosophical significance—a symbol of humanity’s greatest leap in exploration.

Apollo 17 remains the only mission to bring back such images, showing an astronaut on the Moon framed by the distant Earth.

This extraordinary shot was taken by Harrison Schmitt after he borrowed Eugene Cernan’s camera for a series of “tourist” photos near the Lunar Module (see mission transcript). The Earth hangs in the black lunar sky, floating above Cernan and the high-gain antenna of the Lunar Rover, which is pointed at Earth to transmit live television footage. The Rover’s front wheel is visible in the foreground, while the towering South Massif rises in the background.

“There you were, standing on the surface of the Moon in full sunlight, looking at the Earth, a quarter million miles away, surrounded by the blackest black. Not darkness, but the blackest black a human being can conceive in his mind. I think the perception that the Earth looks bigger than it really is probably comes from the majesty of its colours and from the fact that you are there on the Moon, looking back at it. It’s an overpowering figure of life in the sky.”

—Eugene Cernan (ALSJ mission transcript, 143:20:14 GET) This image is more than a photograph—it is a moment in history that captures the essence of Apollo: the ability and courage to leave Earth, to explore new frontiers, and to look back at our fragile home from an alien world.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

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434 [Apollo 17] HARRISON SCHMITT AT CAMELOT CRATER, STATION 5 Eugene Cernan, 7–19 December 1972, EVA 2 Printed 1972.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS17-145-22157].

With “A Kodak Paper” watermark on the reverse (issued by NASA).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A lunar knight at Camelot Crater Harrison Schmitt is seen collecting a lunar sample with the scoop near a field of boulders on the rim of Camelot Crater.

At 650 metres wide, Camelot was the largest crater explored by the Apollo 17 crew. The boulders in the foreground were ejected from underlying lava flows by the impact that formed Camelot approximately 70 million years ago.

The full description of the lot is available on our website: www.bonhams.com 528 | BONHAMS

While exploring the Moon’s surface, the astronauts had to battle the relentless grip of lunar dust. Schmitt’s spacesuit, coated in fine, clingy moondust, bears the unmistakable marks of extended exploration. This ever-present dust not only dirtied their suits but also darkened them, creating a significant challenge. Unlike Earth, where the atmosphere filters the Sun’s intensity, on the Moon there was nowhere to escape the raw, undiminished solar power—except inside a spacesuit.

The astronauts relied on their Portable Life Support System (PLSS) to circulate water and keep them cool. However, as lunar dust accumulated, their suits absorbed more sunlight, increasing the risk of overheating and rapidly depleting their water supply. To counteract this, Cernan and Schmitt regularly brushed each other off to prevent their suits from trapping too much heat—ensuring they didn’t overheat like a car left in the summer sun.

EUR600 - 800 £500 - 670 US$650 - 870

435 [Apollo 17] THE FINAL SCIENTIFIC SITE ON THE MOON AT TAURUS LITTROW (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Harrison Schmitt, 7-19 December 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-134-20505].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-134-20505” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-24) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Unlocking lunar secrets.

Before returning to the LM, the astronauts conducted additional scientific tasks at the scientific site (ALSEP site), including retrieving the Lunar Neutron Probe Experiment (LNP).

Designed to measure neutron capture rates in the lunar regolith at varying depths, this experiment provided critical data on the Moon’s subsurface composition.

In the foreground, the gold-coloured Mylar transport bag covers the top of the neutron probe, shielding it from extreme lunar temperatures during its 40-hour emplacement.

Beyond the LNP, the ALSEP Central Station—the mission’s scientific command hub—relayed commands from Earth, transmitted data, and distributed power to each deployed experiment. The Sculptured Hills and South Massif form the rugged, distant horizon, reinforcing the isolation of Apollo’s final lunar scientific outpost.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 529

436 [Apollo 17] THE EARTH ABOVE LM CHALLENGER: last seen by humans from the surface of another world (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Eugene Cernan, 7-19 December 1972, EVA 3 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-134-20463].

With original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-134-20463” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-22) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Earthrise above Challenger: A Home beyond the Moon One of the very few Apollo photographs capturing Earth from the lunar surface, this extraordinary image presents a rare reversal of perspective—our home planet seen from another world.

Eugene Cernan stepped east of the Lunar Module Challenger with his Hasselblad camera to take this stunning “tourist” portrait. Floating in the infinite blackness of space, the halfEarth rises above the LM, with the summit of the South Massif in the distance. This remarkable composition encapsulates the astronauts’ dual homes: Challenger, their temporary shelter on the Moon, and Earth, the cradle of all human life, hanging serenely in the sky.

“Looking back at the Earth is your identity with reality. It’s home. It’s where family and love and life really are, viewed from a vantage point a quarter of a million miles out in space where reality itself is almost a dream, [...] a dream in which you are a very vulnerable character. [...] I wonder what it would have been like to walk on the Moon and not have the Earth in the sky.”

—Eugene Cernan (Chaikin, Voices, p. 99) This image stands as a profound reminder of our place in the cosmos—both explorers and inhabitants of a fragile blue world suspended in the vastness of space.

EUR1,000 - 1,500 £840 - 1,300 US$1,100 - 1,600

The full description of the lot is available on our website: www.bonhams.com 530 | BONHAMS

437 [Apollo 17] HARRISON SCHMITT AT TRACY’S ROCK, STATION 6 Eugene Cernan, 7–19 December 1972, EVA 3 Printed 1972-1973.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS17-140-21496].

With NASA caption numbered “72-H-1581”, “72-HC-931”, “G-735353” and “AS17-140-21496” as well as “A Kodak Paper” watermark on the reverse (issued by NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context Truly Otherworldly Landscape.

A magnificent frame from the panoramic sequence taken at Station 6 by Eugene Cernan, upslope from Tracy’s Rock.

Station 6, positioned on the southern slope of the North Massif, 50 metres above the floor of the Taurus-Littrow Valley, provided an overwhelming vantage point—so much so that the astronauts could even see the distant Lunar Module (see mission transcript).

“A panorama of lunar history is captured in this view looking south over the Valley of Taurus-Littrow. A huge fragmented boulder had rolled almost a mile down the side of the North Massif to here, Station 6 on our traverse. Our LM and its light area of surface alteration can be seen on the photo about an inch to the right of the top point of the boulder. That’s me at the left. Note the marks of my sampling scoop on the debris resting on a slanting surface of the boulder at left.”

—Harrison Schmitt (NASA SP-350, pp. 284-285) EUR1,200 - 1,800 £1,000 - 1,500 US$1,300 - 1,900

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 531

438 [Apollo 17] THE FINAL GOODBYE SALUTE ON THE MOON: “We leave as we came, and, God willing, as we shall return—with peace and hope for all mankind.”

NASA, 7-19 December 1972, EVA 3 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image S-7255420].

Numbered “NASA S-72-55420” in black in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context This image captured from a rover TV transmission near the LM Challenger at the end of the final EVA on the lunar surface pays tribute to the spirit of Apollo.

“As I take man’s last step from the surface, back home for some time to come - but we believe not too long into the future - I’d like to just (say) what 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 and, God willing, as we shall return, with peace and hope for all Mankind. Godspeed the crew of Apollo 17.”

Eugene Cernan (mission transcript at 170:41:00 GET).

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 532 | BONHAMS

439 [Apollo 17] CSM AMERICA REUNITING WITH LM CHALLENGER IN LUNAR ORBIT FOR HUMANITY’S FINAL RETURN TO EARTH (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Harrison Schmitt or Eugene Cernan, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-145-22257].

Original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-145-22254” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-55) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com

Historical context One of the final images of a manned spacecraft above the Moon.

In this extraordinary photograph, taken during Apollo 17’s 52nd lunar orbit, the Command and Service Module America drifts above the barren lunar surface as it awaits the return of Eugene Cernan and Harrison Schmitt from the LM Challenger.

Command Module Pilot Ronald Evans, who holds the record for the longest time spent in lunar orbit—6 days, 3 hours, and 48 minutes—was on board America, alone in orbit while his crewmates explored the surface.

The reflective outer surface of the Command Module mirrors the stark contrast between the bright lunar terrain and the deep blackness of space.

From this point, the Apollo 17 crew would dock, transfer back into America, and jettison Challenger before firing their engine for trans-Earth injection, beginning their journey home.

“When we got back in that Command Module, we were home.

Never mind that we were in lunar orbit, it was home.”

— Eugene Cernan (Chaiken, Voices, p. 117) EUR700 - 1,000 £590 - 840 US$760 - 1,100 FOR ALL MANKIND

| 533

440 [Apollo 17] HUMANITY’S FINAL DEPARTURE FROM THE LUNAR SURFACE: LM Challenger lifting off from Taurus-Littrow NASA, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-55422].

With “A Kodak Paper” watermark on the reverse, numbered “NASA S-72-55422” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 534 | BONHAMS

Historical context This extraordinary image, transmitted by the RCA TV Camera mounted on the Lunar Rover and remotely operated from Mission Control by Ed Fendell, captures the dramatic ascent of Apollo 17’s Lunar Module Challenger as it leaves the Moon. The camera had been pre-positioned about 150 metres east of the LM, with its high-gain antenna directed toward Earth to relay this historic departure in real time.

After spending 75 hours exploring the Taurus-Littrow Valley, southeast of the Sea of Serenity, Eugene Cernan and Harrison Schmitt ignited the LM’s ascent engine at 4:54 PM EST on Thursday, December 14, 1972, marking the end of the first era of human lunar exploration.

Unlike on Earth, the engine produced no visible flame in the Moon’s airless environment. As the final astronauts lifted off, their tracks, experiments, LM descent stage and the parked Rover were left behind as silent testimony to humanity’s presence.

“I thought about it when we left the surface... I knew it would be a long time. I just felt it might very well be a generation before we get back to the Moon. I’m probably going to be proven to be right.”

—Eugene Cernan (Chaikin, Voices, p. 191) EUR700 - 1,000 £590 - 840 US$760 - 1,100

441 [Apollo 17] THE FINAL EARTHRISE: a poetic crescent Earth above the Moon’s dramatic horizon Ronald Evans, 7-19 December 1972 Printed 1972-1973.

Vintage chromogenic print on early resin coated GAF Paper [NASA image AS17-152-23274].

With NASA caption numbered “72-H-1631”, “72-HC-977”, “G73-5364”, and “GAF” watermark on the reverse (issued by NASA Goddard Space Flight Center, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context The final Earthrise photographed by humans. Among the views of Earth captured from lunar orbit, the crescent Earth visible during Apollo 17 is widely regarded as “the most lyrical version of that phenomenon, a poetic coda to the first manned period of exploration” (Schick and Van Haaften, p. 120). This sublime image embodies the philosophical significance of space exploration and serves as a poignant symbol of the end of the Apollo era—the first great chapter in humanity’s journey beyond Earth.

EUR3,000 - 5,000 £2,500 - 4,200 US$3,200 - 5,400

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 535

442 [Apollo 17] FINAL ORBITAL LUNAR SUNRISE SEEN BY HUMANS, CAPTURED IN HIGH RESOLUTION WITH THE METRIC CAMERA Ronald Evans, 7–19 December 1972 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS17-M-2449].

With NASA metric camera ID number “2449” written on the reverse (issued by NASA).

23 x 23 cm. (9 x 9 in.)

Historical context The Moon’s beauty is undeniable in this sublime photograph captured near the nearside terminator with the outstanding resolution of the automatic Fairchild Metric Camera mounted in the Service Module’s SIM bay and operated by Ronald Evans during one of the last manned lunar orbits. The image richly reveals the stark interplay of light and shadow on the lunar surface.

This exceptionally rare, unreleased photograph showcases superb detail of the surface, taken at lunar sunrise (Sun elevation: 6°) from an altitude of 119 km over Crater Tobias Mayer and the Carpathian Mountains in the Sea of Rains with the dramatic Crater Copernicus visible in the left background (19.3° S / 29° W).

The image was captured during one of the last revolutions (65th) of a manned spacecraft around the Moon.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com 536 | BONHAMS

443 [Apollo 17] A FINAL LUNAR SPECTACLE FROM A MANNED SPACECRAFT: the horizon above Crater Eratosthenes (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Eugene Cernan or Harrison Schmitt, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-145-22285].

Original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-145-22285” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-56) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A breathtaking oblique view of Eratosthenes Crater at low Sun before returning to Earth.

This extraordinary oblique photograph, taken from Challenger during docking manoeuvres with America, showcases the 60-km-wide Eratosthenes Crater in dramatic relief, with the 93-km-wide Copernicus Crater visible on the distant horizon.

Captured at an altitude of 112 km, the image was taken using the lunar surface Hasselblad 500 EL Data Camera equipped with a 60mm lens (Magazine 145/D).

The low Sun angle (9° elevation) casts long shadows that accentuate the rugged terrain and intricate patterns of secondary craters.

This stunning view offers a striking sense of depth, revealing the violent impact history of the Moon and the stark beauty of its desolate landscape.

EUR700 - 1,000 £590 - 840 US$760 - 1,100

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 537

444 [Apollo 17] STUNNING LUNAR TEXTURE: Tsiolkovsky, the most striking far side crater (high-resolution metric camera view) Ronald Evans, 7–19 December 1972 Printed 1972.

Vintage gelatin silver print on fibre-based paper [NASA image AS17-M-2165].

With NASA metric camera ID number “2165” written on the reverse (issued by NASA).

23 x 23 cm. (9 x 9 in.)

Historical context This rare and unreleased high-resolution photograph captures the interior and immediate surrounding area of Crater Tsiolkovsky in exceptional detail (18.6° S / 132.1° E). Tsiolkovsky is the most prominent crater of the lunar far side and was discovered by the soviet robotic spacecraft Luna 3 in October 1959. It measures approximately 185 km (115 miles) in diameter and is distinguished by its dark, basalt-filled floor, which contrasts sharply with the surrounding lighter lunar highlands, making it visually striking. The crater features a central peak complex and terraced walls.

The image was acquired from an altitude of 114 km during Apollo 17’s 62nd lunar revolution using the automatic Fairchild metric camera, mounted in the Scientific Instrument Module (SIM) bay of the Service Module America and operated by Command Module Pilot Ronald Evans.

With its 3-inch focal length, the metric camera provided an unparalleled perspective on the Moon’s dramatic topography, crucial for geological mapping, while also revealing the breathtaking beauty of the lunar landscape. The sun, positioned at a 15° elevation, casts long shadows that emphasize the depth and complexity of the surface.

EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com 538 | BONHAMS

445 [Apollo 17] LM CHALLENGER REJOINS CSM AMERICA IN ORBIT AFTER HUMANITY’S FINAL LUNAR EXPLORATION Ronald Evans, 7–19 December 1972 Printed 1972-1973.

Vintage chromogenic print on early resin coated Kodak paper [NASA image AS17-149-22857].

With NASA caption numbered “72-H-1636”, “72-HC-981”, “G-735365” and “A Kodak Paper” watermark on the reverse (issued by NASA Goddard Space Flight Centre, Greenbelt, Maryland).

20.3 x 25.4 cm. (8 x 10 in.)

Historical context A stunning photograph of Challenger, the final spacecraft to carry humans to the surface of another world and back.

Remarkably, Eugene Cernan’s bubble helmet is visible in the right window of the Lunar Module, preparing for transfer in the Command Module America and the journey home. This image symbolizes not only the triumph of human ingenuity but also the end of a golden era in human space exploration.

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 539

446 [Apollo 17] RONALD EVANS ON HUMANITY’S FINAL DEEP SPACE SPACEWALK: farthest from any planetary body (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Harrison Schmitt, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-152-23357].

Original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA AS17-152-23357” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-60) for publication in the report.

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com 540 | BONHAMS

Historical context Humanity’s last deep-space EVA and final EVA of the Apollo program was performed by Ronald Evans at the greatest distance from any planetary body—adrift in the cold, infinite void.

This stunning photograph was captured by Harrison Schmitt from the open hatch of the Command Module America. At the time, the spacecraft was approximately 180,000 miles from Earth, en route home from the Moon.

“You’re not really a spaceman when you’re in the confines of your spaceship. You go outside, and you’re hanging on, manoeuvring out there from the safety and security of our mother ship. If you ever want to be a spaceman, that’s the way to do it!”

Ron Evans (Chaikin, Voices, p. 122).

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

447 [Apollo 17] RONALD EVANS PERFORMING HUMANITY’S FINAL DEEP SPACE SPACEWALK, FARTHEST FROM ANY PLANETARY BODY Harrison Schmitt, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image AS17-152-23367].

With “A Kodak Paper” watermark on the reverse, numbered “NASA AS17-152-23367” in red in the top margin (issued by NASA Manned Spacecraft Centre, Houston, Texas).

25.4 x 20.3 cm. (10 x 8 in.)

Historical context A final spacewalk beyond the Moon.

A rare and unreleased photograph of humanity’s last deepspace EVA, performed by Ronald Evans at the greatest distance from any planetary body—adrift in the cold, infinite void.

Captured by Harrison Schmitt from the open hatch of the Command Module America, this historic image immortalizes the last extravehicular activity of the Apollo program. At the time, the spacecraft was approximately 180,000 miles from Earth, en route home from the Moon. All subsequent manned spacewalks took place in low-Earth orbit, making this moment truly unique.

“Adrift between the Earth and the Moon, Ron Evans retrieved the film canister of the mapping cameras on the day after Apollo 17 left lunar orbit. His spacewalk lasted an hour. Evan’s oxygen was fed from the spacecraft through the umbilical hose, with an emergency supply on his back. I was in the open hatch to help in retrieval, which was necessary because the Service Module would be jettisoned before we re-entered the Earth’s atmosphere.”

—Harrison Schmitt (NASA SP-250, p. 280) EUR600 - 800 £500 - 670 US$650 - 870

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 541

448 [Apollo 17] THE LAST SPACECRAFT TO RETURN FROM ANOTHER WORLD: CSM America parachutes into the Pacific, triumphantly concluding Apollo (NASA’s own copy, used and annotated, for the preparation of its final Apollo science report) Harrison Schmitt, 7-19 December 1972 Printed 1972.

Vintage chromogenic print on fibre-based Kodak paper [NASA image S-72-55834].

Original editorial labels in the white margins on the recto for publication in NASA’s Apollo 17 Preliminary Science Report (NASA SP-330), with “A Kodak Paper” watermark and traces of previous mounting on the reverse, numbered “NASA S-72-55834” in red in te top margin (issued

by NASA Manned Spacecraft Centre, Houston, Texas), together with an original NASA sheet indicating directives and notes (figure 4-61) for publication in the report.

25.4 x 20.3 cm. (10 x 8 in.)

The full description of the lot is available on our website: www.bonhams.com 542 | BONHAMS

Historical context Following splashdown, the last men on the Moon, Eugene Cernan and Harrison Schmitt, along with the last deep-space spacewalker, Ron Evans, were picked up by helicopter and flown to the deck of the recovery ship USS Ticonderoga, triumphantly concluding humanity’s final voyage to the Moon and back—an odyssey initiated by President Kennedy a little more than a decade earlier. As National Geographic aptly described it, it had been “mankind’s greatest adventure.”

EUR800 - 1,200 £670 - 1,000 US$870 - 1,300

449 [Viking 1] THE HISTORIC FIRST COLOUR PHOTOGRAPH EVER CAPTURED ON THE SURFACE OF MARS, THE RED PLANET: first published version NASA, 21 July 1976 Printed 1976.

Vintage chromogenic print on resin coated Kodak paper [NASA image Viking 1-46].

With NASA caption numbered “76-H-558”, “76-HC-655”, “Viking 1-46”, “P-17114” and “This paper manufactured by Kodak” watermark on the reverse (issued by NASA Head Quarters, Washington, D.C).

Historical context Launched on August 20, 1975, Viking 1 became the first unmanned spacecraft to land on Mars, achieving this historic milestone on July 20, 1976. The following day, it captured this groundbreaking first colour photograph on the surface of the Red Planet. This is the extremely rare original version published

by NASA, with another version featuring different colour processing released later.

EUR2,000 - 3,000 £1,700 - 2,500 US$2,200 - 3,200

20.3 x 25.4 cm. (8 x 10 in.)

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 543

REFERENCES : Contemporary magazines and newspapers : LIFE National Geographic

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].

Newsweek

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].

LOOK

Wally Schirra, Schirra’s Space (Boston, MA: Quinlan Press, 1988).

TIME

New York Times

Space history and photography books : Piers Bizony, Moonshots: 50 Years of NASA Space Exploration Seen Through Hasselblad Cameras (Minneapolis: Voyageur Press, 2017) [cited as Bizony].

Simon Phillipson, Apollo VII-XVII (JDFS, 2016) [cited as Phillipson].

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].

Davis Thomas, ed., Moon: Man’s Greatest Adventure (New York: Harry N. Abrams, 1970) [cited as Thomas].

Norman Mailer, Moonfire (Koeln: Taschen Bibliotheca Universalis, 2009) [cited as Mailer].

H.J.P. Arnold, Images from space: The camera in orbit (New York, Phaidon, 1979) [cited as Arnold] Andy Saunders, Apollo Remastered (London, Particular Books, September 2022) [cited as Saunders] Andy Saunders, Gemini and Mercury Remastered (London, Particular Books, August 2025) [cied as Saunders, Gemini)

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 SP168 [cited as Cortright].

Michael Collins, Carrying the Fire: An Astronaut’s Journeys (New York: Farrar, Straus and Giroux, 1974) [cited as Collins].

Earth Photographs from Gemini VI through XII, NASA SP-171, 1968 [cited as NASA SP-171].

Buzz Aldrin, with Wayne Warga, Return to Earth (New York: Random House, 1973).

Analysis of Apollo 8: Photography and Visual Observations, NASA SP201, 1969 [cited as NASA SP-201].

Mike Constantine, Apollo: The Panoramas (moonpans.com, 2015) [cited as Constantine].

Apollo 11 Preliminary Science Report, NASA SP-214, 1970 [cited as NASA SP-214].

Terry Hope, Spacecam: Photographing the Final Frontier from Apollo to Hubble (Newton Abbot: Charles & David, 2005) [cited as Hope].

Oran W. Nicks, ed., This Island Earth, NASA SP-250, 1970 [cited as NASA SP-250].

Robert Jacobs, ed., Apollo: Through the Eyes of the Astronauts (New York: Abrams, 2009) [cited as Jacobs].

Apollo 12 Preliminary Science Report, NASA SP-235, 1970 [cited as NASA SP-235].

Kevin Kelley, The Home Planet (Reading, MA: Addison-Wesley Publishing Company, 1991) [cited as Kelley].

Analysis of Apollo 10: Photography and Visual Observations, NASA SP-232, 1971 [cited as NASA SP-232].

Michael Light, Full Moon (New York: Alfred A. Knopf, 1999) [cited as Light].

Robert Musgrove, ed., Lunar Photographs from Apollo 8, 10, and 11, NASA SP-246, 1971 [cited as NASA SP-246].

Robert Grant Mason, ed., LIFE in Space (Alexandria, VA: TIME-LIFE Books, 1983) [cited as Mason].

Apollo 14 Preliminary Science Report, NASA SP-272, 1971 [cited as NASA SP-272].

Beaumont Newhall, Airborne Camera: The World from the Air and Outer Space (New York: Hastings House, 1969) [cited as Newhall].

Apollo 15 Preliminary Science Report, NASA SP-289, 1971 [cited as NASA SP-289].

The full description of the lot is available on our website: www.bonhams.com 544 | BONHAMS

Apollo 16 Preliminary Science Report, NASA SP-315, 1972 [cited as NASA SP-315].

Apollo 17 Preliminary Science Report, 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].

Steven Dick, ed., Remembering the Space Age, NASA SP-2008-4703, 2008 [cited as Dick].

Barton Hacker and James Grimwood, On the Shoulders of Titans, a History of Project Gemini, NASA SP-4203, 1977 [cited as NASA SP4203].

Loyd Swenson Jr., James Grimwood and Charles Alexander, This New Ocean, a History of Project Mercury, NASA SP-4201, 1966 [cited as NASA SP-4201].

William David Compton, Where No Man Has Gone Before: A History of Apollo Lunar Exploration Missions, NASA SP-4214, 1988. [cited as NASA SP-4214]

Online sources : Lunar and Planetary Institute (LPI).

Apollo Lunar Surface Journal (ALSJ), Eric Jones, ed. [cited as ALSJ].

Apollo Flight Journal, David Woods, ed. [cited as AFJ].

March to the Moon (scans of the original films of Mercury, Gemini, and Apollo missions made by the University of Arizona).

Apollo Image Archive, Arizona State University.

NASA JSC and other NASA-related websites.

NASA Space Science Data Coordinated Archive (NSSDCA).

United States Geological Survey (USGS).

Clouds Across The Moon - an analysis of Earth photography on Apollo by Paul White.

Levasseur, Jennifer. “Pictures by Proxy: Images of Exploration and the First Decade of Astronaut Photography at NASA.” PhD diss., George Mason University, 2014.

The full description of the lot is available on our website: www.bonhams.com FOR ALL MANKIND

| 545

NOTE ABOUT THE PHOTOGRAPHS À l›ère du numérique, il est facile d›oublier que l›âge d›or de l›exploration spatiale a coïncidé avec l›âge de la photographie argentique, une époque qui nécessitait des émulsions sensibles à la lumière, pellicules et papiers photographiques. Ces photographies vintage, produits finaux de ce processus analogique, ont été tirées, principalement à des fins scientifiques, peu après le retour des missions sur Terre.

La mention « unreleased photograph» indique que l’image n’a pas été diffusée par le service des Affaires publiques de la NASA après la mission. Elle a été utilisée en interne et n’a pas été publiée dans les livres ou les journaux de l’époque.

Lorsque cela est indiqué sur le tirage, le centre de la NASA qui a issu la photographie a été identifié.

Il s’agit notamment du Manned Spacecraft Center, Houston, Texas (NASA MSC) ; du Kennedy Space Center, Floride (NASA KSC) ; Goddard Space Flight Center, Greenbelt, Maryland (NASA Goddard) ; Headquarters, Washington, D.C. (NASA HQ) ; Jet Propulsion Laboratory, Pasadena, Californie (NASA JPL) ; Marshall Space Flight Center, Huntsville, Alabama (NASA MSFC), Langley Research Center, Hampton, Virginie (NASA Langley) et Lewis Research Center, Cleveland, Ohio (NASA Lewis).

Cela comprend également des partenaires et des sous-traitants qui ont travaillé pour la NASA, tels que McDonnell Douglas, Saint Louis, Missouri (NASA / McDonnell) ; North American Rockwell, Downey, Californie (NASA / North American) ; Grumman Corporation, Long Island, New York (NASA / Grumman) ; Radio Corporation of America, New York, New York (NASA / RCA) ; Thompson Ramo Wooldridge Inc., Euclid, Ohio (NASA / TRW), United States Geological Survey, Flagstaff, Arizona (NASA / USGS).

Les citations bibliographiques renvoient aux versions publiées des images (voir la liste des références à la fin du catalogue). Dans la mesure du possible, le photographe a été identifié. Sauf indication contraire, toutes les photographies sont des tirages sur papier de format standard, 20,3 × 25,4 cm (8 × 10 inches) ; seule la taille du papier photographique est indiquée. Les photographies sont généralement présentées par ordre chronologique, mission par mission et du décollage au retour des astronautes, permettant au lecteur de suivre le parcours des explorateurs dans l’espace et sur la Lune. Les dialogues sont extraits des transcriptions audios des missions, avec l’heure depuis le décollage indiquée en heures, minutes et secondes (sources : NASA, Apollo Lunar Surface Journal, Apollo Flight Journal).

In today’s digital age, it is easy to forget that the golden era of space exploration coincided with the age of analogue photography—an era that relied on light-sensitive chemistry, film, and photographic paper. These vintage photographs, the final products of that analogue process, were printed, primarily for scientific purposes, shortly after the missions returned to Earth.

The mention of an “unreleased photograph” indicates that the image was not released for outside publication by NASA Public Affairs following the mission. It was used internally and therefore not published in books or newspapers of the time.

Where noted on the print, the NASA centre that issued the photograph has been identified.

These include Manned Spacecraft Centre, Houston, Texas (NASA MSC); Kennedy Space Centre, Florida (NASA KSC); Goddard Space Flight Centre, Greenbelt, Maryland (NASA Goddard); Headquarters, Washington, D.C. (NASA HQ); Jet Propulsion Laboratory, Pasadena, California (NASA JPL); Marshall Space Flight Centre, Huntsville, Alabama (NASA MSFC), Langley Research Centre, Hampton, Virginia (NASA Langley), and Lewis Research Centre, Cleveland, Ohio (NASA Lewis).

It also includes partners and contractors which worked for NASA such as McDonnell Douglas, Saint Louis, Missouri (NASA / McDonnell); North American Rockwell, Downey, California (NASA / North American); Grumman Corporation, Long Island, New York (NASA / Grumman); Radio Corporation of America, New York City, New York (NASA / RCA); Thompson Ramo Wooldridge Inc., Euclid, Ohio (NASA / TRW), United States Geological Survey, Flagstaff, Arizona (NASA / USGS).

Literature citations refer to the published versions of the images (see reference list at the end of the catalogue). When possible, the photographer has been identified.

Unless otherwise stated, all photographs are glossy prints on standard-size paper, 20.3 × 25.4 cm (8 × 10 in); only the sheet size is indicated.

The photographs are presented in chronological order, mission by mission and from launch to recovery, allowing the reader to follow the journey of space and lunar explorers.

Dialogues are excerpted from mission voice transcripts, with mission time indicated in hours, minutes, and seconds from launch (sources: NASA, Apollo Lunar Surface Journal, Apollo Flight Journal).

detail lot 431

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En vous enregistrant pour participer à nos ventes et/ou en enchérissant vous acceptez les présentes Conditions de Ventes.

1. NOTRE RÔLE Dans son rôle d’Adjudicateur de lots, Bonhams est autorisé par le Vendeur à agir uniquement pour et dans l’intérêt du Vendeur.

Bonhams n’agit pas pour le compte des Acheteurs ou des Enchérisseurs et ne leur fournit aucun conseil. Si Bonhams ou un membre de son personnel fait des déclarations à propos d’un Lot, ou si Bonhams fournit un Rapport d’état à propos d’un Lot, ces déclarations seront faites ou ce rapport sera établi pour le compte du Vendeur du Lot. Il est fortement conseillé aux Enchérisseurs et Acheteurs qui n’ont pas eux-mêmes des connaissances d’expert sur les Lots de solliciter et d’obtenir un avis indépendant sur les Lots et leur valeur, avant d’enchérir sur ceux-ci. Le Vendeur a autorisé Bonhams à vendre le Lot en qualité de mandataire agissant pour son compte et, sauf accord contraire exprès, Bonhams agit exclusivement en qualité de mandataire du Vendeur. Toute assertion ou déclaration faite par nous au titre d’un Lot est faite pour le compte du Vendeur et non pour notre compte, à moins que Bonhams ne vende un Lot en tant que mandant, et tout Contrat de Vente est conclu entre l’Acheteur et le Vendeur et non entre l’Acheteur et nousmêmes. Si Bonhams vend un Lot en tant que mandant, il en sera fait mention dans le Catalogue ou dans une annonce du Commissaire-priseur à cet effet ou dans un avis affiché dans le lieu de la Vente ou inséré dans le Catalogue. Si vous êtes le dernier Enchérisseur pour un Lot et donc l’achetez, Bonhams conclura un contrat avec vous en tant qu’Acheteur dans les termes du contrat avec l’Acheteur, joint en Annexe 1 au Catalogue, qui régira les relations entre Bonhams et vous-même en votre qualité d’Acheteur.

2. LOTS Sous réserve de la Description Contractuelle imprimée en caractères gras dans l’Article consacré au Lot dans le Catalogue des Ventes en Ligne (voir paragraphe 3 ci-dessous), les Lots sont vendus à l’Acheteur « en l’état » o ils se trouvent au moment de la vente, avec tous leurs défauts et imperfections.

Les illustrations et photographies des Lots servent uniquement à leur identification. Une photographie ou illustration figurant dans le Catalogue (à l’exception des photographies formant partie de la Description Contractuelle) ou ailleurs peut ne pas reproduire exactement la ou les couleurs ou le véritable état du Lot. Les Lots sont disponibles pour examen avant la Vente, et il vous incombe de vous assurer vous-même de chacun des aspects d’un Lot, y compris son auteur, son attribution, son état, sa provenance, son histoire, son contexte, son authenticité, son style, son époque, son ge, son aptitude à une utilisation particulière, son état de marche s’il s’agit d’une voiture (le cas échéant) son origine, sa valeur et son prix de vente Estimé (y compris le Prix d’Adjudication). Il vous incombe d’examiner tout Lot qui vous intéresse. Il convient de rappeler que l’état réel d’un Lot peut ne pas être aussi bon que celui qu’indique son apparence extérieure. En particulier, des pièces peuvent avoir été remplacées ou changées et des Lots peuvent ne pas être authentiques ou de qualité satisfaisante ; l’intérieur d’un Lot peut ne pas être visible, peut ne pas être d’origine ou peut être endommagé, par exemple s’il est recouvert d’une tapisserie ou d’un revêtement quelconque. tant donné leur ge, de nombreux Lots peuvent avoir été endommagés et/ou réparés et vous ne devez pas présumer qu’un Lot est en bon état. Les objets électroniques ou mécaniques ou les pièces sont vendus pour leur intérêt artistique, historique ou culturel et peuvent ne pas fonctionner ou ne pas être conformes aux exigences légales actuelles. Vous ne devez pas présumer que des objets électriques destinés à fonctionner sur les réseaux de l’électricité domestique pourront être connectés sur ces réseaux et devrez donc préalablement obtenir un rapport sur leur état de la part d’un électricien qualifié. Ces objets impropres à être connectés sont vendus uniquement comme des objets de vitrine. Si vous n’avez pas l’expertise nécessaire concernant un Lot, prenez conseil à ce sujet. Nous pouvons vous aider à prendre les dispositions nécessaires afin de vous permettre de procéder ou de faire procéder à des examens et tests plus détaillés. Toute personne qui endommage un Lot sera responsable de la perte

ainsi causée.

3. DESCRIPTIONS DES LOTS ET ESTIMATIONS Description contractuelle d’un Lot Le Catalogue contient un Article pour chaque Lot. Chaque Lot est vendu par le Vendeur à l’Acheteur comme correspondant uniquement à la partie de l’Article imprimée en caractères gras, et (sauf pour la couleur, qui peut être reproduite de manière inexacte) à toute photographie du Lot dans le Catalogue. Le reste de l’Article, qui n’est pas imprimé en caractères gras est donné à titre indicatif et représente uniquement l’opinion de Bonhams (donnée au nom du Vendeur) sur le Lot et ne fait pas partie de la Description Contractuelle conformément à laquelle le Lot est vendu par le Vendeur.

Estimations Dans la plupart des cas, une Estimation est imprimée à côté de l’Article. Les Estimations fournies expriment uniquement l’opinion de Bonhams faite au nom du Vendeur à propos de la fourchette dans laquelle Bonhams pense que le Prix d’adjudication pour le Lot est susceptible de se situer. Il ne s’agit en aucun cas d’une estimation de valeur. Les Estimations ne tiennent pas compte de la TVA, de la Commission d’achat ou d’autres frais payables par l’Acheteur, qui sont décrits en détail au paragraphe 7 de les présentes Conditions de Ventes. Les prix dépendent des enchères et les Lots peuvent se vendre à des Prix d’Adjudication inférieurs ou supérieurs aux Estimations.

Les Estimations ne doivent donc pas être considérées comme une indication du prix de vente réel ou de la valeur d’un Lot. Les Estimations sont fournies dans la devise de la Vente.

Rapports d’état Pour la plupart des Lots, vous pouvez demander à Bonhams un Rapport sur l’état physique général du Lot. Si vous lui faites cette demande, Bonhams vous fournira ce rapport gratuitement, pour le compte du Vendeur. tant donné qu’il s’agit d’un service supplémentaire et gratuit, Bonhams ne conclut pas de contrat avec vous au titre du Rapport d’état.

En conséquence, Bonhams n’assume aucune responsabilité à votre égard à ce titre. Chaque Rapport d’état exprime l’opinion de Bonhams quant à l’état général du Lot concerné et est fonction des connaissances artistiques et scientifiques à la date de la vente. Bonhams ne déclare ni ne garantit qu’un Rapport d’état inclue tous les aspects de l’état interne ou externe du Lot. Le Vendeur ne vous doit ni n’accepte de vous devoir, en tant qu’Enchérisseur ou Acheteur, aucune obligation concernant ce rapport gratuit à propos d’un Lot, qui vous est fourni afin que vous puissiez l’examiner ou le faire examiner par un expert mandaté par vos soins.

Responsabilité du Vendeur envers vous Le Vendeur ne fait et ne s’oblige à faire aucune déclaration factuelle, et n’assume aucune garantie, aucune obligation ni aucune responsabilité contractuelle ou quasi-délictuelle (excepté envers l’Acheteur final, ainsi qu’il est dit ci-dessus) au titre de l’exactitude ou du caractère complet de toute assertion ou déclaration faite par lui ou pour son compte, qui contient un élément quelconque de description de tout Lot ni au titre du prix de vente prévu ou probable de tout Lot. Exception faite de ce qui est stipulé ci-dessus, aucune assertion ou déclaration faite par le Vendeur ou pour son compte contenant un élément quelconque de description d’un Lot, ni aucune Estimation ne sont incorporées dans le Contrat de Vente entre le Vendeur et l’Acheteur.

Responsabilité de Bonhams envers vous Vous avez la possibilité d’examiner le Lot si vous le souhaitez et le Contrat de Vente d’un Lot est conclu avec le Vendeur et non avec Bonhams. Bonhams agit exclusivement en qualité de mandataire du Vendeur (à moins que Bonhams ne vende le Lot en tant que mandant). Bonhams n’assume envers vous aucune obligation d’examiner, d’enquêter ou de procéder à des tests sur chaque Lot, approfondis ou autres, afin d’établir l’exactitude ou de vérifier autrement toutes Descriptions ou opinions données par Bonhams, ou par toute personne pour le compte de Bonhams, que ce soit dans le Catalogue ou ailleurs. Vous ne devez pas supposer que ces examens, ces enquêtes ou ces tests ont été réalisés. Bonhams ne fait et ne s’oblige à faire aucune déclaration factuelle. Aucune assertion ou déclaration faite par Bonhams ou pour son compte contenant un élément quelconque de description d’un Lot, ni aucune Estimation ne sont incorporées dans notre Contrat avec l’Acheteur.

Modifications Les Descriptions et les Estimations peuvent être modifiées à la discrétion de Bonhams par le biais d’une annonce verbale ou d’un avis écrit avant ou pendant une Vente. LE LOT EST DISPONIBLE POUR E AMEN ET VOUS DEVEZ VOUS FORMER VOTRE PROPRE OPINION SUR CELUI-CI. IL VOUS EST FORTEMENT CONSEILL D’E AMINER TOUT LOT OU DE LE FAIRE E AMINER POUR VOTRE COMPTE AVANT LA VENTE. 4. CONDUITE DE LA VENTE Nos Ventes sont des ventes aux enchères publiques, auxquelles des personnes peuvent assister. Nous nous réservons le droit, à notre seule discrétion, de refuser l’accès à nos locaux ou à toute Vente et de faire sortir toute personne de nos locaux et salles des ventes, sans devoir en indiquer la raison. Nous pouvons à notre seule et entière discrétion décider de procéder à la Vente, d’inclure un Lot dans la Vente, ainsi que de la manière dont la Vente se déroulera, et nous pouvons offrir les Lots à la Vente dans tout ordre que nous choisissons, nonobstant les

numéros attribués aux Lots dans le Catalogue. Vous devrez donc vérifier la date et l’heure de commencement de la Vente, et vérifier si des Lots ont été retirés de la Vente ou ajoutés tardivement à celle-ci. En effet, ces retraits ou ajouts tardifs peuvent modifier l’heure à laquelle un Lot qui vous intéresse est mis en Vente. Nous pouvons, à notre seule et entière discrétion, refuser toute enchère, augmenter tout pas d’enchère comme nous le jugerons approprié, diviser tout Lot, regrouper deux Lots, retirer tout Lot d’une Vente et, avant que la Vente ait pris fin, remettre tout Lot aux enchères. Les Ventes aux enchères peuvent excéder 100 Lots par heure et les pas d’enchère sont généralement d’environ 10% ; toutefois, ces chiffres varient d’une Vente à l’autre et d’un Commissaire-priseur à l’autre.

Contactez le département organisant la Vente pour avoir un avis sur ce point. Si un rix de serve a t fix pour un ot, le Commissaire-priseur peut, en son absolue discrétion, passer des enchères (à concurrence d’un montant qui ne sera ni égal ni supérieur à ce Prix de Réserve) pour le compte du Vendeur.

Nous ne sommes pas responsables envers vous de la présence ou de l’absence d’un Prix de Réserve au titre de tout Lot. Si un rix de serve a t fix , il ne devra pas tre sup rieur la plus basse Estimation faite dans le Catalogue, en supposant que la devise du Prix de Réserve n’ait pas uctué de manière défavorable par rapport à la devise de l’Estimation. L’Acheteur sera l’Enchérisseur qui fait la plus haute enchère acceptable par le Commissaire-priseur pour un Lot (sous réserve de tout Prix de Réserve applicable), et auquel le Lot est adjugé par le Commissaire-priseur à la tombée du marteau du Commissairepriseur. Tout différend relatif à la plus haute enchère acceptable sera tranché par le Commissaire-priseur en son absolue discrétion. Toutes les enchères passées se rapporteront au numéro de Lot annoncé par le Commissaire-priseur. Un convertisseur électronique de devises peut être utilisé lors de la Vente. Cet outil est fourni uniquement pour votre commodité et constitue une évaluation approximative de la contre-valeur d’une enchère donnée dans certaines devises. Nous n’acceptons aucune responsabilité au titre des erreurs qui pourraient se produire en raison de l’utilisation du convertisseur de devises.

Nous pouvons utiliser des caméras vidéo pour enregistrer la Vente et pouvons enregistrer des appels téléphoniques pour des raisons de sécurité, et afin d’aider à résoudre des différends pouvant s’élever au titre d’enchères passées lors de la Vente.

Nous pouvons utiliser des écrans sur lesquels des images des Lots seront projetées. Ce service est fourni pour permettre une meilleure vue des Lots lors de la Vente. L’image projetée sur l’écran doit être considérée comme une simple indication du Lot concerné. Il convient de noter que toutes les enchères passées se rapporteront au numéro de Lot annoncé par le Commissairepriseur. Nous n’acceptons aucune responsabilité au titre des erreurs qui pourraient se produire dans l’utilisation de l’écran.

DROIT DE PREEMPTION L’Etat dispose d’un droit de préemption des biens culturels vendus. L’Etat pourra se substituer au dernier enchérisseur dans les quinze jours de la Vente.

5. ENCHÈRES Vous devez compléter et nous remettre l’un de nos Formulaires d’Enchères, c’est-à-dire notre Formulaire d’Enregistrement d’Enchérisseur, notre Formulaire d’Enchères en Absence (Ordre d’Achat) ou notre Formulaire d’Enchères par Téléphone afin de pouvoir enchérir lors de nos Ventes. Si vous êtes un nouveau client chez Bonhams ou si vous n’avez pas récemment mis à jour vos données d’enregistrement, vous devez vous préenregistrer, au moins deux jours ouvrables avant la Vente lors de laquelle vous souhaitez enchérir. Vous devrez fournir un justificatif d’identité et de domicile délivré par le gouvernement.

Si vous êtes une société, il faut fournir votre certificat d’immatriculation (Extrait bis) ou un document équivalent, avec votre dénomination et l’adresse de votre siège social, une preuve de votre adresse actuelle délivrée par le gouvernement, une preuve documentaire de vos propriétaires effectifs et de vos administrateurs et une preuve de l’autorisation d’effectuer des transactions. Nous pouvons également vous demander une référence financière et/ou une caution avant de vous autoriser à enchérir. Nous nous réservons le droit, à notre discrétion, de demander des informations supplémentaires afin de compléter notre identification de client, de refuser d’enregistrer une personne comme Enchérisseur, et de rejeter ses enchères si elles ont déjà été enregistrées. Nous nous réservons également le droit de différer la finalisation de la vente d’un Lot, à notre discrétion, le temps de terminer nos enquêtes relatives à l’enregistrement et à l’identification, et d’annuler la vente de tout Lot, si vous violez vos garanties en tant qu’Acheteur, ou si nous considérons que cette Vente serait illégale ou ferait autrement jouer la responsabilité du Vendeur ou de Bonhams, ou nuirait à la réputation de Bonhams.

Enchérir en personne À condition que vous vous soyez préenregistré pour enchérir ou ayez récemment mis à jour vos données d’enregistrement existantes, vous devrez vous rendre à notre bureau d’enregistrement des Enchérisseurs dans le lieu de la Vente et remplir un Formulaire d’Enregistrement et d’Enchères le jour de la Vente (ou, si possible, avant). Le système de numérotation des enchères est parfois visé sous le terme d’« enchères par paddle » (ou « enchères par panneau numéroté »). Il vous sera remis une grande carte (un « paddle PARIS/MAIN/V1/11.2024

» ou panneau numéroté) portant un numéro imprimé, pour les besoins de la Vente. Si vous êtes l’Enchérisseur gagnant, vous devrez faire en sorte que votre numéro puisse être vu clairement par le Commissaire-priseur et que votre numéro soit identifié comme celui de l’Acheteur. Vous ne devez laisser personne d’autre utiliser votre paddle, étant donné que tous les Lots seront facturés au nom et à l’adresse indiqués sur votre Formulaire d’Enregistrement d’Enchérisseur. Une fois émise, une facture ne sera pas modifiée. En cas de doute à propos du Prix d’Adjudication d’un Lot particulier, ou sur la question de savoir si vous êtes l’Enchérisseur gagnant d’un Lot particulier, informez-en le Commissaire-priseur avant que le prochain Lot ne soit offert à la Vente. À la fin de la Vente, ou lorsque vous aurez fini d’enchérir, merci de restituer votre paddle au bureau d’enregistrement des Enchérisseurs.

Enchérir par téléphone Si vous souhaitez enchérir par téléphone lors de la Vente, et à condition que vous vous soyez préenregistré pour enchérir ou ayez récemment mis à jour vos données d’enregistrement existantes, complétez un Formulaire d’Enregistrement et d’Enchères, disponible dans nos bureaux ou dans le Catalogue.

Retournez-le au service responsable de la Vente 24 heures au moins avant la Vente. Il vous incombe de vérifier auprès de notre Service d’Enchères que votre enchère a bien été reçue. Les conversations téléphoniques seront enregistrées. La possibilité d’enchérir par téléphone est un service discrétionnaire offert à titre gratuit et peut ne pas être disponible pour tous les Lots.

Nous ne serons pas tenus d’enchérir pour votre compte si vous n’êtes pas disponible au moment de la Vente ou si la liaison téléphonique est interrompue pendant les enchères. Contacteznous pour plus de détails.

Enchérir par courrier postal ou par fax Les Formulaires d’Enchères en Absence (Ordre d’Achat) figurent en annexe au Catalogue et doivent être complétés et envoyés au service responsable de la Vente, dès que vous vous serez préenregistré pour enchérir ou aurez récemment mis à jour vos données d’enregistrement existantes. Il est de votre intérêt de nous retourner votre formulaire dès que possible, étant donné que si deux Enchérisseurs ou davantage soumettent des enchères identiques pour un Lot, la préférence sera donnée à l’enchère reçue la première. En toute hypothèse, toutes les enchères doivent être reçues 24 heures au moins avant le début de la Vente. Vérifiez soigneusement votre Formulaire d’Enchères en Absence (Ordre d’Achat) avant de nous le retourner, intégralement complété et signé par vous. Il vous incombe de vérifier avec notre Service Enchères que votre enchère a bien été reçue. Ce service est fourni à titre complémentaire et est confidentiel. Ces enchères sont faites à vos propres risques et nous n’assumons aucune responsabilité si nous ne recevons pas et/ou ne passons pas l’une quelconque de ces enchères. Toutes les enchères passées pour votre compte le seront au plus bas niveau possible sous réserve des Prix de Réserve et d’autres enchères passées pour le Lot. S’il y a lieu, vos enchères seront arrondies à la baisse au montant le plus proche correspondant aux paliers d’enchères du Commissaire-priseur. Les nouveaux Enchérisseurs doivent également fournir la preuve de leur identité et de leur adresse pour pouvoir enchérir. À défaut, votre enchère ne sera pas placée.

Enchérir par Internet Consultez notre Site Internet à l’adresse suivante : http:// www. bonhams.com, qui donne tous les détails sur la manière d’enchérir via l’Internet. Bonhams ne sera pas responsable des retards, interruptions ou autres incapacités à faire une enchère, causés par des pertes de connexion Internet, une panne ou un dysfonctionnement du site Internet ou du processus d’enchères, ou un dysfonctionnement de logiciels, systèmes, ordinateurs ou appareils mobiles.

Enchérir par l’intermédiaire d’un mandataire Les enchères seront traitées comme étant placées exclusivement pour le compte de la personne nommément désignée dans le Formulaire d’Enchères, sauf accord contraire écrit de notre part avant la Vente. Si vous souhaitez enchérir pour le compte d’une autre personne (votre mandant), vous devez fournir les informations de préinscription énoncées ci-dessus pour vous et pour votre mandant. Nous aurons besoin d’une confirmation écrite du mandant qui atteste de votre droit d’enchérir pour son compte ainsi que de sa pièce d’identité. Votre attention est en particulier attirée sur vos obligations de diligence concernant votre mandant et la source de ses fonds, et sur les garanties que vous fournissez si vous êtes l’Acheteur, qui sont stipulées au paragraphe 3 du Contrat avec l’acheteur, joint en Annexe 1 au Catalogue. Néanmoins, comme l’explique le Formulaire d’Enchères, si une personne fait une enchère en tant qu’agent pour le compte d’une autre (son mandant, et ce qu’elle ait ou non divulgué ce fait), elle sera conjointement et solidairement responsable avec son mandant envers le Vendeur et Bonhams en vertu de tout contrat résultant d’une enchère gagnante.

Faites-nous savoir si vous avez l’intention de nommer un tiers afin d’enchérir pour votre compte lors de la Vente, à moins que nous ne soyons chargés d’enchérir en vertu d’un Formulaire d’Enchères par Téléphone ou en Absence (Ordre d’Achat), complété par vous. Si nous n’approuvons pas par écrit les dispositions que vous avez prises pour enchérir par l’intermédiaire d’un mandataire avant la Vente, nous serons en droit de présumer que la personne enchérissant lors de la Vente

enchérit pour son propre compte. En conséquence, la personne enchérissant lors de la Vente sera l’Acheteur et sera tenue de payer le Prix d’Adjudication et la Commission d’Achat ainsi que les frais associés. Si nous approuvons l’identité de votre client à l’avance, nous serons en mesure d’adresser la facture à votre mandant plutôt qu’à vous-mêmes. Nous exigerons la preuve de l’identité et de l’adresse du client du mandataire préalablement à toutes enchères passées par le mandataire pour son compte.

Reportez-vous à nos Conditions Générales et contactez notre Département Service Clients pour plus de détails. Bonhams procède à des vérifications sur les informations fournies par les clients (“Customer Due Diligence (CDD)” sur ses Vendeurs et Acheteurs, comme l’exigent la réglementation sur le blanchiment de capitaux, le financement du terrorisme et le transfert de fonds (informations sur le payeur) (‘les Réglementations”).

Selon son interprétation des Réglementations et des Lignes directrices à l’intention de l’industrie, approuvées par le Trésor, Bonhams considère que la procédure de CDD prescrite par les Réglementations n’a pas à être accomplie par les Acheteurs sur les Vendeurs lors des enchères de Bonhams ou vice versa.

Conformément à l’article L221-28 du Code de la consommation, l’adjudicataire ne bénéfice pas du droit de rétractation à la suite de la Vente.

6. CONTRAT ENTRE L’ACHETEUR ET LE VENDEUR ET BONHAMS Lorsque le Lot sera adjugé à l’Acheteur, un Contrat de vente du Lot sera conclu entre le Vendeur et l’Acheteur selon les termes du Contrat figurant à l’Annexe 1 au Catalogue. Vous devrez alors payer le Prix d’Achat, qui se compose du Prix d’Adjudication, de la Commission d’Achat plus toute TVA et taxe applicable.

Simultanément, un contrat est également conclu entre nous, en tant que maison de ventes aux enchères, et l’Acheteur.

Veuillez lire attentivement le Contrat avec l’Acheteur qui figurent à L’Annexe 1 au Catalogue, que vous devrez conclure si vous êtes le meilleur Enchérisseur, y compris les garanties relatives à votre statut et à la source des fonds. Nous pourrons modifier les termes de ce contrat avant qu’il ne soit conclu, en insérant ces modifications dans le Catalogue, et/ou en plaçant un encart dans le Catalogue et/ou en affichant des avis dans le lieu de Vente, et/ ou en faisant des annonces verbales avant et pendant la Vente. Il vous incombe de vous assurer que vous connaissez la version à jour du Contrat avec l’Acheteur relatif à cette Vente.

7. COMMISSION D’ACHAT ET AUTRES FRAIS À PAYER PAR L’ACHETEUR En vertu du Contrat avec l’Acheteur, ce dernier nous paie une commission (la Commission d’Achat) conformément aux termes dudit contrat et aux taux indiqués ci-dessous, calculés par référence au Prix d’Adjudication et payables en sus de celui-ci.

Pour cette Vente, les Acheteurs paieront les taux de Commission d’Achat suivants pour chaque Lot acheté : 28 % HT du Prix d’Adjudication pour un prix allant de 1 à 40 000 € ; Plus 27 % HT du Prix d’Adjudication à partir de 40 001 € et jusqu’à 800 000 € ; plus 21 % HT du Prix d’Adjudication à partir de 800 001 € et jusqu’à 4 500 000 € ; plus 14,5 % HT du Prix d’Adjudication pour les montants supérieurs à 4 500 000 € Des frais d’un montant de 4 % HT (plus la TVA) du prix d'adjudication seront ajoutés aux factures des enchérisseurs ayant acquis des lots via les plateformes d'enchères suivantes : Invaluable, Live Auctioneers, The Saleroom et Lot-tissimo.

Des frais d’un montant de 1.5 % HT (plus la TVA) du prix d'adjudication seront ajoutés aux factures des enchérisseurs ayant acquis des lots via la plateforme Drouot Live.

Des frais d’un montant de 3 % HT (plus la TVA) du prix d'adjudication seront ajoutés aux factures des enchérisseurs ayant acquis des lots via la plateforme Interenchères.

La Commission d’Achat et tous les autres frais dus par l’Acheteur sont soumis à la TVA au taux en vigueur, qui est actuellement de 20 %. La TVA peut également être due sur le Prix d’Adjudication du Lot, lorsqu’elle est indiquée par un symbole à côté du numéro du Lot. Voir le paragraphe 8 ci-dessous pour plus de détails.

Les Acheteurs ayant acquis leur(s) Lot(s) par l’intermédiaire d’une plateforme de vente en ligne paieront en outre : 1.8 % du Prix d’Adjudication s’ils ont enchéri via Drouot Live (Digital) 5% du Prix d’Adjudication s’ils ont enchéri via Invaluable Des frais d’entreposage et de manutention peuvent également être à la charge de l’Acheteur, comme indiqué sur la page « Informations sur la Vente » au début du Catalogue.

Droit de suite Sur certains Lots, portant la mention « AR » dans le Catalogue et qui sont vendus à un Prix d’Adjudication au moins égal à 750 €, l’Acheteur nous versera une Commission supplémentaire pour couvrir nos Frais relatifs au paiement du droits d’auteur en vertu des Réglementations le droit de suite dû des artistes.

La Commission supplémentaire correspond à un pourcentage

du Prix d’Adjudication calculé conformément au tableau cidessous, et ne devra pas dépasser 12 500 €. Prix d’Adjudication pourcentage De 0 à 50 000 € 4 %, De 50 000,01 à 200 000 € 3 %, De 200 000,01 à 350 000 € 1 %, De 350 000,01 à 500 000 € 0,5 %, Au-delà de 500 000 € 0,25 %.

8. TVA Le taux de TVA en vigueur au moment de la mise sous presse est de 20 %, mais il est susceptible d’être modifié par le gouvernement et le taux à payer sera celui en vigueur à la date de la Vente. Les symboles suivants, figurant à côté du numéro de Lot, indiquent que la TVA est due sur le Prix d’adjudication et la Commission d’achat : † TVA au taux en vigueur sur le Prix d’Adjudication et la Commission d’Achat Ω TVA sur les articles importés au taux en vigueur sur le Prix d’Adjudication et la Commission d’Achat

*

** G

•

TVA sur les articles importés à un taux préférentiel de 5.5 % sur le Prix d’Adjudication et au taux en vigueur sur la Commission d’Achat TVA supplémentaires pour les articles importés de 20 % du Prix d’Adjudication Les lingots d’or sont exonérés de la TVA sur le Prix d’Adjudication et soumis à la TVA au taux en vigueur sur la Commission d’Achat

Zéro TVA, aucune TVA ne sera ajoutée au Prix d’Adjudication ou à la Commission d’Achat Dans tous les autres cas, aucune TVA ne sera appliquée sur le Prix d’Adjudication, mais la TVA au taux en vigueur sera ajoutée à la Commission d’Achat qui sera facturée sur une base TVA incluse.

EXPORTATION - DETAXE La TVA facturée sera remboursée à l’Acheteur qui justifie de sa qualité de résident hors de l’Union Européenne, sur présentation auprès de notre service comptable, dans un délai maximum de trois mois suivant la vente de la déclaration d’exportation (DAU) du bien acquis dûment visé par le service des Douanes.

Le document d’exportation devra mentionner Bonhams France comme expéditeur et l’acheteur comme destinataire du bien.

9. PAIEMENT Il est de la plus haute importance de vous assurer que vous avez des fonds facilement disponibles pour payer le Prix d’Achat et la Commission d’Achat (plus la TVA et tous les autres Frais et dépenses qui nous sont dus) dans leur intégralité avant d’enchérir pour un Lot. Si vous êtes l’Enchérisseur gagnant, vous devez effectuer le paiement au plus tard à 16h30 le deuxième jour ouvrable suivant la Vente, de telle sorte que toutes les sommes soient compensées au plus tard le huitième jour ouvrable suivant la Vente. Les paiements effectués par une personne autre que l’Acheteur enregistré ne seront pas acceptés. Bonhams se réserve le droit de modifier les conditions de paiement à tout moment.

Le virement bancaire est le mode de paiement préféré de Bonhams. Vous pouvez transférer des fonds par voie électronique sur notre Compte. Dans ce cas, veuillez indiquer sur votre ordre de virement votre numéro de paddle et le numéro de la facture comme référence. Les coordonnées de notre Compte sont les suivantes: Banque : HSBC Adresse : BBC PARIS HAUSSMANN 26 Boulevard Malesherbes, 75008 Paris Intitulé du compte: Bonhams France SAS Numéro du compte : 09170002091 Code guichet : 00917 Numéro IBAN : FR76 3005 6009 1709 1700 0209 192 En cas de paiement par virement bancaire, le montant reçu après déduction des frais bancaires éventuels et/ou de conversion de la monnaie de paiement en euros ne doit pas être inférieur au montant en euros à payer, tel qu’indiqué sur la facture. Le paiement peut également être effectué par l’une des méthodes suivantes : Chèque personnel tiré sur une succursale française d’une banque ou d’une société de crédit immobilier : tous les chèques doivent être encaissés avant que vous puissiez retirer vos achats et doivent être libellés à l’ordre de Bonhams France SAS. Espèces : Si vous êtes résident fiscal français ou si vous agissez pour les besoins d’une activité professionnelle vous pouvez payer des Lots achetés lors de la Vente avec des billets ou des pièces de monnaie libellée dans la devise dans laquelle la Vente est conduite sous réserve que le montant total au titre de tous les Lots achetés lors de la Vente n’excède pas 1000 € TTC. Les Acheteurs qui justifient d’une résidence fiscale à l’étranger et qui n’agissent pas pour les besoins d’une activité professionnelle pourront payer leurs achats en espèces à hauteur de la somme de 3 000 € TTC. Cartes de débit au nom de l’Acheteur (y compris les cartes China Union Pay (CUP) et les cartes de débit émises par Visa et MasterCard uniquement). Il n’y a pas de plafond limitant la valeur du paiement s’il est effectué en personne en utilisant la vérification par carte à puce.

Le paiement par téléphone peut également être accepté pour un montant limité à 5 000 €, sous réserve des procédures PARIS/MAIN/V1/11.2024

de vérification appropriées, bien que cette facilité ne soit pas disponible pour les acheteurs qui achètent pour la première fois. Si le montant payable par vous pour des Lots excède cette somme, le solde devra être payé par un autre moyen.

Cartes de crédit au nom de l’Acheteur (y compris les cartes China Union Pay (CUP) et les cartes de crédit émises par Visa et MasterCard uniquement). La valeur du paiement est limitée à 5 000 € si le paiement est effectué en personne au moyen d’une vérification par carte à puce. Il est conseillé d’informer à l’avance votre fournisseur de carte de débit ou de crédit de votre achat afin de réduire les retards causés par le fait que nous devons demander une autorisation lorsque vous venez payer. Les règlements par American Express ne sont pas acceptés.

Remarque : une seule carte de débit ou de crédit peut être utilisée pour le paiement du solde. Si vous avez des questions concernant les paiements par carte, veuillez contacter notre service clients. Nous nous réservons le droit d’enquêter et d’identifier la source des fonds que nous recevons, de reporter la conclusion de la vente de tout Lot à notre discrétion pendant que nous terminons nos enquêtes, et d’annuler la vente de tout Lot si vous êtes en violation de vos garanties en tant qu’Acheteur, si nous considérons qu’une telle Vente serait illégale ou imposerait autrement des obligations au Vendeur ou à Bonhams, ou serait préjudiciable à la réputation de Bonhams.

DEFAUT DE PAIEMENT A défaut de paiement du Prix d’Adjudication et des Frais, une mise en demeure sera adressée à l’Acheteur par lettre recommandée avec avis de réception. A défaut de paiement de la somme due à l’expiration du délai d’un mois après cette mise en demeure, il sera perçu sur l’Acheteur des intérêts de retard égaux à trois fois le taux d’intérêt légal en vigueur ainsi que des frais de recouvrement d’un montant minimum de 40 euros. Tout mois de retard entamé génère l’application des pénalités. Une indemnité complémentaire pourra être réclamée lorsque les frais de recouvrement réellement exposés sont supérieurs au montant de l’indemnité forfaitaire.

L’application de cette clause ne préjuge pas de l’éventuelle mise en uvre de la procédure de réitération des enchères régie par l’article L321-14 du Code de commerce. Dans le cadre de la réitération des enchères Bonhams sera en droit de réclamer à l’adjudicataire défaillant le paiement de la différence entre le Prix d’Adjudication initial et le Prix d’Adjudication sur réitération des enchères s’il est inférieur ainsi que les coûts générés par les nouvelles enchères.

Bonhams se réserve la possibilité d’exclure de ses futures ventes, tout adjudicataire qui n’aura pas respecté les présentes Conditions de Vente.

10. RÉCUPÉRATION, ENTREPOSAGE ET DROITS DE RÉSILIATION DES CONSOMMATEURS DE L’UE L’Acheteur d’un Lot ne sera pas autorisé à le retirer avant que le paiement intégral et en fonds compensés ait été effectué (sauf si nous avons conclu un accord spécial avec l’Acheteur).

Pour la récupération et le retrait des Lots achetés, veuillez-vous reporter à la page « Informations sur la Vente » au début du Catalogue. Nos bureaux sont ouverts de 9h30 à 17h00 du lundi au vendredi. Le Catalogue donne des détails sur la récupération des Lots, leur entreposage et la Société d’Entreposage après la Vente.

11.EXPÉDITION Bonhams pourra conseiller aux Acheteurs qui le souhaitent des sociétés de transport et de transit pour procéder à l’expédition et à l’exportation de leurs achats. A cet effet, veuillez contacter notre équipe à l’adresse suivante : paris bonhams.com Il est précisé que le transport des lots est effectué aux frais et sous l’entière responsabilité de l’adjudicataire.

12. RESTRICTIONS EN MATIÈRE D’EXPORTATION ET DE COMMERCE Il est de votre seule responsabilité de vous conformer à toutes les réglementations en matière d’exportation et d’importation relatives à vos achats et également d’obtenir toute licence d’exportation et/ou d’importation nécessaire. Afin de contrôler la circulation des biens culturels, la loi n 92-1477 du 31 décembre 1992 (modifiée par celle du 10 juillet 2000) soumet les exportations hors du territoire français à des modalités particulières, applicables aux biens dont l’ancienneté et la valeur dépassent certains seuils. Le certificat d’exportation est un simple document administratif qui n’apporte aucune garantie d’authenticité du bien qu’il permet d’exporter. La demande de certificat pour un bien culturel en vue de sa libre circulation hors du territoire français ou de tous autres documents administratifs n’affecte en rien l’obligation de paiement incombant à l’acheteur.

Le besoin de licences d’importation varie d’un pays à l’autre et vous devez vous informer au sujet des exigences et dispositions locales pertinentes. Le refus de délivrance par l’Etat d’un certificat d’exportation ou d’une licence d’importation ou d’exportation ou tout retard dans l’obtention de cette licence ne permet pas d’annuler une Vente ni de retarder le paiement intégral du Lot. En règle générale, veuillez contacter notre service d’expédition avant la Vente si vous avez besoin d’aide à propos de la réglementation en matière d’exportation.

Il est rappelé que la loi punit de sanctions pénales, quiconque exporte ou tente d’exporter un bien culturel sans avoir obtenu les autorisations requises (article L 114-1 du Code du Patrimoine).

13. RÈGLEMENTATIONS DE LA CITES Veuillez noter que tous les Lots marqués du symbole sont soumis aux réglementations de la CITES (Convention de ashington relative à la protection des espèces menacées d’extinction) lors de l’exportation de ces articles en dehors de l’UE. Ces règlementations sont disponibles à l’adresse https :// cites.org https ://cites.application.developpement-durable.gouv. fr La législation différant dans Etat à l’autre, l’acheteur est tenu de vérifier la législation appliquée dans son pays d’origine avant d’enchérir. Le refus de délivrance des licences ou permis CITES et tout retard dans l’obtention de ces licences ou permis ne donnent pas lieu à l’annulation ou à la résiliation d’une vente, et n’autorisent encore moins un retard dans le paiement intégral du Lot. 14. RESPONSABILITÉ DU VENDEUR ET/OU DE BONHAMS Exception faite de toute responsabilité du Vendeur envers l’Acheteur en vertu du Contrat de Vente, ni nous-mêmes ni le Vendeur ne serons responsables de toute perte d’affaires, de profits, de revenus ou de recettes, ni de toute perte de réputation commerciale, perturbation de l’activité ou du temps perdu par la direction ou le personnel, ni de toute perte indirecte ou de tout dommage indirect ou consécutif de toute sorte, indépendamment de la nature, du volume ou de la source de la perte ou du dommage prétendument subi et indépendamment du point de savoir si cette perte ou ce dommage a été causé ou invoqué au titre d’une négligence, d’un autre quasi-délit, d’une violation contractuelle (le cas échéant), de la violation d’une obligation légale, d’une demande de restitution ou autrement. Dans le cas o nous-mêmes et/ou le Vendeur serions responsables au titre d’un Lot ou de toute Description ou Estimation d’un Lot, ou au titre de la conduite de toute vente d’un Lot, que cette responsabilité se traduise par le paiement de dommages-intérêts, d’une indemnité ou d’une contribution, ou par une action en restitution ou de toute autre manière, notre responsabilité et/ou la responsabilité du Vendeur (combinées si nous-mêmes et le Vendeur sommes responsables) seront limitées au paiement d’un montant qui n’excédera pas le montant du Prix d’Achat du Lot, indépendamment de la nature, du volume ou de la source de toute perte ou de tout dommage prétendument subi ou de la somme réclamée comme étant due, et indépendamment du point de savoir si la responsabilité découle d’une négligence, d’un autre quasi-délit, d’une violation contractuelle (le cas échéant), de la violation d’une obligation légale ou autre. Aucune des stipulations cidessus ne sera interprétée comme excluant ou restreignant (directement ou indirectement) notre responsabilité ou excluant ou restreignant les droits ou recours d’une personne au titre (i) d’une fraude, ou (ii) du décès ou d’un préjudice corporel causé par notre négligence (ou par la négligence de toute personne agissant sous notre contrôle ou dont nous sommes légalement responsables), ou (iii) de toute autre responsabilité dans la mesure o elle ne peut pas être exclue ou restreinte en vertu de la loi, ou (iv) de nos engagements en vertu des paragraphes 10 et 11 du Contrat avec l’Acheteur. Les mêmes stipulations s’appliquent au titre du Vendeur, de la même manière que si les références qui nous sont faites dans le présent paragraphe étaient remplacées par des références au Vendeur.

15. LIVRES Comme indiqué ci-dessus, tous les Lots sont vendus « en l’état », sujets à des défauts, imperfections et erreurs de Description, à l’exception de ce qui est mentionné ci-dessous. Toutefois, vous serez en droit de refuser un Livre dans les circonstances concernant les « Lots non conformes » énoncées au paragraphe 11 du Contrat avec l’Acheteur. Veuillez noter que la Commission d’Achat des Lots comprenant des Livres imprimés, des cartes non encadrées et des manuscrits reliés est exonérée de TVA. 16. HORLOGES ET MONTRES Tous les Lots sont vendus « en l’état », et l’absence d’indication sur l’état d’une horloge ou d’une montre ne signifie pas que le Lot soit en bon état et sans défauts, réparations ou restaurations nécessaires. La plupart des horloges et des montres ont été réparées au cours de leur durée de vie normale et peuvent contenir des pièces qui ne sont pas d’origine. En outre, Bonhams ne fait aucune déclaration et ne garantit pas que les horloges ou montres sont en bon état de fonctionnement.

Les horloges et les montres contiennent souvent des mécanismes fins et complexes, et les Enchérisseurs doivent donc savoir qu’un entretien général, un changement de pile ou des réparations supplémentaires, dont l’Acheteur est seul responsable, peuvent être nécessaires.

17. TAXIDERMIE ET ARTICLES CONNEXES Bonhams s’engage, pour le compte du Vendeur de ces articles, à respecter pleinement les réglementations de la Cites et du DEFRA. Il est conseillé aux Acheteurs de s’informer de toutes ces réglementations et de s’attendre à ce que l’exportation des articles nécessite un temps d’organisation.

18. BIJOUX Pierres précieuses Historiquement, de nombreuses pierres précieuses ont été soumises à divers traitements pour améliorer leur apparence. Les saphirs et les rubis sont régulièrement traités thermiquement pour améliorer leur couleur et leur clarté, et les émeraudes sont fréquemment traitées avec des huiles ou de la résine dans le même but. D’autres pierres précieuses peuvent également avoir subi des traitements comme la

coloration, l’irradiation ou le revêtement. Ces traitements peuvent être permanents, tandis que d’autres peuvent nécessiter des soins spéciaux ou un nouveau traitement au fil des ans pour conserver leur apparence. Les Enchérisseurs doivent savoir que les Estimations prennent en compte le fait que les pierres précieuses ont probablement été soumises à de tels traitements. Certains laboratoires délivrent des certificats qui donnent une Description plus détaillée des pierres précieuses.

Cependant, les différents laboratoires ne sont pas toujours d’accord sur les degrés ou les types de traitement pour une pierre précieuse particulière. Dans le cas o Bonhams a reçu ou obtenu des certificats pour un ot de la Vente, ces certificats seront présentés dans le Catalogue. Bonhams a pour politique de s’efforcer de fournir des certificats de laboratoires reconnus pour certaines pierres précieuses, mais il n’est pas toujours possible d’obtenir des certificats pour chaque Lot. Lorsqu’aucun certificat n’est publié dans le Catalogue, les Enchérisseurs doivent supposer que les pierres précieuses peuvent avoir été traitées. Ni Bonhams ni le Vendeur n’acceptent de responsabilité pour les contradictions ou les certificats différents obtenus par les Acheteurs sur tout Lot après la Vente.

Poids estimés Si le poids d’une pierre appara t dans le corps de la Description en lettres majuscules, cela signifie que la pierre a été démontée et pesée par Bonhams. Si le poids de la pierre est indiqué comme étant approximatif et n’appara t pas en majuscules, la pierre a été évaluée par nos soins dans sa monture, et le poids indiqué est une expression de notre opinion. Ces informations sont données à titre indicatif et les Enchérisseurs doivent s’assurer de leur exactitude.

Signatures Une broche en diamant, par Kutchinsky Lorsque le nom du créateur appara t dans le titre, Bonhams est d’avis que c’est l’ uvre de ce créateur.

Une broche en diamant, signée Kutchinsky, porte une signature qui, selon Bonhams, est authentique mais peut contenir des pierres précieuses qui ne sont pas originales, ou la pièce peut avoir été modifiée.

Une broche en diamant, montée par Kutchinsky a été créée par le bijoutier, selon Bonhams, mais en utilisant des pierres ou des dessins fournis par le client.

19. PHOTOGRAPHIES Explication des termes du Catalogue • « Bill Brandt » : à notre avis, il s’agit d’une uvre de l’artiste.

• « Attribuée à Bill Brandt » : à notre avis, il s’agit probablement d’une uvre de l’artiste, mais il y a moins de certitude quant à la paternité que dans la catégorie précédente ; • « Signé et/ou titré et/ou daté et/ou inscrit » : à notre avis, la signature et/ou le titre et/ou la date et/ou l’inscription sont de la main de l’artiste.

• « Signé et/ou titré et/ou daté et/ou inscrit d’une autre main » : à notre avis, la signature et/ou le titre et/ ou la date et/ ou l’inscription ont été ajoutés par une autre main. La date indiquée est celle de l’image (négatif).

Si aucune autre date n’est indiquée, cela signifie que le tirage photographique est ancien (le terme « ancien » peut également figurer dans la Description du lot). Une photographie ancienne est une photographie réalisée 5 à 10 ans environ après le négatif. Lorsqu’une deuxième date ultérieure appara t, il s’agit de la date d’impression.

Lorsque la date d’impression exacte n’est pas connue, mais qu’il est entendu qu’elle est postérieure, la mention « imprimé plus tard » appara tra dans la Description du Lot. Sauf indication contraire, les dimensions indiquées sont celles de la feuille de papier sur laquelle l’image est imprimée, y compris les marges éventuelles. Certaines photographies peuvent appara tre dans le Catalogue sans marges illustrées.

Toutes les photographies sont vendues non encadrées, sauf indication contraire dans la Description du Lot. 20. IMAGES Explication des termes du Catalogue Les termes utilisés dans le Catalogue ont la signification suivante, mais sont soumis aux dispositions générales relatives aux Descriptions contenues dans le Contrat de Vente : • « Jacopo Bassano »: à notre avis, il s’agit d’une uvre de l’artiste. Lorsque le ou les prénoms de l’artiste ne sont pas connus, une série d’astérisques, suivie du nom de famille de l’artiste, précédé ou non d’une initiale, indique qu’à notre avis l’ uvre est de l’artiste nommé ; • « Attribué à Jacopo Bassano » : à notre avis, il s’agit probablement d’une uvre de l’artiste, mais il y a moins de certitude quant à la paternité que dans la catégorie précédente ; • « Studio/Atelier de Jacopo Bassano » : à notre avis, c’est une uvre réalisée par une main inconnue dans un atelier de l’artiste qui peut ou non avoir été exécutée sous sa direction ; • « Cercle de Jacopo Bassano » : à notre avis, c’est une uvre réalisée par une main étroitement associée à l’artiste nommé mais qui n’est pas nécessairement son élève ; • « Suiveur de Jacopo Bassano » : à notre avis, c’est une uvre d’un peintre travaillant dans le style de l’artiste, contemporain ou quasi contemporain, mais qui n’est pas nécessairement son élève ; PARIS/MAIN/V1/11.2024

•

« À la manière de Jacopo Bassano » : à notre avis, c’est une uvre dans le style de l’artiste et d’une date ultérieure ; • « D’après Jacopo Bassano » : à notre avis, il s’agit d’une copie d’une uvre connue de l’artiste.

• « Signé et/ou daté et/ou inscrit » : à notre avis, la signature et/ou la date et/ou l’inscription sont de la main de l’artiste ; • « Porte une signature et/ou une date et/ou une inscription » : à notre avis, la signature et/ou la date et/ ou l’inscription ont été ajoutés par une autre main.

21. PORCELAINE ET VERRE Dommages et restauration Pour vous guider, dans nos Catalogues, nous décrivons en détail, dans la mesure du possible, tous les défauts, fêlures et restaurations importants. Ces Descriptions pratiques des dommages ne peuvent être définitives, et nos Rapports sur l’état ne garantissent pas qu’il n’existe pas d’autres défauts présents non mentionnés. Les Enchérisseurs doivent s’assurer, par le biais d’une inspection, de l’état de chaque Lot. Veuillez consulter le Contrat de Vente imprimé dans le Catalogue concerné. En raison de la difficulté à déterminer si un objet en verre a été repoli, il n’est fait mention, dans nos Catalogues, que des éclats et fêlures visibles. Il n’y a aucune indication de repolissage sévère ou autre.

22.VÉHICULES Plaques et certificats du Veteran Car Club de GrandeBretagne Lorsqu’il est fait mention d’une plaque ou d’un certificat de datation du Veteran Car Club dans ce Catalogue, il faut garder à l’esprit que le Veteran Car Club de Grande-Bretagne, qui utilise les services de Veteran Car Company Ltd, procède de temps à autre à l’examen des voitures déjà datées et, dans certains cas, lorsque de nouvelles preuves sont disponibles, cet examen peut entra ner une modification de la date. Bien que le Club et Veteran Car Company Ltd fassent tout leur possible pour garantir l’exactitude des données, la date indiquée sur la plaque ou le certificat de datation peut être approximative et les acheteurs potentiels doivent mener leurs propres enquêtes sur la date de la voiture.

23.VINS Les Lots qui se trouvent sous douane et ceux qui sont assujettis à la TVA peuvent ne pas être disponibles pour un retrait immédiat.

Examen des vins Nous organisons parfois des dégustations avant la Vente pour les grandes parcelles (telles que définies ci-dessous). Ces dégustations concernent généralement des vins récents et de consommation courante. Veuillez contacter le service concerné pour plus de détails. Notre politique n’est pas d’inspecter chaque caisse non ouverte. Dans le cas des vins de plus de 20 ans, les caisses sont généralement ouvertes et les niveaux et l’apparence sont consignés dans le Catalogue des ventes en ligne si nécessaire. Vous devez tenir compte des variations des niveaux de chambre et de l’état des bouchons, capsules et étiquettes.

Bouchons et chambres La chambre désigne l’espace entre la base du bouchon et le vin. Les niveaux de chambre pour les bouteilles de forme bordelaise ne sont normalement notés que lorsqu’ils sont sous le goulot et pour les bouteilles de forme bourguignonne, alsacienne, allemande et cognac lorsqu’ils sont supérieurs à 4 centimètres (cm). Les niveaux de chambre acceptables augmentent avec l’ ge ; les niveaux généralement acceptables sont les suivants : • Moins de 15 ans - dans le goulot ou moins de 4 cm • 15 à 30 ans - très haute épaule (THE) ou jusqu’à 5 cm • Plus de 30 ans - épaule supérieure (ES) ou jusqu’à 6 cm Il convient de noter que les chambres peuvent changer entre le moment de la publication du Catalogue et la Vente et que les bouchons peuvent s’ab mer lors du transport du vin. Nous n’acceptons de responsabilité que pour les Descriptions de l’état au moment de la publication du Catalogue et ne pouvons accepter de responsabilité pour toute perte résultant d’une défaillance des bouchons avant ou après ce moment.

Options d’achat de parcelles Une parcelle est un nombre de Lots de taille identique d’un même vin, de la même taille de bouteille et de la même Description. L’Acheteur de l’un de ces Lots a la possibilité d’accepter une partie ou la totalité des Lots restants de la même parcelle au même prix, bien que ces options soient à la seule discrétion de la Maison de vente aux enchères. Il est donc conseillé aux Enchérisseurs absents d’enchérir sur le premier Lot d’une parcelle.

Vins sous douane Les vins sous douane portent la marque .

Tous les Lots vendus sous douane, et que l’Acheteur souhaite conserver ainsi, seront facturés sans TVA ni autre taxe sur le Prix d’Adjudication. Si l’Acheteur souhaite prendre le Lot comme dédouané, les droits d’accise et la TVA seront ajoutés au Prix d’Adjudication sur la facture. Les Acheteurs doivent notifier à Bonhams, au moment de la Vente, s’ils souhaitent retirer leurs vins sous douane ou dédouanés. Si un Lot est pris sous douane, l’Acheteur sera responsable du paiement de la TVA, des droits, des frais de dédouanement et autres qui pourront être exigibles. Les Acheteurs hors de la communauté européenne doivent savoir que tout transitaire désigné pour

exporter leurs achats doit disposer d’un certificat de circulation pour les Lots à retirer sous douane.

Informations sur la mise en bouteille et les caisses Les termes ci-après utilisés dans le Catalogue ont les significations suivantes : CB Mise en bouteille au ch teau DB Mise en bouteille au domaine EstB Mise en bouteille à la propriété BB Mise en bouteille bordelaise BE Mise en bouteille en Belgique FB Mise en bouteille en France GB Mise en bouteille en Allemagne OB Mise en bouteille à Porto U Mise en bouteille au Royaume-Uniowc Caisse en bois d’origine iwc Caisse en bois individuelle oc Carton d’origine 24. ARMES Sauf exception, seuls peuvent enchérir les titulaires des autorisations nécessaires.

SYMBOLES LES SYMBOLES SUIVANTS SONT UTILISÉS POUR INDIQUER : Y Soumis aux règlementations de la CITES lors de l’exportation de ces articles en dehors de l’UE, voir le paragraphe 13 ci-dessus.

TP Les objets portant la mention TP seront situés à l’entrepôt et ne pourront être retirés qu’à cet endroit.

W Les objets portant la mention w seront situés dans l’entrepôt de Bonhams et ne pourront être retirés qu’à cet endroit.

Vins sous douane.

AR L’Acheteur nous versera une Commission supplémentaire pour couvrir nos dépenses relatives au paiement des droits d’auteur .¡ð Le Vendeur s’est vu garantir un prix minimum pour le Lot, soit par Bonhams, soit par une tierce partie.

Cela peut prendre la forme d’une enchère irrévocable par un tiers, qui peut réaliser un gain financier sur une Vente r ussie ou une perte financi re en cas d chec. ¡ø Bonhams est propriétaire du Lot en tout ou en partie ou peut y avoir un autre intérêt économique.

Ce Lot contient ou est fait d’ivoire. Le gouvernement américain a interdit l’importation d’ivoire aux tats-Unis.

Les symboles utilisés pour indiquer le statut TVA d’un Lot sont indiqués au paragraphe 8 ci-dessus.

COMPETENCE LEGISLATIVE ET JURIDICTIONNELLE Les présentes Conditions de Ventes sont régies par le droit français. Toute contestation relative à leur existence, leur validité et leur exécution qui n’aura pu être réglée à l’amiable avec Bonhams ou par l’intermédiaire du Commissaire du gouvernement près le Conseil des Maisons de ventes sera tranchée par le tribunal compétent du ressort de Paris.

Conformément à la loi, les actions en responsabilité à l’encontre de l’opérateur de ventes et de l’expert se prescrivent par 5 ans à compter de la date de la vente.

PROTECTION DES DONNÉES - UTILISATION DE VOS INFORMATIONS (RGPD) Lorsque nous obtenons des informations à caractère personnel vous concernant, nous ne les utilisons que conformément aux termes de notre Politique de confidentialité (sous réserve de tout consentement spécifique supplémentaire que vous auriez donné au moment o vos informations ont été divulguées).

L’opérateur de ventes assure la confidentialité de vos données.

Elles pourront néanmoins être communiquées aux autorités légales compétentes lorsque la règlementation l’impose. Une copie de notre Politique de confidentialité est disponible sur notre site Internet www.bonhams.com. Vous pouvez aussi la demander par courrier électronique à info bonhams.com LISTE DES DÉFINITIONS «Compte», le compte bancaire de Bonhams sur lequel toutes les sommes reçues au titre du Prix d’Achat de tout Lot seront payées.

«Commission Supplémentaire», une commission, calculée conformément à l’Avis aux Enchérisseurs, couvrant les Frais de Bonhams au titre du paiement de redevances, qui est payable par l’Acheteur à Bonhams sur tout Lot marqué AR vendu au Prix d’Adjudication et qui est égale ou supérieure, avec la Commission d’Achat (mais sans la TVA) à la somme de 1 000 Euros (convertie dans la devise de la Vente en appliquant le taux de référence de la Banque Centrale Européenne en vigueur à la date de la Vente).

«Commissaire-Priseur», le représentant de Bonhams réalisant la Vente. « Enchérisseur », une personne qui a rempli un Formulaire d’Enchères.

«Formulaire d’Enchères », notre Formulaire d’enregistrement d’enchères, notre formulaire d’Ordre d’achat ou notre formulaire de passation d’Enchères par téléphone. « Bon de Dépôt » ou Reçu par lequel le vendeur dépose à Bonhams des biens pour la vente.

«Bonhams», Bonhams France SAS, ou ses successeurs ou cessionnaires. Bonhams est également désigné dans le Contrat avec l’Acheteur, les Conditions Générales et l’Avis aux Enchérisseurs par les termes « nous » et « notre ». « Livre », un livre imprimé et proposé à la Vente lors d’une Vente de livres spécialisée. « Activité Professionnelle », comprend toute activité commerciale, artisanale et professionnelle. « Acheteur », la personne à qui le Commissaire-priseur adjuge un Lot. L’Acheteur est également désigné dans le Contrat de vente et le Contrat avec l’Acheteur par les termes « vous » et « votre ». « Contrat avec l’Acheteur », le contrat conclu entre Bonhams et l’Acheteur. « Commission d’Achat », la somme calculée sur le Prix d’Adjudication aux taux indiqués dans l’Avis aux enchérisseurs. « Catalogue », le catalogue ou le e-catalogue concernant la Vente en question, y compris toute représentation du Catalogue publiée sur notre Site Internet. « Commission », la commission payable par le Vendeur à Bonhams, calculée à des taux indiqués dans le Formulaire de Contrat. « Rapport d’état », un rapport sur l’état physique d’un Lot remis à un Enchérisseur ou Enchérisseur potentiel par Bonhams pour le compte du Vendeur. « Conditions de Vente », l’Avis aux Enchérisseurs, le Contrat de Vente, le Contrat avec l’Acheteur, les Définitions et le Glossaire. « Frais de Consignation », les frais payables à Bonhams par le Vendeur, calculés aux taux indiqués dans les Conditions Générales. « Consommateur », une personne physique qui intervient à la ente aux enchères autrement que dans l’exercice de son activité commerciale, de son Activité professionnelle ou de son métier. « Le Mandat de Vente » ou la Réquisition de Vente d’un véhicule, selon le cas, est le contrat signé par le Vendeur ou pour son compte, répertoriant les Lots confiés à Bonhams pour la Vente, comprenant notamment leur description, leur estimation, un éventuel prix de réserve et la date de la Vente. « Contrat de Vente», le contrat de vente conclu entre le Vendeur et l’Acheteur. « Description Contractuelle », la seule Description du Lot (c’està-dire le passage en caractères gras de l’Article concernant le Lot dans le Catalogue, comportant une photographie (à l’exception de la couleur) et le contenu d’un Rapport sur l’état), engageant le Vendeur, qui déclare dans le Contrat de vente que le Lot correspond à cette description. « Description », toute déclaration ou représentation qui décrit d’une certaine manière le Lot, comprenant toute déclaration ou représentation relative à la paternité d’une uvre, son attribution, son état, sa provenance, son authenticité, son style, sa période, son ge, son aptitude à une utilisation particulière, sa qualité, son origine, sa valeur ou son prix de vente estimé (y compris le Prix d’Adjudication). « Article », une déclaration écrite figurant dans le Catalogue, identifiant le Lot et le Numéro du Lot et pouvant contenir une Description et une ou plusieurs illustrations relatives au Lot. « Estimation », une déclaration exprimant notre opinion sur la fourchette de prix dans laquelle le marteau est susceptible de tomber. « Frais », les charges et frais payés ou payables par Bonhams au titre du Lot, y compris les frais juridiques, frais bancaires et autres Frais encourus à la suite d’un virement électronique d’argent, les charges et frais d’assurance, de Catalogue et autres reproductions et illustrations, tous droits de douane, frais publicitaires et d’emballage ou frais d’expédition, frais de droits de reproduction, taxes, prélèvements, coûts des essais, recherches ou enquêtes, frais de préparation du Lot à la Vente, frais d’entreposage, d’enlèvement ou de retrait, ou frais de recouvrement auprès du Vendeur, en tant que mandataire du Vendeur ou auprès de l’Acheteur défaillant, plus la TVA s’il y a lieu. « Faux », une imitation destinée par celui qui l’a faite ou par toute autre personne à induire en erreur par rapport à la paternité d’une uvre, son attribution, son origine, son authenticité, son style, sa date, son ge, sa période, sa provenance, sa culture, sa source ou sa composition et qui, à la date de la Vente, avait une valeur considérablement inférieure à celle que le Lot aurait eue s’il n’avait pas été une imitation et n’est pas indiquée comme étant une imitation dans la Description du Lot. Un Lot ne constituera pas un Faux en raison d’un dommage et/ou de travaux de restauration et/ou de modification (y compris un repeint ou surpeint) qui ont été réalisés sur le Lot, lorsque ce dommage, ces travaux de restauration ou de modification (selon le cas) ne modifient pas le Lot de manière substantielle et qu’il reste conforme à la description du Lot. « Garantie », l’obligation acceptée personnellement par Bonhams à l’égard de l’Acheteur au titre d’un Faux dans les conditions stipulées dans le Contrat avec l’Acheteur dans un délai de cinq ans à compter de la vente. « Prix d’Adjudication », le prix libellé dans la devise utilisée lors de la Vente, auquel un Lot est adjugé par le Commissaire-Priseur. « Vente Hybride », une Vente Live conduite par un CommissairePriseur, mais dans une salle d’enchères fermée, qui n’est pas ouverte au public, excepté pour un examen préalable à la Vente sur rendez-vous avec Bonhams. « Vente Live », une Vente conduite par un Commissaire- Priseur, ouverte au public à la fois pour examen et assistance à la Vente.

PARIS/MAIN/V1/11.2024

« Garantie pour Pertes et Dommage» désigne la garantie décrite au paragraphe 8.2 des Conditions Générales. « Frais de garantie pour dommages et pertes » désigne les frais décrits au paragraphe 8.2.3 des Conditions Générales. « Lot », tout bien confié à Bonhams en vue de sa Vente aux enchères ou de gré à gré (et la référence à un Lot inclut, à moins que le contexte n’exige qu’il en soit autrement, une référence aux biens individuels compris dans un groupe de deux biens ou plus proposés à la Vente en un seul Lot). « Frais de Catalogue de véhicules à moteur», des frais payables par le Vendeur à Bonhams pour tout travail supplémentaire entrepris par Bonhams pour la mise en catalogue de véhicules à moteur et pour la promotion des Ventes de véhicules à moteur. « Charges de Base », le montant de la Commission avec la TVA qui aurait été payée si le Lot avait été vendu au Prix de Base. « Frais de Base », le montant sur lequel se basent les Frais de dépôt payables à Bonhams par le Vendeur et qui sont calculés selon la formule présentée dans les Conditions Générales. « Prix de Base », la toute dernière moyenne des Estimations hautes et basses que nous vous avons données ou que nous avons indiquées dans le Catalogue ou, si aucune Estimation n’a été donnée ou indiquée, la Prix de Réserve applicable au Lot. « Avis aux enchérisseurs », l’avis imprimé en première ou dernière page de nos Catalogues. « Vente en Ligne », une Vente conduite en ligne uniquement, sans Commissaire-Priseur, avec possibilité d’examen pré-Vente, sur rendez-vous préalable avec Bonhams. « Prix d’Achat », le total formé par le Prix d’Adjudication, la TVA (si elle est applicable) sur le Prix d’Adjudication, la Commission d’Achat, la TVA sur la Commission d’Achat, et les Frais. « Prix de Réserve », le prix minimum auquel un Lot peut être vendu (que ce soit aux enchères ou de gré à gré). « Vente », la Vente aux enchères, qu’il s’agisse d’une Vente Live, d’une Vente Hybride ou d’une Vente en Ligne, durant laquelle un Lot est proposé à la Vente par Bonhams. « Produit de la Vente », le montant net dû au Vendeur suite à la Vente d’un Lot, soit le Prix d’Adjudication moins la Commission, la TVA éventuellement applicable, les Frais et tout autre montant qui nous est dû à quelque titre et pour quelque motif que ce soit. « Vendeur », la personne qui propose le Lot à la Vente et qui est nommément désignée dans le Mandat de Vente. Si cette dernière identifie une autre personne sur le contrat qui agit en tant que mandataire pour son compte, ou si la personne nommément désignée dans le Mandat de Vente agit en qualité de mandataire pour le compte d’un mandant (que ce mandat soit ou non divulgué à Bonhams), le « Vendeur » inclut à la fois le mandataire et le mandant qui seront conjointement et solidairement responsables en tant que tels. Dans les Conditions Générales, le Vendeur est également désigné par les mots « vous » et « votre ». « Examen d’un Spécialiste », l’examen visuel d’un Lot par un spécialiste du Lot. « Examen Standard », l’examen visuel d’un Lot par un membre du personnel de Bonhams non spécialiste. « Contrat d’Entreposage », signifie le contrat décrit au paragraphe 8.3.3 des Conditions Générales ou le paragraphe 4.4 du Contrat avec l’Acheteur (selon le cas). « Société d’Entreposage », signifie la société identifiée en tant que telle dans le Catalogue. « Terrorisme », signifie tout acte ou menace d’acte de terrorisme, que son auteur agisse seul, pour le compte d’une ou plusieurs organisation(s) et/ou gouvernement(s) ou avec ces derniers, et qu’il soit commis pour des raisons politiques, religieuses, idéologiques ou similaires, y compris, mais sans caractère limitatif, dans l’intention d’in uencer un gouvernement et/ou de faire peur au public ou à une partie du public. « TVA », la Taxe sur la valeur ajoutée au taux applicable en vigueur à la date de la Vente.. « Site Internet » le site de Bonhams à l’adresse suivante : www. bonhams.com. « Avis de retrait », l’avis écrit du Vendeur à Bonhams révoquant les instructions données à Bonhams de vendre un Lot. « Sans Réserve », le cas dans lequel il n’existe aucun prix minimum pour vendre un Lot (que ce soit aux enchères ou de gré à gré).

GLOSSAIRE Les expressions suivantes ont des significations juridiques particulières que vous pourriez ne pas conna tre. Le glossaire qui suit est conçu pour vous permettre de comprendre ces expressions mais n’entend pas limiter leur signification juridique : « Droit de Suite » : le droit du créateur d’une uvre d’art de percevoir un paiement sur chaque revente de cette uvre après sa vente initiale par son créateur, Le taux du droit de suite est calculé par application d’un barème dégressif fonction du montant de la vente conformément à l’article R 122-6 du Code de la propriété intellectuelle « Taxe Forfaitaire » : Taxe sur les métaux précieux, les bijoux, les objets, de collection et d’antiquité, prévue par les articles 150 VI à 150 VM du CGI.

« Dépositaire » : une personne à qui les biens sont confiés. « Obligation d’indemnisation » : l’obligation de mettre la personne qui bénéficie de cette obligation dans la même situation que celle o elle se trouverait si les circonstances donnant lieu à l’obligation d’indemnisation ne s’étaient pas produites et le terme « indemniser » doit être interprété par analogie. « Action en revendication » : une procédure judiciaire qui vise à déterminer la propriété ou les droits sur un Lot. « Adjugé » : la vente d’un Lot à un Enchérisseur, indiquée par la tombée du marteau lors de la Vente. « Droit de rétention » : le droit de la personne qui détient le Lot de conserver sa possession. « Risque » : la possibilité qu’un Lot puisse être perdu, endommagé, détruit, volé ou que son état soit détérioré ou sa valeur dégradée. « Titre de propriété » : le droit, en vertu de la loi et de l’équité, à la propriété d’un Lot. « Quasi-délit » : un délit civil commis au préjudice d’une personne envers laquelle son auteur est tenu d’une obligation de diligence. « Garantie » : une assurance ou promesse, ayant valeur juridique, sur laquelle la personne à laquelle la garantie a été donnée est en droit de se fonder.

2.1.2

2.1.3

2.1.4

2.1.5.

ANNEXE 1 CONTRAT DE VENTE ENTRE L’ACHETEUR, BONHAMS FRANCE SAS ET LE VENDEUR SI LE LOT EST OFFERT À LA VENTE DANS LE CADRE D’UNE VENTES AUX ENCHÈRES LIVE OU HYBRIDE

2.1.6

IMPORTANT : Les termes du présent contrat peuvent tre modifiés préalablement la Vente du Lot votre profit, par la publication de Conditions de Vente différentes dans le Catalogue et/ou l’ajout d’un texte dans le Catalogue, et/ ou l’affichage d’avis sur le lieu de la Vente et/ou sur le Site Internet de Bonhams et/ou par des annonces verbales faites avant et durant la Vente sur le lieu de cette dernière. Vous devez être conscient de la possibilité de ces changements, être vigilant sur ce point et demander avant d’enchérir si des changements sont intervenus.

Aux termes du présent contrat, Bonhams et le Vendeur encourent une responsabilité limitée au titre de la qualité du Lot, de son aptitude à un usage particulier et de sa conformité par rapport à sa Description éventuelle. Nous vous recommandons vivement d’examiner vous-même le Lot et/ ou d’obtenir un examen indépendant de celui-ci avant de l’acheter.

1

LE CONTRAT DE VENTE

1.1.

Le Contrat de Vente du Lot par le Vendeur au profit de l’Acheteur est régi par les stipulations suivantes, ainsi que par les clauses et conditions applicables aux Enchérisseurs et aux Acheteurs stipulées dans l’Avis aux Enchérisseurs.

Les Définitions et Glossaire figurant au paragraphe 22 des Conditions Générales font partie intégrante du présent Contrat de Vente et une copie séparée de ceux-ci peut également être fournie par Bonhams sur demande. La définition des termes commençant par une majuscule qui sont employés dans le présent Contrat figure dans la rubrique Définition et Glossaire .

Le Vendeur vend le Lot en qualité de mandant du Contrat de Vente, étant précisé que ce contrat est conclu entre le Vendeur et vous-même par l’intermédiaire de Bonhams, lequel agit exclusivement en qualité de mandataire du Vendeur et non en qualité de mandant supplémentaire. Toutefois, si le Catalogue indique que Bonhams vend le Lot en tant que donneur d’ordre/mandant, ou si une telle déclaration est faite par une annonce du Commissaire-Priseur, par un avis sur le lieu de Vente ou par une insertion dans le Catalogue, Bonhams sera alors le Vendeur pour les besoins du présent contrat.

Le contrat est conclu à la tombée du marteau du Commissaire-Priseur lorsque le Lot vous est Adjugé.

1.2

1.3

1.4 2.

ENGAGEMENTS ET GARANTIES DU VENDEUR

2.1 2.1.1

Le Vendeur vous déclare et garantit ce qui suit: le Vendeur est le propriétaire du Lot ou est dûment autorisé par le propriétaire à le vendre

sauf mention contraire de l’Article consacré au Lot dans le Catalogue, le Vendeur vend le Lot en garantissant un titre de propriété parfait sur le Lot, ou, si le Vendeur est un exécuteur testamentaire, un administrateur fiduciaire, un liquidateur, un séquestre ou un administrateur judiciaire, avec tous les droits, titres ou intérêts qu’il peut détenir sur le Lot ; excepté si la Vente est faite par un exécuteur testamentaire, un administrateur fiduciaire, un liquidateur, un séquestre ou un administrateur judiciaire, le Vendeur est à la fois légalement en droit de vendre le Lot et légalement capable de vous conférer la jouissance paisible du Lot; le Vendeur s’est conformé à toutes les exigences, légales ou autres, relatives à toute exportation ou importation du Lot et tous les droits de douane et taxes concernant l’exportation ou l’importation du Lot ont (sauf stipulation contraire du Catalogue ou d’une annonce du Commissaire-priseur) été réglés et, à la connaissance du Vendeur, toutes les tierces parties se sont conformées à ces exigences par le passé ; les objets consignés par le Vendeur ne sont pas liés à, ou ne proviennent pas d’une activité criminelle quelconque, y compris, sans caractère limitatif, le vol, le recel, la fraude fiscale, le blanchiment de capitaux ou le financement du terrorisme ou ne violent pas des sanctions imposées en matière de commerce international; sous réserve de toute modification expressément identifiée en tant que telle par une annonce durant la Vente, un avis sur le lieu de Vente, un avis aux enchérisseurs, une insertion dans le Catalogue ou sur le site Internet de Bonhams, le Lot correspond à la Description contractuelle du Lot, c’est-à-dire la description qui figure dans le passage en caractères gras de l’Article consacré au Lot dans le Catalogue, et (exception faite de la couleur) est conforme à toute photographie du Lot figurant dans le Catalogue.

3.

DESCRIPTIONS DU LOT

3.1

Le paragraphe 2.1.6. définit ce qui constitue la Description contractuelle du Lot. En particulier, le Lot n’est pas vendu comme correspondant à la partie de l’Article dans le Catalogue qui n’est pas imprimée en caractères gras, laquelle expose simplement (pour le compte du Vendeur) l’opinion de Bonhams au sujet du Lot et ne fait pas partie de la Description contractuelle servant de base à la vente du Lot. De la même manière, ne fait pas partie de la Description contractuelle servant de base pour la vente du Lot toute déclaration ou assertion autre que ce passage de l’Article visé au paragraphe 2.1.6 (avec toute modification expresse de celle-ci, telle que visée au paragraphe 2.1.6), y compris toute Description ou toute Estimation, qu’elle soit faite verbalement ou par écrit, dans le Catalogue, ou sur le Site Internet de Bonhams, ou qu’elle découle d’une certaine conduite ou autrement, et qu’elle soit faite par ou pour le compte du Vendeur ou de Bonhams, avant ou pendant la Vente.

Sauf stipulation contraire du paragraphe 2.1. 6 et sans préjudice des provisions du paragraphe 14, le Vendeur ne fait, ne donne ou ne prend, et ne s’oblige respectivement à faire, donner ou prendre aucune promesse contractuelle, aucun engagement, aucune obligation, aucune garantie, aucune assurance ni aucune déclaration factuelle, et il n’assume aucune obligation de diligence, en relation avec toute Description du Lot ou toute Estimation de celui- ci, ou à propos de l‘exactitude ou du caractère exhaustif d’une Description ou Estimation pouvant avoir été faite par le Vendeur ou pour son compte, y compris par Bonhams. Aucune de ces Descriptions ou Estimations n’est jointe au présent Contrat de vente.

3.2.

4.

APTITUDE À UN USAGE PARTICULIER ET QUALITÉ SATISFAISANTE

4.1

Le Vendeur ne fait, ne donne ou ne prend, et ne s’oblige respectivement à faire, donner ou prendre aucune promesse contractuelle, aucun engagement, aucune obligation, aucune garantie, aucune assurance ni aucune déclaration factuelle à propos de la qualité satisfaisante du Lot ou son aptitude à un usage particulier.

Le Vendeur ne sera pas tenu responsable de toute violation d’un engagement, se rapportant à la qualité satisfaisante du Lot ou son aptitude à un usage particulier.

4.2

PARIS/MAIN/V1/11.2024

5.

RISQUE, PROPRIÉTÉ ET TITRE

5.1

Le Risque concernant le Lot vous est transféré à la date à laquelle ce dernier vous est Adjugé par la tombée du marteau du Commissaire-Priseur.

Par la suite, le Vendeur ne sera pas responsable du Lot pendant toute la période qui s’écoulera jusqu’à ce que vous le récupériez chez Bonhams ou la Société d’Entreposage avec laquelle vous avez conclu un ou plusieurs contrats distincts en tant qu’Acheteur. Vous indemniserez le Vendeur et le garantirez intégralement contre toutes réclamations, toutes procédures et tous coûts, dépenses et pertes qui découleraient de tout dég t, perte et dommage subi par le Lot après la tombée de marteau du Commissaire-priseur.

Le contrat entre le Vendeur, l’Acheteur, et Bonhams est conclu au moment de l’adjudication. Néanmoins, le lot ne vous sera remis qu’après complet paiement du Prix d’Achat et toutes les autres sommes dont vous êtes redevable auprès de Bonhams au titre du Lot aient été intégralement payés et réception en fonds compensés par Bonhams, et après que (ii) Bonhams ait terminé ses investigations en vertu de l’article 6.10.

5.2

6.

PAIEMENT

6.1

A moins qu’il n’en soit convenu autrement par écrit entre vous et Bonhams ou à moins qu’il n’en soit décidé autrement dans l’Avis aux Enchérisseurs, vous devrez payer à Bonhams, au plus tard, le second jour ouvrable suivant la Vente, à 16h30 : - Le Prix de Vente du Lot ; - La Commission, conformément aux tarifs décrits dans l’Avis aux enchérisseurs pour chaque lot et ; - Si le Lot est marqué AR , une Commission additionnelle, calculée et payable conformément à l’Avis aux Enchérisseurs, en sus de la TVA sur la somme, le cas échéant.

De telle manière que toutes les sommes qui nous sont dues soient reçues, en fonds compensés, au plus tard le septième jour ouvrable après la Vente.

Vous devez également régler à Bonhams tous les Frais payables conformément au présent Contrat de Vente.

Votre obligation de régler le Prix d’Achat nait au moment o le Lot vous est Adjugé à la tombée du marteau du Commissaire-Priseur relativement au Lot. Le respect des délais fixés pour le paiement du Prix d’Achat et de toutes les autres sommes que vous devez payer à Bonhams constitue une condition déterminante du présent contrat. À moins d’un accord écrit entre vous et Bonhams pour le compte du Vendeur (auquel cas vous devez respecter les termes de cet accord), vous devrez payer toutes ces sommes à Bonhams dans la devise de la Vente, au plus tard à 16H30 le second jour ouvré suivant la Vente et vous devrez vous assurer que les fonds sont compensés au plus tard le septième jour ouvré suivant la Vente.

Le paiement doit être effectué au profit de Bonhams par l’une des méthodes indiquées dans l’Avis aux Enchérisseurs, sauf convention contraire écrite entre vous et Bonhams. Si vous ne payez pas les sommes dues conformément à ce paragraphe, le Vendeur aura les droits stipulés au paragraphe 8 ci-après.

Les factures ne seront adressées qu’à l’Acheteur enregistré, sauf si l’Acheteur agit comme le mandataire, le porte-fort ou l’agent d’un mandant et que Bonhams a approuvé cet arrangement, auquel cas Bonhams adressera les factures au mandant.

Si plusieurs Lots vous ont été attribués, toutes les sommes que Bonhams recevra de vous seront imputées au prorata, en premier ordre, sur le Prix d’Achat de chaque Lot et, en second ordre, au prorata à toutes les sommes que vous devez à Bonhams.

Vous nous assurez que ni vous-même ni -si vous êtes une société-, vos administrateurs, vos dirigeants ou votre propriétaire ou ses administrateurs ou actionnaires, n’êtes une personne physique ou une entité qui est, ou est détenue ou contrôlée par des personnes physiques ou des entités qui sont, à la date de signature du présent contrat : - soumise(s) à des sanctions administrées ou appliquées par l’Office of Foreign Assets Control du Département américain du Trésor, l’U.S. Departure of State, le Conseil de sécurité des Nations Unies, l’Union européenne, le Trésor britannique ou toute autre autorité ayant imposé de telles sanctions (« Sanctions » et « Partie Sanctionnée ») ; ou - située(s), immatriculée(s) ou résidente(s) dans un pays ou un territoire qui fait l’objet, ou dont le gouvernement fait l’objet, de Sanctions, y compris, sans caractère limitatif, l’Iran, la Corée du nord, le Soudan et la Syrie.

6.2 6.3 6.4

6.5

6.6

6.7

Vous garantissez que les fonds utilisés lors de la Vente ne sont pas liés à une activité criminelle quelconque, y compris, sans caractère limitatif, le vol, le recel, la fraude fiscale, le blanchiment de capitaux ou le financement du Terrorisme et que vous n’êtes pas concerné par une enquête pénale et que vous n’avez pas été inculpé, prévenu ou condamné en rapport avec une quelconque activité criminelle.

Si vous agissez en qualité de mandataire pour une autre partie (« votre Mandant »), vous nous garantissez que : - vous avez procédé à une vérification appropriée des informations fournies par votre Mandant, afin de vous assurer qu’il ne fait pas l’objet de Sanctions et en vertu des lois et règlements sur la lutte contre le blanchiment de capitaux ; - votre Mandant n’est pas une Partie Sanctionnée et n’est pas détenu, partiellement détenu ou contrôlé par une Partie Sanctionnée et vous n’avez aucune raison de soupçonner que votre Mandant a été inculpé, prévenu ou condamné pour blanchiment de capitaux, terrorisme ou autres crimes ou délits ; - les objets acquis par vous ou par votre Mandant ne sont pas acquis ou utilisés de quelque manière que ce soit en rapport avec ou pour faciliter la violation des lois et règlementations applicables en matière fiscale, de blanchiment des capitaux ou antiterroristes ; et - vous consentez à ce que Bonhams se fie à votre vérification des informations fournies par votre Mandant, et vous vous engagez à conserver les documents correspondants pendant 5 ans au moins, et à les mettre à la disposition d’un auditeur indépendant pour examen, si nous vous en faisons la demande.

Bonhams se réserve le droit de procéder à des enquêtes à propos de toute personne concluant une transaction avec Bonhams et d’identifier la source de tous fonds reçus de l’Acheteur. Si Bonhams n’a pas achevé à sa satisfaction ses investigations au titre de la lutte contre le blanchiment de capitaux et le financement du terrorisme ou d’autres infractions financières et les contrôles d’identité vous concernant ou concernant l’Acheteur, Bonhams pourra, à sa discrétion, conserver les Lots et/ou les produits de la Vente, différer ou annuler toute Vente, et prendre toutes autres mesures requises ou permises en vertu de la loi applicable, sans encourir aucune responsabilité envers vous.

7.5

7.

RÉCUPÉRATION DU LOT

8.1.5

7.1

Sauf convention contraire écrite conclue entre vous et Bonhams, le Lot vous sera remis ou sera remis selon vos instructions uniquement lorsque (i) Bonhams aura reçu, en fonds compensés, le montant intégral du Prix d’Achat et toutes autres sommes que vous devrez au Vendeur et à Bonhams, et (ii) Bonhams aura terminé ses investigations en vertu de l’article 6.10. Le Lot ne sera remis que sur production d’un reçu, obtenu auprès du bureau de caisse de Bonhams.

Sujet à l’article 7.1, vous devez retirer le Lot à vos propres frais à la date et l’heure spécifiées dans l’Avis aux Enchérisseurs ou, si aucune date n’est spécifiée, le septième jour ouvrable après la Vente, à 16h30.

Le Lot peut être retiré à l’adresse renseignée dans l’Avis aux Enchérisseurs. Au-delà de la date et l’heure spécifiées dans l’Avis aux Enchérisseurs, le Lot pourra être retiré à un autre endroit et vous devrez vous enquérir auprès de Bonhams de la date et de l’heure à laquelle vous pourrez le retirer, bien que cette information sera, dans la plupart des cas, renseignée dans l’Avis aux Enchérisseurs.

6.8

6.9

6.10

7.2

7.3

7.4.

Si vous n’avez pas retiré le Lot à la date spécifiée dans l’Avis aux Enchérisseurs, vous autorisez Bonhams, agissant, dans ce cas, en votre nom et pour votre compte, à conclure un contrat (le « Contrat d’Entreposage ») avec une Société d’Entreposage pour l’entreposage du Lot, aux conditions standard alors en vigueur, convenues entre Bonhams et la Société d’Entreposage, et dont nous vous fournirons un exemplaire sur simple demande. Nous pouvons également décider d’entreposer le Lot dans nos locaux et, dans cette éventualité, des frais d’entreposage seront payables, à notre taux journalier en vigueur (actuellement, un minimum de 3 € plus la TVA par Lot et par jour) à partir de l’expiration de la période définie au paragraphe 7.2. Ces frais d’entreposage constituent des Frais payables à Bonhams.

7.6

7.7

7.8

usqu’à ce que vous ayez payé complètement le Prix d’Achat et tous les Frais, le Lot sera soit détenu par Bonhams en sa qualité d’agent du Vendeur ou détenu par la Société d’Entreposage agissant en qualité d’agent du Vendeur et de Bonhams selon les termes du Contrat d’Entreposage.

Vous vous engagez à vous conformer aux termes du Contrat d’Entreposage et en particulier à régler les Frais (et tous les coûts relatifs au déplacement du Lot pour entreposage) dus en vertu du Contrat d’Entreposage. Vous reconnaissez et acceptez que vous ne pourrez récupérer le Lot des locaux de la Société d’Entreposage tant que vous n’aurez pas payé complètement le Prix d’Achat et tous les frais et coûts dus en vertu du Contrat d’Entreposage.

Vous serez pleinement responsable de l’emballage, de la manutention et du transport du Lot à récupérer et du respect de toutes les réglementations en matière d’importation ou d’exportation applicables au Lot. Vous serez pleinement responsable de l’enlèvement, de l’entreposage ou des autres charges et Frais encourus par le Vendeur ou Bonhams si vous ne retirez pas le Lot conformément au présent paragraphe 7.2 et devrez les indemniser des Frais (y compris tous les coûts dus aux termes du Contrat d’Entreposage).

Toutes ces sommes dues au Vendeur et Bonhams devront être payées sur demande et, en tout état de cause, avant tout retrait du Lot par vous ou en votre nom et pour votre compte.

8.

NON-PAIEMENT DU LOT

8.1

Si le Prix d’Achat d’un Lot n’est pas intégralement réglé à Bonhams dans le délai de trois mois de la vente, le vendeur sera habilité, avec l’accord écrit préalable de Bonhams, de plein droit à exercer, à son entière discrétion, un ou plusieurs des droits suivants) : résilier le Contrat de Vente du Lot au motif de votre violation de ce contrat ; revendre le Lot aux enchères, de gré à gré ou par tout autre moyen en vous notifiant l’intention de revendre moyennant un préavis écrit de sept jours ; dans le cadre d’une réitération des enchères, Bonhams sera en droit de réclamer à l’adjudicataire défaillant le paiement de la différence entre le prix d’adjudication initial et le prix d’adjudication sur réitération des enchères s’il est inférieur; conserver la possession du Lot ; retirer et entreposer le Lot à vos frais ;

8.1.1 8.1.2

8.1.3 8.1.4

8.1.6

8.1.7

8.1.8

8.1.9

8.1.10

8.1.11

agir en justice contre vous directement pour obtenir le paiement de toute somme due au titre du Contrat de Vente et/ou pour obtenir des dommages-intérêts pour violation de contrat; recevoir les intérêts de toutes sommes dues (tant avant qu’après le prononcé d’un jugement ou d’une ordonnance) à un taux égal à trois fois le taux d’intérêt légal en vigueur, les intérêts étant calculés sur une base journalière à partir de la date à laquelle lesdites sommes sont devenues payables et jusqu’à la date de parfait paiement ; conserver la possession de tout autre bien qui vous a été vendu par le Vendeur lors de la Vente, lors de toute autre enchère ou lors d’une vente de gré à gré, jusqu’au règlement intégral en fonds compensés de toutes les sommes dues au titre du Contrat de Vente ; conserver la possession, l’un de vos autres biens se trouvant en possession du Vendeur et/ ou de Bonhams (en tant que dépositaire du Vendeur) à tout effet (y compris, sans caractère limitatif, d’autres biens vous ayant été vendus) ; et tant que ces biens resteront en possession du Vendeur ou de Bonhams agissant en qualité de dépositaire, annuler le Contrat de Vente de tout autre bien que le Vendeur vous aura vendu lors de la Vente, de toute autre vente aux enchères ou de gré à gré, et affecter toutes les sommes que vous aurez reçues pour ces biens au règlement partiel ou total de tous montants que vous devrez au Vendeur ou à Bonhams. d’imputer toute somme reçue de vous pour quelque motif que ce soit, au moment de votre défaut d’exécution ou à n’importe quel autre moment, en tant que paiement total ou partiel de toutes les sommes que vous devez à Bonhams aux termes du présent Contrat; moyennant un préavis de trois mois, de vendre, Sans Prix de Réserve, tout autre bien vous appartenant et qui serait sous le contrôle ou en la possession de Bonhams pour quelque raison (y compris d’autres biens que nous vous avons vendus ou que vous nous chargez de vendre) et d’imputer toutes les sommes qui vous sont dues en vertu de cette Vente en tant que paiement total ou partiel de toutes les sommes que vous devez à Bonhams ; PARIS/MAIN/V1/11.2024

8.1.12

8.1.13

8.2

8.3

refuser de vous autoriser à vous enregistrer pour une future Vente ou rejeter une enchère que vous feriez pour une future Vente ou exiger que vous payiez une caution avant d’accepter une enchère pour une future Vente, auquel cas, Bonhams sera autorisée à imputer cette caution en tant que paiement total ou partiel, le cas échéant, du Prix d’Achat de n’importe quel Lot dont vous êtes l’Acheteur ; après avoir consenti des efforts raisonnables pour vous informer, de donner votre nom et adresse au Vendeur, afin qu’il puisse prendre les mesures appropriées pour recouvrir les montants dus et les frais associés à ces mesures.

10.2 10.2.1

Vous vous obligez à indemniser Bonhams et le Vendeur de tous les frais juridiques et autres coûts d’exécution, de toutes les pertes et autres Frais et coûts (y compris toutes sommes payables à Bonhams afin d’obtenir la restitution du Lot) encourus par le Vendeur (que des procédures judiciaires soient ou non engagées) à la suite des mesures prises par Bonhams en vertu du paragraphe 8, sur une base d’indemnisation totale avec les intérêts y afférents (tant avant qu’après le prononcé d’un jugement ou d’une ordonnance) au taux spécifié au paragraphe 8.1.6, à partir de la date à laquelle le Vendeur est tenu de les payer et jusqu’à votre règlement.

Lors de toute revente du Lot conformément au paragraphe 8.1.2, Bonhams vous rendra compte de tout solde restant sur les montants qu’il aura reçus ou qui auront été reçus pour son compte au titre du Lot, après paiement de toutes les sommes dues au Vendeur et à Bonhams, dans les 28 jours suivant la réception desdites sommes par lui ou pour son compte. Si vous payez à Bonhams seulement une partie des sommes que vous lui devez, ce paiement sera imputé, en premier ordre, sur le Prix d’Adjudication du Lot et la TVA sur celui-ci (ou, si vous avez acheté plus d’un Lot, au prorata sur le Prix d’Adjudication et la TVA sur chaque Lot) et, en second ordre, sur la Commission d’Achat et la TVA sur celle-ci (ou, si vous avez acheté plus d’un Lot, au prorata sur la Commission d’Achat et la TVA sur chaque Lot) et, en troisième ordre, sur toute autre somme due à Bonhams.

10.3 10.3.1

9

REVENDICATIONS DE TIERS RELATIVEMENT AUX LOTS

9.1

Lorsqu’il devient apparent à Bonhams que le Lot est sujet à revendication de la part d’une autre personne que vous ou que le Vendeur (ou que Bonhams peut raisonnablement s’attendre à ce qu’une telle revendication soit faite), Bonhams peut, à son entière discrétion, user du Lot d’une manière conforme à ses intérêts légitimes et ceux des autres parties impliquées et licitement défendre ses positions et intérêts légitimes. Sans préjudice de la généralité de ce qui précède et à titre d’exemples, Bonhams pourra: Retenir le Lot pour investiguer toute question soulevée ou que Bonhams peut raisonnablement s’attendre à être soulevée en rapport avec le Lot et/ou; Solliciter des mesures de n’importe quelle juridiction, arbitre, médiateur ou autorité administrative par voie de demande principale, incidente, additionnelle, reconventionnelle, en intervention forcée ou conservatoire, etc. et/ou ; Exiger de vous le versement d’une indemnité ou d’une caution en échange de l’introduction d’une action au sujet de laquelle vous marquez votre accord.

La discrétion à laquelle Bonhams fait référence au paragraphe 9.1 : - Peut être exercée à n’importe quel moment pendant lequel Bonhams dispose de la possession physique ou juridique du Lot ou à n’importe quel autre moment après cette possession, lorsque la cessation de la possession s’est produite en raison d’une décision ou injonction de n’importe quelle juridiction, médiateur, arbitre ou autorité administrative et ; - Ne sera pas exercée, à moins que Bonhams ne pense qu’il existe des moyens sérieux pouvant être soulevés en faveur de la revendication.

9.1.1 9.1.2

9.1.3 9.2

10

FAUX

10.1

Bonhams garantit l’authenticité des lots proposés dans ses ventes pendant une durée de 5 ans à compter de la date de la vente et assumera toute responsabilité pour tout Faux, conformément aux termes et conditions du ce paragraphe 10.

10.2.2

10.2.3

10.3.2

10.4

10.5

10.6 10.7

11

Le paragraphe 10 s’applique uniquement si: votre nom est celui qui apparait sur la facture adressée par Bonhams en rapport avec le Lot et cette facture a été payée; Vous adressez une réclamation à Bonhams dans le délai de 5 ans à compter de la vente, par écrit, immédiatement après avoir pris connaissance du fait que le Lot puisse être un Faux; Dans un délai d’un mois après qu’une telle notification a été faite, vous renvoyez à Bonhams le Lot dans le même état que celui dans lequel il était au moment de la Vente, accompagné de la preuve écrite du fait que le Lot est un Faux et ainsi que des détails de la Vente et du numéro de Lot suffisant pour pouvoir l’identifier.

Le paragraphe 10 ne s’appliquera pas si : L’Article se rapportant au Lot contenu dans le Catalogue re était l’opinion alors généralement acceptée des connaisseurs et experts ou indiquait clairement qu’une telle opinion était discutée ou re était l’opinion en vigueur d’un expert considéré comme éminent dans le domaine pertinent ou ; Il ne peut être établi que le Lot est un Faux qu’au moyen de procédés qui n’ont été généralement acceptés qu’après la publication du Catalogue ou au moyen de procédés que Bonhams ne pouvait pas être raisonnablement requise d’employer.

Vous autorisez Bonhams à employer tous procédés et effectuer tous les tests qu’elle considèrera nécessaires pour déterminer si le Lot est un Faux, à son entière discrétion.

Si Bonhams est convaincu que le Lot est un Faux, Bonhams résiliera la vente du Lot en question et Bonhams vous remboursera un montant égal à la somme du Prix d’Achat, de la Commission d’Achat, de la TVA et des Frais que vous avez payés pour acquérir le Lot. Le bénéfice du paragraphe 10 vous est personnel et n’est pas transférable.

Vous perdrez le bénéfice du paragraphe 10, si vous vendez ou aliénez d’une quelconque manière vos droits sur le Lot.

Si Bonhams est convaincu que le Lot est un Lot non-conforme, Bonhams résiliera la vente du Lot et vous transfèrerez la propriété du Lot en question à Bonhams et Bonhams vous remboursera un montant égal à la somme du Prix d’Achat, de la Commission d’Achat, de la TVA et des Frais que vous avez payés pour acquérir le Lot. Le bénéfice du paragraphe 12 vous est personnel et n’est pas transférable. Vous perdrez le bénéfice du paragraphe 12, si vous vendez ou aliénez d’une quelconque manière vos droits sur le Lot. 12

RESPONSABILITÉ DU VENDEUR

12.1

Le Vendeur ne sera pas responsable de tout préjudice, perte ou dommage causé par le Lot après la tombée du marteau du Commissaire- priseur pour le Lot.

12.1.1

le Vendeur ne sera pas responsable de toute perte d’affaires, de profits, de revenus ou de recettes à caractère commercial, ni de toute perte de réputation commerciale, perturbation de l’activité ou du temps perdu par la direction ou le personnel, ni de toute perte indirecte ou de tout dommage indirect ou consécutif de toute sorte, indépendamment de la nature, du volume ou de la source de la perte ou du dommage prétendument subi, et indépendamment du point de savoir si cette perte ou ce dommage a été causé ou invoqué au titre d’une négligence, d’un autre uasi-délit, d’une violation contractuelle, de la violation d’une obligation légale, de la violation d’une obligation du dépositaire, d’une demande de restitution ou autre ; dans le cas o le Vendeur serait responsable envers vous au titre d’un Lot, ou au titre de tout acte, omission, déclaration ou assertion à cet égard, ou au titre du présent contrat ou de son exécution, que cette responsabilité se traduise par le paiement de dommages- intérêts, d’une indemnité ou d’une contribution, ou par une action en restitution ou de toute autre manière, la responsabilité du Vendeur sera limitée au paiement d’un montant qui n’excédera pas le montant du Prix d’Achat du Lot, indépendamment de la nature, du volume ou de la source de toute perte ou dommage prétendument subi ou de la somme réclamée comme étant due, et indépendamment du point de savoir si la responsabilité découle d’une négligence, d’un autre quasi-délit, d’une violation contractuelle, de la violation d’une obligation légale, de la violation d’une obligation du dépositaire, d’une demande de restitution ou autre ;

12.1.2

TEXTES OU ILLUSTRATIONS MANQUANTS D’UN LIVRE Lorsque le Lot est composé en tout ou en partie d’un Livre ou de Livres et qu’un Livre ne contient pas de texte ou d’illustrations (dans tous les cas, désigné comme un « Lot non-conforme »), Bonhams engage sa responsabilité personnelle en rapport avec un tel Lot non-conforme, pendant une durée de cinq ans à compter de la vente, conformément aux termes du présent paragraphe, si : - La facture originale vous a été adressée par Bonhams en rapport avec le Lot et cette facture a été payée et ; - Vous adressez une réclamation à Bonhams, par écrit, immédiatement après avoir pris connaissance du fait que le Lot puisse être un Lot non-conforme et, en tout état de cause, dans un délai de 5 ans à dater de la Vente et ; - vous renvoyez à Bonhams le Lot dans le même état que celui dans lequel il était au moment de la Vente, accompagné de la preuve écrite du fait que le Lot est un Lot non-conforme et des détails de la Vente et du numéro de Lot suffisant pour pouvoir l’identifier.

Mais pas si : - L’Article se rapportant au Lot contenu dans le Catalogue indique que les droits prévus dans ce paragraphe ne s’appliquent pas à ce Lot ; - L’Article se rapportant au Lot contenu dans le Catalogue re était l’opinion alors généralement acceptée des connaisseurs et experts ou indiquait clairement qu’une telle opinion était discutée ou ; - Il ne peut être établi que le Lot est un Lot nonconforme qu’au moyen de procédés qui n’ont été généralement acceptés qu’après la publication du Catalogue ou au moyen de procédés que Bonhams ne pouvait pas être raisonnablement requise d’employer ou ; - Le Lot comprend des atlas, cartes, autographes, manuscrits, livres illustrés, de la musique ou des publications périodiques ou ; - Le Lot était listé dans le Catalogue sous la catégorie « collections » ou « collections et divers » ou le Catalogue indiquait que le Lot comprenait ou contenait une colllection, un numéro ou des Livres qui ne sont pas décrits ou le texte ou les illustrations manquantes sont référencées ou le Livre contient des espaces vides, des demi-titres ou des publicités.

12.2

Aucune des stipulations du paragraphe 12. ne sera interprétée comme excluant ou restreignant (directement ou indirectement) la responsabilité d’une personne ou excluant ou restreignant les droits ou recours d’une personne au titre (i) d’une fraude ou (ii) du décès ou d’un préjudice corporel causé par une négligence du Vendeur (ou de toute personne agissant sous le contrôle du Vendeur ou dont le Vendeur est légalement responsable), ou (iii) de toute autre responsabilité dans la mesure o elle ne peut pas être exclue ou restreinte en vertu de la loi.

13

STIPULATIONS DIVERSES

13.1

Vous ne pouvez céder ni le bénéfice ni la charge du Contrat de Vente.

Le fait par le Vendeur de ne pas exercer, y compris par voie d’exécution forcée ou de tarder à exercer, y compris par voie d’exécution forcée, tout pouvoir ou droit en vertu du Contrat de Vente ne constituera pas ou ne sera pas réputé constituer un abandon de ses droits à cet égard, excepté dans la mesure o le Vendeur y aura renoncé expressément en vous remettant un acte écrit de renonciation. Une telle renonciation n’affectera pas la capacité ultérieure du Vendeur à exercer, y compris par voie d’exécution forcée, tout droit découlant du Contrat de Vente.

Si l’une ou l’autre des parties au Contrat de Vente est dans l’incapacité d’exécuter les obligations qui lui incombent en vertu du Contrat de Vente, en raison de circonstances échappant à son contrôle raisonnable (y compris, sans caractère limitatif, une intervention gouvernementale, un con it collectif du travail, une insurrection, un état de guerre (déclaré ou non), des actes de Terrorisme, une panne d’alimentation

13.2

13.3

PARIS/MAIN/V1/11.2024

13.4

13.5

13.6

13.7.

13.8 13.9 13.10 13.11

13.12

14

électrique, une épidémie ou une catastrophe naturelle) ou si l’exécution de ses obligations donne lieu à un surcoût financier important du fait de ces circonstances et tant que celles-ci prévaudront, cette partie ne sera pas tenue d’exécuter ces obligations.

Ce paragraphe ne s’applique pas aux obligations qui vous sont imposées par le paragraphe 6.

Toute notification ou autre communication devant être signifiée en vertu du Contrat de Vente doit revêtir la forme écrite et peut être remise en main propre ou envoyée par courrier prioritaire, par courrier avion ou par télécopie, envoyé, si le Vendeur en est le destinataire, c/o Bonhams à son adresse ou à son numéro de fax indiqué dans le Catalogue (à l’attention du Secrétaire Général de la Société), et, si vous en êtes le destinataire, à l’adresse ou au numéro de fax de l’Acheteur indiqué dans le Formulaire d’Enchères (à moins d’un avis de changement d’adresse notifié par écrit). Il appartient à l’expéditeur de la notification ou de la communication de s’assurer qu’elle a bien été reçue de manière lisible et dans les délais applicables.

Si une clause ou toute partie d’une clause du Contrat de Vente s’avère non exécutoire ou nulle, ce caractère non exécutoire ou cette nullité n’affectera pas le caractère exécutoire ou la validité des autres clauses ou le reste de la clause concernée.

Les références faites dans le Contrat de Vente à Bonhams visent également, le cas échéant, les dirigeants, employés et agents de Bonhams, ainsi que toute filiale de Bonhams Holdings Limited et ses dirigeants, employés et agents.

Les titres figurant dans le Contrat de vente répondent uniquement à un souci de commodité et n’auront pas d’effet sur son interprétation.

Dans le Contrat de Vente, « y compris » signifie « y compris sans caractère limitatif ».

Les références au singulier incluent également le pluriel (et vice versa) et toute référence à un genre vise également l’autre genre.

La référence à un paragraphe numéroté renvoie à un paragraphe du Contrat de Vente.

Exception faite de ce qui est expressément stipulé au paragraphe 10.12, aucune stipulation du Contrat de Vente ne confère (ou ne prétend conférer) à une personne qui n’est pas partie à ce contrat, un avantage découlant du Contrat de Vente ou le droit de rechercher l’exécution forcée de l’une quelconque des stipulations du Contrat de Vente.

Si le Contrat de Vente confère une immunité et/ ou une exclusion ou une restriction de la responsabilité et/ou des obligations incombant au Vendeur, il s’appliqueraégalement en faveur et au profit de Bonhams, de la société holding de Bonhams et des filiales de cette société holding ainsi que des successeurs et ayants-droit de Bonhams et de ces sociétés, et de tout dirigeant, employé et agent de Bonhams et de ces sociétés.

DROIT APPLICABLE Toutes les transactions auxquelles le Contrat de Vente est applicable et toutes les questions connexes seront régies et interprétées conformément au droit français et le Vendeur et vous-même vous soumettez chacun à la compétence exclusive des tribunaux de Paris; par exception à ce principe, le Vendeur pourra engager une procédure à votre encontre devant tout autre tribunal compétent dans la mesure permise par la loi applicable dans le ressort de ce tribunal. Bonhams a mis en place une procédure de traitement des réclamations disponible auprès du Secrétaire Général de la Société. Conformément à la loi, les actions en responsabilité civile engagées à l’occasion des ventes volontaires de meubles aux enchères publiques se prescrivent par cinq ans à compter de l’adjudication.

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TERMS AND CONDITIONS OF SALE These Terms and Conditions of Sale and their Annexe 1 (Sale Agreement between The Buyer, Bonhams France SAS, and The Seller) and the Definitions and Glossary constitute a whole and are binding on all persons participating in The Sale, whether attendees at the auction, Bidders (online, in person or by telephone), Potential Bidders and prospective Buyers of the Lot). For convenience, we refer to these persons as “Bidders” or “you”. ords and expressions in italics in these Terms of Sale are explained in the List of Definitions.

IMPORTANT: Additional information applicable to the Sale may also appear in the Sale Catalogue, in a note inserted in the Catalogue and/or in a note displayed at the place of Sale, and it is your responsibility to read these as well. Announcements concerning the Sale may also be made orally before or during the Sale without prior written notice. ou should be aware of the possibility that changes may be made to the conditions of the Sale, be alert to this and as , before bidding, whether any such changes have been made.

By registering to participate in our sales and/or bidding you agree to these Terms and Conditions of Sale.

1. OUR ROLE In its role as lot Adjudicator, Bonhams is authorized by the Seller to act solely for and in the interest of the Seller.

Bonhams does not act on behalf of, nor provide advice to, Buyers or Bidders. If Bonhams or a member of its staff ma es any representations about a Lot, or if Bonhams provides a Condition Report about a Lot, such representations will be made, or such report will be prepared on behalf of the Seller of the Lot. Bidders and Buyers who do not themselves have expert nowledge of the Lots are strongly advised to see and obtain independent advice on the Lots and their value, before bidding on them.

The Seller has authorized Bonhams to sell the Lot as agent on its behalf and, unless expressly agreed otherwise, Bonhams is acting exclusively as agent for the Seller. Any representation or statement made by us in respect of a Lot is made on behalf of the Seller and not on our behalf, unless Bonhams is selling a Lot as principal, and any Contract of Sale is between the Buyer and the Seller and not between the Buyer and ourselves.

If Bonhams sells a Lot as principal, this will be stated in the Catalogue or in an Auctioneer’s announcement to that effect or in a notice displayed at the place of Sale or inserted in the Catalogue. If you are the last Bidder for a Lot and therefore purchase it, Bonhams will enter into a contract with you as Buyer under the terms of the Buyer’s Contract, attached as Appendix 1 to the Catalogue, which will govern the relationship between Bonhams and yourself in your capacity as Buyer.

2. LOTS Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. A photograph or illustration may not re ect an accurate reproduction of the colour(s) or true condition of the Lot. Lots are available for inspection prior to the Sale, and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, bac ground, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. Parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition.

Electronic or mechanical items or parts are sold for their artistic, historic, or cultural interest and may not operate or may not comply with current statutory requirements. ou should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before doing so. Such items which are unsuitable for connection are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. e can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests.

Please as our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as

corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry.

Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thin s the Hammer Price for the Lot is li ely to fall; it is not an Estimate of value. It does not consider any VAT or Buyer’s Premium payable or any other fees payable by the Buyer, which are detailed in paragraph 7 of the Terms and Conditions of Sale.

Prices depend upon bidding, and lots can sell for Hammer Prices below and above the Estimates, so Estimates should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may as Bonhams for a Condition Report on the Lot’s general physical condition. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. As this is offered additionally and without charge, Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. The Condition Report represents Bonhams’ reasonable opinion as to the Lot’s general condition in the terms stated in the specific report, and Bonhams does not represent or guarantee that a Condition Report includes all aspects of the internal or external condition of the Lot. Neither does the Seller owe or agree to owe you as a Bidder or Buyer any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you.

The Seller’s responsibility to you The Seller does not ma e or agree to ma e any representation of fact or contractual promise, guarantee or warranty and underta es no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or li ely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you ou have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams underta es no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere. ou should not suppose that such examinations, investigations, or tests have occurred.

Bonhams does not ma e or agree to ma e any representation of fact and underta es no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot or as to the anticipated or li ely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND OU MUST FORM OUR O N OPINION IN RELATION TO IT. OU ARE STRONGL ADVISED TO E AMINE AN LOT OR HAVE IT E AMINED ON OUR BEHALF BEFORE THE SALE. 4. CONDUCT OF THE SALE Our Sales are public auctions, which people can attend. e reserve the right, at our sole discretion, to refuse access to our premises or to any Sale and to remove any person from our premises and auction rooms, without having to state the reason. e may at our sole and absolute discretion decide to proceed with the Sale, to include any Lot in the Sale, and how the Sale shall be conducted, and we may offer the Lots for Sale in any order we choose, notwithstanding the numbers assigned to the Lots in the Catalogue. ou should therefore chec the date and time of commencement of the Sale, and whether any Lots have been withdrawn from or added late to the Sale.

Indeed, such late withdrawals or additions may alter the time at which a Lot you are interested in is put up for Sale. We may, at our sole and absolute discretion, refuse any bid, increase any bidding step as we deem appropriate, split any Lot, combine

two Lots, withdraw any Lot from a Sale and, before the Sale has ended, re-auction any Lot. Auctions can exceed 100 Lots per hour and bidding increments are generally around 10%; however, these figures vary from Sale to Sale and from Auctioneer to Auctioneer. Contact the department organizing the Sale for advice on this point. If a Reserve Price has been set for a Lot, the Auctioneer may, at his absolute discretion, place bids (up to an amount not equal to or greater than this Reserve Price) on behalf of the Seller. e shall not be liable to you for the presence or absence of a Reserve Price in respect of any Lot. If a Reserve Price has been fixed, it shall not be higher than the lowest Estimate made in the Catalogue, assuming that the currency of the Reserve Price has not uctuated unfavourably in relation to the currency of the Estimate. The Buyer shall be the Bidder who ma es the highest bid acceptable to the Auctioneer for a Lot (subject to any applicable Reserve Price), and to whom the Lot is awarded by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be decided by the Auctioneer in his absolute discretion. All bids placed will relate to the Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This tool is provided for your convenience only and is an approximate estimate of the countervalue of a given bid in certain currencies. e accept no responsibility for any errors that may occur when using the currency converter. e may use video cameras to record the Sale and may record telephone calls for security purposes, and to help resolve disputes that may arise in respect of bids placed at the Sale. e may use screens on which images of the Lots are projected. This service is provided to allow a better view of the Lots during the Auction. The image projected on the screen should be considered as a mere indication of the Lot concerned. It should be noted that all bids placed will relate to the Lot number announced by the Auctioneer. e accept no responsibility for any errors that may occur in the use of the screen.

RIGHT OF PRE-EMPTION The French State has a right of pre-emption on cultural goods sold. The State may substitute itself for the last bidder within fifteen days of the Sale.

5. BIDDING ou must complete and deliver to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form to bid at our Sales.

If you are a new client at Bonhams or have not recently updated your registration details with us, you must pre-register to bid at least two wor ing days before the Sale at which you wish to bid. ou will be required to provide government-issued proof of identity and residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, government issued proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. e may also request a financial reference and /or deposit from you before allowing you to bid. e reserve the rights at our discretion to request further information to complete our client identification and to decline to register any person as a Bidder, and to decline to accept their bids if they have been so registered. e also reserve the rights to postpone completion of the Sale of any Lot at our discretion while we complete our registration and identification enquiries, and to cancel the Sale of any Lot if you are in breach of your warranties as Buyer, or if we consider that such Sale would be unlawful or otherwise cause liabilities for the Seller or Bonhams or be detrimental to Bonhams’ reputation.

Bidding in person So long as you have pre-registered to bid or have updated your existing registration recently, you should come to our Bidder registration des at the Sale venue and fill out a Registration and Bidding Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. ou will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. ou should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding, please return your paddle to the Bidder registration des .

Bidding by telephone If you wish to bid at the Sale by telephone and have preregistered to bid or have updated your existing registration details recently, please complete a Registration and Bidding Form, which is available from our offices or in the Catalogue.

Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to chec with our Bids Office that your bid has been received.

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Telephone calls will be recorded. The telephone bidding facility is a discretionary service offered at no additional charge and may not be available in relation to all Lots. e will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Please contact us for further details.

Bidding by post or fax Absentee Bidding Forms can be found in the bac of this Catalogue and should be completed and sent to the office responsible for the Sale once you have pre-registered to bid or have updated your existing registration details recently. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received ta es preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please chec your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to chec with our Bids Office that your bid has been received.

This additional service is complimentary and is confidential.

Such bids are made at your own ris , and we cannot accept liability for our failure to receive and/or place any such bids.

All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. here appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Visit our website at http://www. bonhams.com, which gives full details on how to bid via the Internet. Bonhams will not be liable for any delays, interruptions, or other inabilities to bid, caused by loss of Internet connection, failure, or malfunction of the or malfunction of the website or the bidding process, software, systems, computers or mobile devices.

Bidding through an agent Bids will be treated as placed exclusively by and on behalf of the person named on the Bidding Form unless otherwise agreed by us in writing in advance of the Sale. If you wish to bid on behalf of another person (your principal) you must complete the pre-registration requirements set out above both on your own behalf and with full details of your principal, and we will require written confirmation from the principal confirming your authority to bid. ou are specifically referred to your due diligence requirements concerning your principal and their source of funds, and the warranties you give in the event you are the Buyer, which are contained in paragraph 3 of the Buyer’s Agreement, set out at Appendix 1 at the bac of the Catalogue.

Nevertheless, as the Bidding Form explains, any person placing a bid as agent on behalf of another (whether or not he has disclosed that fact) will be jointly and severally liable with the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Equally, please let us now if you intend to nominate another person to bid on your behalf at the Sale unless this is to be carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the agency arrangements in writing before the Sale, we are entitled to assume that the person bidding at the Sale is bidding on his own behalf.

Accordingly, the person bidding at the Sale will be the Buyer and will be liable to pay the Hammer Price and Buyer’s Premium and associated charges. If we approve the identity of your client in advance, we will be able to address the invoice to your principal rather than you. e will require proof of the agent’s client’s identity and residence in advance of any bids made by the agent on his behalf. Please refer to our Conditions of Business and contact our Customer Services Department for further details.

Bonhams underta es Customer Due Diligence (CDD) into its Sellers and Buyers as required by the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (“the Regulations”). Bonhams’ interpretation of the Regulations and Treasury Approved industry Guidance is that CDD under the Regulations is not required by Buyers into Sellers at Bonhams auctions or vice versa. In accordance with Article L221-28 of the French Consumer Code, the successful bidder does not benefit from the right of withdrawal following the Sale.

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND BONHAMS On the Lot being noc ed down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the bac of the Catalogue. ou will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. This is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the bac of the Catalogue. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder including the warranties as to your status and source of funds. e may change the terms of either or both agreements in advance of their being

entered, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. It is your responsibility to ensure you are aware of the up-to-date terms of the Buyer’s Agreement for this Sale.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE

BY THE BUYER Under the terms of the Buyer’s Agreement, the Buyer shall pay us a commission (the Purchase Commission) in accordance with the terms of the said Contract and at the rates set out below, calculated by reference to and payable in addition to the Auction Price.

For this Sale, Buyers will pay the following rates of Purchase Commission for each Lot purchased: 28% ex-VAT of the Auction Price for a price between €1 and €40,000; Plus 27% (excl. VAT) of the hammer price from €40,001 up to €800,000; plus 21% (excl. VAT) of the Auction Price from €800,001 up to €4,500,000; plus 14.5% (excl. VAT) of the Auction Price for amounts more than €4,500,000.

A 3rd party bidding platform fee of 4% (plus VAT) of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers - Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.

A 3rd party bidding platform fee of 1.5 % (plus VAT) of the Hammer Price for Buyers using the bidding platform Drouot Live will be added to the invoices of successful Buyers A 3rd party bidding platform fee of 3 % (plus VAT) of the Hammer Price for Buyers using the bidding platform Interenchères will be added to the invoices of successful Buyers The Purchase Commission and all other fees payable by the Buyer are subject to VAT at the current rate of 20%. VAT may also be payable on the Lot Hammer Price, when indicated by a symbol next to the Lot number. See paragraph 8 below for further details.

Buyers who have purchased their Lot(s) via an online sales platform will also pay: 1.8% of the Hammer Price if they bid via Drouot Live (Digital) 5% of the Hammer Price if they bid via Invaluable.

Storage and handling charges may also be payable by the Buyer, as indicated on the “Sale Information” page at the beginning of the Catalogue.

Artist’s Resale Rights On certain Lots, mar ed “AR” in the Catalogue and which are sold at an Hammer Price of at least €750, the Buyer will pay us an additional Commission to cover our Costs relating to the payment of royalties in accordance with the Regulations on Artists’ Resale Rights. The Additional Commission corresponds to a percentage of the Hammer Price calculated in accordance with the table below and shall not exceed €12,500.

Hammer Price’s percentage: From 0 to 50,000 € 4%, From €50,000.01 to €200,000 3%, From €200,000.01 to €350,000 1%, From €350,000.01 to €500,000 0.5%, Above €500,000 0.25%.

8. VAT The prevailing rate of VAT at the time of going to press is 20%, but this is subject to government change and the rate payable will be the rate in force on the date of the Sale.

The following symbols, shown beside the Lot number, are used to denote that VAT is due on the Hammer Price and Buyer’s Premium: † VAT at the prevailing rate on Hammer Price and Buyer’s Premium VAT on imported items at the prevailing rate on Hammer Price and Buyer’s Premium * VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer’s Premium ** Additional VAT for imported items of 20% of the Hammer Price G Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer’s Premium Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer’s Premium In all other instances no VAT will be charged on the Hammer Price, but VAT at the prevailing rate will be added to Buyer’s Premium which will be invoiced on a VAT inclusive basis.

EXPORT - TAX EXEMPTION Invoiced VAT will be reimbursed to the Buyer who can prove that he/she is resident outside the European Union, upon presentation to our accounting department, within a maximum period of three months following the Sale, of the export

declaration (DAU) for the item purchased, duly stamped by the Customs Department.

The export document must mention Bonhams France as the consignor and the buyer as the consignee of the item.

9. PAYMENT It is of the utmost importance that you ensure that you have funds readily available to pay the Purchase Price and Purchase Commission (plus VAT and all other Fees and expenses due to us) in full before bidding for a Lot. If you are the winning Bidder, you must ma e payment no later than 4.30pm on the second wor ing day following the Sale, so that all monies are cleared no later than the eighth wor ing day following the Sale.

Payments made by anyone other than the registered Buyer will not be accepted. Bonhams reserves the right to change the terms of payment at any time. Bank transfer is Bonhams’ preferred method of payment. ou may transfer funds electronically to our Account. In this case, please indicate your paddle number and invoice number as references on your transfer order. Our Account details are as follows: Ban : HSBC Address: BBC PARIS HAUSSMANN 26 Boulevard Malesherbes, 75008 Paris Account’s name: Bonhams France SAS Account’s number: 09170002091 Counter code: 00917 IBAN number: FR76 3005 6009 1709 1700 0209 192 If paying by ban transfer, the amount received after the deduction of any ban fees and/or conversion of the currency of payment to pounds sterling must not be less than the sterling amount payable, as set out on the invoice.

Payment may also be made by one of the following methods: Personal cheque drawn on a French branch of a bank or building society: all cheques must be cashed before you can collect your purchases and must be made payable to Bonhams France SAS. Cash: If you are a French tax resident or if you are acting for the needs of a professional activity, you may pay for Lots purchased at the Sale with ban notes or coins denominated in the currency in which the Sale is conducted, provided that the total amount for all Lots purchased at the Sale does not exceed €1,000 inclusive of tax. Buyers who can prove that they are resident abroad for tax purposes and who are not acting during a business may pay for their purchases in cash up to a maximum of €3,000 including VAT. Debit cards issued in the name of the Buyer (including China Union Pay (CUP) cards and debit cards issued by Visa and MasterCard only). There is no limit on payment value if payment is made in person using Chip Pin verification.

Payment by telephone may also be accepted up to 5,000, subject to appropriate verification procedures, although this service is not available to first-time buyers. If the amount payable by you for Lots exceeds that sum, the balance must be paid by other means.

Credit cards in the Buyer’s name (including China Union Pay (CUP) cards and credit cards issued by Visa and MasterCard only). The value of the payment is limited to €5,000 if the payment is made in person using chip card verification. It is advisable to inform your debit or credit card provider of your purchase in advance to reduce delays caused by the fact that we must request authorization when you come to pay.

American Express payments are not accepted.

Note: only one debit or credit card may be used to pay the balance. If you have any questions about card payments, please contact our customer service. e reserve the right to investigate and identify the source of any funds received by us, postpone the completion of the sale of any Lot at our discretion while we complete our investigations, and to cancel the sale of any Lot if you are in breach of your warranties as a Buyer, if we consider that such a Sale would be illegal or would otherwise impose obligations on the Seller or Bonhams, or would be prejudicial to the reputation of Bonhams.

DEFAULT OF PAYMENT In the event of non-payment of the Hammer Price and Costs, formal notice will be sent to the Buyer by registered letter with ac nowledgement of receipt. In the event of non-payment of the sum due at the end of a period of one month following this formal notice, the Buyer will be charged late payment interest equal to three times the legal interest rate in force, as well as collection costs of a minimum of 40 euros. Penalties will be applied for each month of delay. An additional indemnity may be claimed if the recovery costs actually incurred exceed the amount of the fixed indemnity. the amount of the fixed indemnity.

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The application of this clause does not prejudice the possible implementation of the auction reopening procedure governed by article L321-14 of the French Commercial Code. Bonhams will be entitled to claim from the defaulting bidder the payment of the difference between the initial Hammer Price and the Hammer Price upon re-bidding, if lower, as well as the costs generated by the new auctions. Bonhams reserves the right to exclude from future sales any successful bidder who fails to comply with these Terms and Conditions.

10. RECOVERY, STORAGE AND CANCELLATION RIGHTS FOR EU CONSUMERS The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to the “Sale Information” section at the front of the Catalogue. Our offices are open 9.00am 5pm Monday to Friday. Details relating to the collection of a Lot, its storage and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPING Bonhams may advise Buyers who wish to do so on the use of transport and transit companies for the shipment and export of their purchases. Please contact our team at the following address: paris bonhams.com It is specified that the transport of lots is at the expense and under the entire responsibility of the successful bidder.

12. EXPORT/TRADE RESTRICTIONS It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any necessary export and/or import licences. In order to control the circulation of cultural goods, the French law no. 92-1477 of December 31st 1992 (amended by the law of uly 10th 2000) subjects exports from French territory to special conditions, applicable to goods whose age and value exceed certain thresholds.

The export licence is simply an administrative document that provides no guarantee of the authenticity of the item it enables to be exported. Applying for a licence for a cultural object with a view to its free circulation outside French territory or for any other administrative documents in no way affects the buyer’s obligation to pay. The need for import licences varies from country to country and you should inform yourself about the relevant local requirements and provisions. Refusal to issue an export licence or an import or export licence or any delay in obtaining such a licence does not allow a Sale to be cancelled or full payment for the Lot to be delayed. As a general rule, please contact our shipping department prior to the Sale if you require assistance with export regulations. Please note that the law punishes by criminal sanctions anyone who exports or attempts to export a cultural object without having obtained the required authorisations (article L 114-1 of the French Heritage Code).

13. CITES REGULATIONS Please note that all Lots mar ed with the symbol are subject to CITES ( ashington Convention for the Protection of Endangered Species) regulations when exporting these items outside the EU. These regulations are available at https :// cites.org https ://cites.application.developpement-durable.gouv.fr As legislation differs from one country to another, it is the buyer’s responsibility to chec the legislation applied in his country of origin before bidding. Refusal to issue CITES licences or permits and any delay in obtaining such licences or permits shall not give rise to the cancellation or termination of a sale, nor shall it authorise any delay in the full payment of the Lot. 14. THE SELLERS AND/OR BONHAMS’ LIABILITY Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any ind, irrespective in any case of the nature, volume or source of any indirect or consequential damages of any ind, regardless of the nature, volume or source of the loss or damage allegedly suffered and regardless of whether such loss or damage was caused or claimed under negligence, another quasi-tort, a breach of contract (if any), a breach of a legal obligation, a request for restitution or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitution remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum

the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise.

Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) any other liability to the extent the same may not be excluded or restricted as a matter of law or (iv) our underta ings under paragraphs 10 and 11 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Boo in the circumstances set out in paragraph 11 of the Buyer’s Agreement. Please note that Lots comprising printed Boo s, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES All Lots are sold “as is”, and the absence of any reference to the condition of a cloc or watch does not imply that the Lot is in good condition and without defects, repairs, or restorations.

Most cloc s and watches have been repaired during their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams ma es no representation or warranty that any cloc or watch is in wor ing order. As cloc s and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair wor , for which the Buyer is solely responsible, may be necessary.

17. TAXIDERMY AND RELATED ITEMS Bonhams underta es, on behalf of the Seller of these items, to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and to expect that the export of items may require some time for organization.

18. JEWELLERY Gemstones Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones.

These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments.

A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However, there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. If Bonhams has been given or has obtained certificates for any Lot in the Sale these certificates will be disclosed in the Catalogue.

Although, as a matter of policy, Bonhams endeavours to provide certificates from recognised laboratories for certain gemstones, it is not feasible to obtain certificates for each Lot. If no certificate is published in the Catalogue, Bidders should assume that the gemstones may have been treated. Neither Bonhams nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots after the Sale.

Estimated Weights If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by Bonhams. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves about this information as to its accuracy.

Signatures 1. A diamond brooch, by Kutchinsky hen the ma er’s name appears in the title, in Bonhams’ opinion the piece is by that ma er.

2. A diamond brooch, signed Kutchinsky Has a signature that, in Bonhams’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

3. A diamond brooch, mounted by Kutchinsky Has been created by the jeweller, in Bonhams’ opinion, but using stones or designs supplied by the client.

19. PHOTOGRAPHS Explanation of Catalogue Terms

“Bill Brandt”: in our opinion a wor by the artist.

“Attributed to Bill Brandt”: in our opinion probably a wor by the artist, but less certainty to authorship is expressed than in the preceding category.

“Signed and/or titled and/or dated and/or inscribed”: in our opinion the signature and/or title and/or date and/or inscription are in the artist’s hand.

“Signed and/or titled and/or dated and/or inscribed in another hand”: in our opinion the signature and/or title and/or date and/or inscription have been added by another hand.

The date given is that of the image (negative). here no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot Description). A vintage photograph is one which was made within approximately 5-10 years of the negative. here a second, later date appears, this refers to the date of printing. here the exact printing date is not nown, but understood to be later, “printed later” will appear in the Lot Description.

Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the Catalogue without margins illustrated.

All photographs are sold unframed unless stated in the Lot Description.

20. PICTURES Explanation of Catalogue Terms The following terms used in the Catalogue have the following meanings but are subject to the general provisions relating to Descriptions contained in the Contract for Sale: “Jacopo Bassano”: in our opinion a wor by the artist. hen the artist’s forename(s) is not nown, a series of asteris s, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the wor is by the artist named; “Attributed to Jacopo Bassano”: in our opinion probably a wor by the artist but less certainty as to authorship is expressed than in the preceding category; “Studio/Workshop of Jacopo Bassano”: in our opinion a wor by an un nown hand in a studio of the artist which may or may not have been executed under the artist’s direction; “Circle of Jacopo Bassano”: in our opinion a wor by a hand closely associated with a named artist but not necessarily his pupil; “Follower of Jacopo Bassano”: in our opinion a wor by a painter wor ing in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; “Manner of Jacopo Bassano”: in our opinion a wor in the style of the artist and of a later date; “After Jacopo Bassano”: in our opinion, a copy of a nown wor of the artist; “Signed and/or dated and/or inscribed”: in our opinion the signature and/or date and/or inscription are from the hand of the artist; “Bears a signature and/or date and/or inscription”: in our opinion the signature and/or date and/or inscription have been added by another hand.

21. PORCELAIN AND GLASS Damage and Restoration For your guidance, in our Catalogues we attempt to detail, as far as practicable, all significant defects, crac s and restoration.

Such practicable Descriptions of damage cannot be definitive, and in providing Condition Reports, we cannot guarantee that there are no other defects present which have not been mentioned. Bidders should satisfy themselves by inspection, as to the condition of each Lot. Please see the Contract for Sale printed in this Catalogue.

Because of the difficulty in determining whether an item of glass has been repolished, in our Catalogues reference is only made to visible chips and crac s. No mention is made of repolishing, severe or otherwise.

22. VEHICLES The Veteran Car Club of Great Britain Dating Plates and Certificates hen mention is made of a Veteran Car Club Dating Plate or Dating Certificate in this Catalogue, it should be borne in mind that the Veteran Car Club of Great Britain using the services of Veteran Car Company Ltd, does from time to time, review cars already dated and, in some instances, where fresh evidence becomes available, the review can result in an alteration of date. hilst the Club and Veteran Car Company Ltd ma e every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should ma e their own enquiries as to the date of the car.

23. WINE Lots which are lying under Bond and those liable to VAT may not be available for immediate collection.

Examining the wines It is occasionally possible to provide a pre-Sale tasting for PARIS/MAIN/V1/11.2024

larger parcels (as defined below). This is generally limited to more recent and everyday drin ing wines. Please contact the department for details.

It is not our policy to inspect every unopened case. In the case of wines older than 20 years the boxes will usually have been opened and levels and appearance noted in the Catalogue where necessary. ou should ma e proper allowance for variations in ullage levels and conditions of cor s, capsules, and labels.

Corks and Ullages Ullage refers to the space between the base of the cor and the wine. Ullage levels for Bordeaux shaped bottles are only normally noted when below the nec and for Burgundy, Alsace, German and Cognac shaped bottles when greater than 4 centimetres (cm). Acceptable ullage levels increase with age; generally acceptable levels are as follows: Under 15 years old into nec or less than 4cm 15 to 30 years old top shoulder (ts) or up to 5cm Over 30 years old high shoulder (hs) or up to 6cm It should be noted that ullages may change between publication of the Catalogue and the Sale and that cor s may fail because of transporting the wine. e will only accept responsibility for Descriptions of condition at the time of publication of the Catalogue and cannot accept responsibility for any loss resulting from failure of cor s either before or after this point.

Options to buy parcels A parcel is a number of Lots of identical size of the same wine, bottle size and Description. The Buyer of any of these Lots has the option to accept some or all the remaining Lots in the parcel at the same price, although such options will be at the Auctioneer’s sole discretion. Absentee Bidders are, therefore, advised to bid on the first Lot in a parcel.

Wines in Bond ines lying in Bond are mar ed . All Lots sold under Bond, and which the Buyer wishes to remain under Bond, will be invoiced without VAT or Duty on the Hammer Price. If the Buyer wishes to ta e the Lot as Duty paid, U Excise Duty and VAT will be added to the Hammer Price on the invoice.

Buyers must notify Bonhams at the time of the sale whether they wish to ta e their wines under Bond or Duty paid. If a Lot is ta en under Bond, the Buyer will be responsible for all VAT, Duty, clearance, and other charges that may be payable thereon.

Buyers outside the U must be aware that any forwarding agent appointed to export their purchases must have a movement certificate for Lots to be released under Bond.

Bottling Details and Case Terms The following terms used in the Catalogue have the following meanings: CB Ch teau bottled DB Domaine bottled EstB Estate bottled BB Bordeaux bottled BE Belgian bottled FB French bottled GB German bottled OB Oporto bottled U United ingdom bottled owc original wooden case iwc individual wooden case oc original carton 24. WEAPONS ith certain exceptions, only holders of the necessary authorizations may bid.

SYMBOLS THE FOLLOWING SYMBOLS ARE USED TO DENOTE Y Subject to CITES regulations when exporting these items outside the EU, see paragraph 13 above.

TP Items mar ed TP will be in the warehouse and can only be removed from there.

W Items mar ed w will be in the Bonhams warehouse and may only be removed there.

Bonded ines.

AR The Buyer will pay us an additional Commission to cover our expenses in relation to the payment of royalties. ¡ð The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may ta e the form of an irrevocable bid by a third party, who may realise a financial gain on a successful Sale or a financial loss in the event of failure. ¡ø Bonhams owns the Lot in whole or in part or may have some other economic interest in it.

This Lot contains or is made of ivory. The US government has banned the import of ivory into the United States.

The symbols used to indicate the VAT status of a Lot are set out in paragraph 8 above.

LEGISLATIVE AND JURISDICTIONAL COMPETENCE These Conditions of Sale are governed by French law. Any dispute relating to their existence, validity and performance which cannot be settled amicably with Bonhams or through the intermediary of the Government Commissioner to the Conseil

des Maisons de Ventes shall be settled by the competent court in Paris. In accordance with the law, liability claims against the auctioneer and the expert lapse after 5 years from the date of the Sale.

DATA PROTECTION – USE OF YOUR INFORMATION hen we obtain personal information about you, we will only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent you may have given at the time your information was disclosed). The sales operator will eep your information confidential. It may, however, be disclosed to the relevant legal authorities when required to do so by law. A copy of our Privacy Policy is available on our website www.bonhams.com. ou can also request a copy by e-mail from info bonhams.com LIST OF DEFINITIONS “Account” the ban account of Bonhams into which all sums received in respect of the Purchase Price of any Lot will be paid.

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations which is payable by the Buyer to Bonhams on any Lot mar ed AR which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Ban Reference rate prevailing on the date of the Sale).

“Auctioneer” the representative of Bonhams conducting the Sale.

“Bidder” a person who has completed a Bidding Form.

“Bidding Form” our Bidding Registration Form, our Absentee Bidding Form or our Telephone Bidding Form.

“Bonhams” SAS Bonhams France or its successors or assigns. Bonhams is also referred to in the Buyer’s Agreements, the Conditions of Business and the Notices to Bidders by the words “we”, “us” and “our”.

“Book” a printed Boo offered for Sale at a specialist Boo Sale.

“Business” includes any trade, Business and profession.

“Buyer” the person to whom a Lot is noc ed down by the Auctioneer. The Buyer is also referred to in the Contract for Sale and the Buyer’s Agreements by the words “you” and “your”.

“Buyer’s Agreement” the contract entered into by Bonhams with the Buyer.

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in the Notice to Bidders.

“Catalogue” the Catalogue or e-catalogue relating to the relevant Sale, including any representation of the Catalogue published on our ebsite.

“Commission” the Commission payable by the Seller to Bonhams calculated at the rates stated in the Contract Form.

“Condition Report” a report on the physical condition of a Lot provided to a Bidder or potential Bidder by Bonhams on behalf of the Seller.

“Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s Agreement and Definitions and Glossary.

“Consignment Fee” a fee payable to Bonhams by the Seller calculated at rates set out in the Conditions of Business.

“Consumer” a natural person who is acting for the relevant purpose outside his trade, Business or profession.

“Contract Form” the Mandat de Vente, or vehicle Entry form, as applicable, signed by or on behalf of the Seller listing the Lots to be offered for sale by Bonhams.

“Contract for Sale” the Sale contract entered by the Seller with the Buyer.

“Contractual Description” the only Description of the Lot (being that part of the Entry about the Lot in the Catalogue which is in bold letters), and any photograph (except for the colour) to which the Seller underta es in the Contract of Sale the Lot corresponds.

“Description” any statement or representation in any way descriptive of the Lot, including any statement or representation relating to its authorship, attribution, condition, provenance, authenticity, style, period, age, suitability, quality, origin, value, estimated selling price (including the Hammer Price).

“Entry” a written statement in the Catalogue identifying the Lot and its Lot number which may contain a Description and illustration(s) relating to the Lot. “Estimate” a statement of our opinion of the range within which the hammer is li ely to fall.

“Expenses” charges and Expenses paid or payable by Bonhams in respect of the Lot including legal Expenses, ban ing charges and Expenses incurred as a result of an electronic transfer of money, charges and Expenses for loss and damage cover, insurance, Catalogue and other reproductions and illustrations, any customs duties, advertising, pac ing or shipping costs, reproductions rights’ fees, taxes, levies, costs of testing, searches or enquiries, preparation of the Lot for Sale, storage charges, removal charges, removal charges or costs of collection from the Seller as the Seller’s agents or from a defaulting Buyer, plus VAT if applicable.

“Forgery” an imitation intended by the ma er or any other person to deceive as to authorship, attribution, origin, authenticity, style, date, age, period, provenance, culture, source or composition, which at the date of the Sale had a

value materially less than it would have had if the Lot had not been such an imitation, and which is not stated to be such an imitation in any description of the Lot. A Lot will not be a Forgery by reason of any damage to, and/ or restoration and/ or modification wor (including repainting or over painting) having been carried out on the Lot, where that damage, restoration or modification wor (as the case may be) does not substantially affect the identity of the Lot as one conforming to the description of the Lot. “Guarantee” the obligation underta en personally by Bonhams to the Buyer in respect of any Forgery and, in the case of specialist Stamp Sales and/or specialist Boo Sales, a Lot made up of a Stamp or Stamps or a Boo or Boo s as set out in the Buyer’s Agreement. “Hammer Price” the price in the currency in which the Sale is conducted at which a Lot is noc ed down by the Auctioneer.

“Hybrid Sale” a Live Sale conducted by an Auctioneer but in a closed auction room not open to the public, except for pre-Sale viewing by appointment with Bonhams.

“Live Sale’’ a Sale conducted by an Auctioneer, open to the public for both viewing and attendance at the Sale.

“Loss and Damage Warranty” means the warranty described in paragraph 8.2 of the Conditions of Business.

“Loss and Damage Warranty Fee” means the fee described in paragraph 8.2.3 of the Conditions of Business.

“Lot” any item consigned to Bonhams with a view to its Sale at auction or by private treaty (and reference to any Lot will include, unless the context otherwise requires, reference to individual items comprised in a group of two or more items offered for Sale as one Lot).

“Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in consideration of the additional wor underta en by Bonhams in respect of the cataloguing of motor vehicles and in respect of the promotion of Sales of motor vehicles.

“Notional Charges” the amount of Commission and VAT which would have been payable if the Lot had been sold at the Notional Price.

“Notional Fee” the sum on which the Consignment Fee payable to Bonhams by the Seller is based and which is calculated according to the formula set out in the Conditions of Business.

“Notional Price” the latest in time of the average of the high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, the Reserve applicable to the Lot. “Notice to Bidders” the notice printed at the bac or front of our Catalogues.

“Online Sale’’ a Sale conducted online only with no Auctioneer, with discretionary pre-Sale viewing by appointment with Bonhams.

“Purchase Price” the aggregate of the Hammer Price and VAT on the Hammer Price (where applicable), the Buyer’s Premium and VAT on the Buyer’s Premium and any Expenses.

“Reserve” the minimum price at which a Lot may be sold (whether at auction or by private treaty).

“Sale” the auction Sale, whether by Live auction, a Hybrid auction or in an Online Sale, at which a Lot is to be offered for Sale by Bonhams.

“Sale Proceeds” the net amount due to the Seller from the Sale of a Lot, being the Hammer Price less the Commission, any VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising.

“Seller” the person who offers the Lot for Sale named on the Contract Form. here the person so named identifies on the form another person as acting as his agent, or where the person named on the Contract Form acts as an agent for a principal (whether such agency is disclosed to Bonhams or not), “Seller” includes both the agent and the principal who shall be jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”.

“Specialist Examination” a visual examination of a Lot by a specialist on the Lot. “Stamp” means a postage Stamp offered for Sale at a Specialist Stamp Sale.

“Standard Examination” a visual examination of a Lot by a non-specialist member of Bonhams’ staff.

“Storage Contract” means the contract described in paragraph 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Agreement (as appropriate).

“Storage Contractor” means the company identified as such in the Catalogue.

“Terrorism” means any act or threatened act of terror- ism, whether any person is acting alone or on behalf of or in connection with any organisation(s) and/or government(s), committed for political, religious or ideological or similar purposes including, but not limited to, the intention to in uence any government and/or put the public or any section of the public into fear.

“VAT” value added tax at the prevailing rate at the date of the Sale in the United ingdom.

“Website” Bonhams ebsite at www.bonhams.com.

“Withdrawal Notice” the Seller’s written notice to Bonhams revo ing Bonhams’ instructions to sell a Lot. PARIS/MAIN/V1/11.2024

“Without Reserve” where there is no minimum price at which a Lot may be sold (whether at auction or by private treaty).

GLOSSARY The following expressions have specific legal meanings with which you may not be familiar. The following glossary is intended to give you an understanding of those expressions but is not intended to limit their legal meanings: “Artist’s Resale Right”: the right of the creator of a wor of art to receive a payment on Sales of that wor subsequent to the original Sale of that wor by the creator of it. Droit de Suite (Artist’s Resale Right) will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed €12,500 (article R122-6): “Bailee”: a person to whom goods are entrusted.

“Indemnity”: an obligation to put the person who has the benefit of the indemnity in the same position in which he would have been, had the circumstances giving rise to the indemnity not arisen and the expression “indemnify” is construed accordingly.

“Interpleader proceedings”: proceedings in the Courts to determine ownership or rights over a Lot. “Knocked down”: when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien”: a right for the person who has possession of the Lot to retain possession of it.

“Risk”: the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Flat-rate tax”: Tax on precious metals, jewellery, wor s of art, collectibles, and antiques as per articles 150 VI to 150 VM of the CGI (Code General des Impots) “Title”: the legal and equitable right to the ownership of a Lot. “Tort”: a legal wrong done to someone to whom the wrong doer has a duty of care.

“Warranty”: a legal assurance or promise, upon which the person to whom the warranty was given has the right to rely.

2.1.3.

2.1.4.

2.1.5.

2.1.6.

3. DESCRIPTION OF THE LOT 3.1.

APPENDIX 1 CONTRACT OF SALE BETWEEN THE BUYER, BONHAMS FRANCE SAS, AND THE SELLER IF THE LOT IS OFFERED FOR SALE LIVE OR HYBRID. IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert or amendment in the Catalogue and/or by notices at the Sale venue and/or on Bonhams’ website, and/or by oral announcements before and during the Sale, at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any.

Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/ or obtain an independent examination of it before you buy it.

1. THE SALE CONTRACT 1.1.

These terms and the relevant terms for Bidders and Buyers in the Notice to Bidders govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2.

The Definitions and Glossary contained in the Conditions of Business at paragraph 20 are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request.

The definition of capitalized terms used in this Agreement are set out in the Definition and Glossary sections.

1.3.

The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4.

The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is noc ed down to you.

2. SELLER’S WARRANTIES AND UNDERTAKINGS 2.1.

The Seller warrants and underta es to you that: 2.1.1. the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner; 2.1.2. save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee,

liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot; except where the Sale is by an executor, trustee, liquidator, receiver, or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot. the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past; items consigned by the Seller are not connected with or derived from any criminal activity, including without limitation tax evasion, money laundering or terrorist financing or in breach of any applicable international trade sanctions; subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue or on the Bonhams website, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue.

3.2.

Paragraph 2.1.6. sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with any part of the Entry in the Catalogue which is not printed in bold letters, the remainder of which Entry merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.6. (together with any express alteration to it as referred to in paragraph 2.1.6.), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ ebsite, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

Except as provided in paragraph 2.1.6. and without prejudice to the provisions of paragraph 14, the Seller does not ma e or give and does not agree to ma e or give any contractual promise, underta ing, obligation, guarantee, warranty, or representation of fact, or underta e any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4. FITNESS FOR PURPOSE AND SATISFACTORY QUALITY 4.1.

4.2.

The Seller does not ma e and does not agree to ma e any contractual promise, underta ing, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

The Seller will not be liable for any breach of any underta ing, as to the satisfactory quality of the Lot or its fitness for any purpose.

5. RISK, PROPERTY AND TITLE 5.1.

5.2.

Ris in the Lot passes to you from the day upon which it is noc ed down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. ou will indemnify the Seller and eep the Seller fully indemnified from and against all claims, proceedings, costs, expenses, and losses arising in respect of any injury, loss and damage caused to the Lot from the day of the fall of the Auctioneer’s hammer.

Title and ris to the Lot passes to the Buyer at the time of the auction. Nevertheless, le lot will be retained until (i) the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to and received in cleared funds by Bonhams, and (ii) Bonhams has completed its investigations pursuant to clause 6.10.

6. PAYMENT 6.1.

Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second wor ing day following the Sale: The Sale Price of the Lot; The Commission, in accordance with the rates described in the Notice to Bidders for each lot each Lot and; If the Lot is mar ed AR , an additional Commission calculated and payable in accordance with accordance with the Notice to Bidders, in addition to VAT on the amount, if any.

In such a way that all sums due to us are received, in cleared funds, no later than the seventh wor ing day after the Sale.

6.2. ou must also pay Bonhams all applicable Fees pursuant to this Sales Agreement.

6.3. our obligation to pay the Purchase Price arises when the Lot is noc ed down to you on the fall of the Auctioneer’s hammer in respect of the Lot. 6.4.

Compliance with the time limits set for payment of the Purchase Price and all other sums payable by you to Bonhams is a material term of this agreement. Unless otherwise agreed in writing between you and Bonhams on behalf of the agreement between you and Bonhams on behalf of the Seller (in which case you must abide by the terms of such agreement), you shall pay all such sums to Bonhams in the currency of the Sale, no later than 4:30 p.m. on the second business day following the Sale and you shall ensure that funds are cleared no later than the seventh business day following the Sale. Payment must be made to Bonhams by one of the methods set out in the Notice to Bidders, unless otherwise agreed in writing between you and Bonhams. If you fail to ma e payment in accordance with this paragraph, the Seller shall have the rights set out in paragraph 8 below.

6.5.

Invoices will only be sent to the registered Buyer, unless the Buyer is acting as a principal’s agent, bailee or nominee and Bonhams has approved this arrangement, in which case Bonhams will send invoices to the principal.

6.6.

If more than one Lot has been allocated to you, all sums received by Bonhams from you will be applied pro rata, in the first instance, to the Purchase Price of each Lot and, in the second instance, pro rata to all sums owed by you to Bonhams.

6.7. ou assure us that neither you nor -if you are a company-, your directors, your managers or your owner or its directors or shareholders, are a natural person or an entity which is, or is owned or controlled by natural persons or entities which are, at the date of signature of this contract: - subject(s) to sanctions administered or enforced by the Office of Foreign Assets Control of the U.S. Department of the Treasury, the U.S. Department of State, the United Nations Security Council, the European Union, the U. .

Treasury, or any other authority that has imposed such sanctions (“Sanctions” and “Sanctioned Party”); or - located, registered or resident in a country or territory which is, or whose government is, subject to Sanctions, including, without limitation, Iran, North orea, Sudan, and Syria.

6.8. ou warrant that the funds used in the Sale are not related to any criminal activity, including, but not limited to, theft, receiving stolen goods, tax fraud, money laundering or the financing of Terrorism and that you are not involved in any criminal investigation and have not been charged, convicted, or sentenced in connection with any criminal activity.

6.9.

If you are acting as an agent for another party (“your Principal”), you warrant to us that : - you have carried out an appropriate verification of the information provided by your Principal, in order to ensure that he/she is not subject to Sanctions and in accordance with anti-money laundering laws and regulations; - your Principal is not a Sanctioned Party and is not owned, partly owned or controlled by a Sanctioned Party, and you have no reason to suspect that your Principal has been indicted, charged or convicted for money laundering, terrorism or other crimes or offences; - the items acquired by you or your Principal are not acquired or used in any way in connection with or to facilitate the violation of applicable tax, money laundering or anti-terrorism laws and regulations; and - you consent to Bonhams relying on your verification of the information provided by your Principal, and you underta e to retain the relevant documents for at least PARIS/MAIN/V1/11.2024

6.10.

5 years, and to ma e them available for review by an independent auditor, if requested by us.

Bonhams reserves the right to investigate any person entering into a transaction with Bonhams and to identify the source of any funds received from the Buyer. If Bonhams has not completed its anti-money laundering, anti-terrorist financing or other financial crime investigations and identity chec s in relation to you or the Buyer to its satisfaction, Bonhams may, at its discretion, retain the Lots and/or proceeds of the Sale, defer or cancel any Sale, and ta e any other action required or permitted under applicable law, without incurring any liability to you.

7. COLLECTION OF THE LOT 7.1.

7.2.

7.3.

7.4.

7.5.

7.6.

7.7.

7.8.

Unless otherwise agreed in writing between you and Bonhams, the Lot will be delivered to you or on your instructions only when (i) Bonhams has received, in cleared funds, the full amount of the Purchase Price and any other monies owed by you to the Seller and Bonhams, and (ii) Bonhams has completed its investigations under clause 6.10. The Lot will only be released upon production of a receipt obtained from Bonhams’ cash office.

Subject to clause 7.1, you must remove the Lot at your own expense by the date and time specified in the Notice to Bidders or, if no date is specified, by 4.30pm on the seventh wor ing day after the Sale.

The Lot may be collected from the address given in the Notice to Bidders. After the date and time specified in the Notice to Bidders, the Lot may be collected from another location and you must enquire with Bonhams as to the date and time at which you will be able to collect it, although this information will, in most cases, be given in the Notice to Bidders.

If you have not removed the Lot by the date specified in the Notice to Bidders, you authorize Bonhams, acting, in this case, in your name and on your behalf, to enter into a contract (the “Storage Agreement”) with a Storage Company for the storage of the Lot, on the then current standard terms and conditions agreed between Bonhams and the Storage Company, a copy of which we will provide to you upon request. e may also decide to store the Lot on our premises, and, in this event, a storage fee will be payable, at our prevailing daily rate (currently a minimum of €3 plus VAT per Lot per day) from the expiry of the period defined in paragraph 7.2. These storage charges constitute Fees payable to Bonhams.

Until you have paid the Purchase Price and all Expenses in full, the Lot will either be held by Bonhams as agent for the Seller or held by the Storage Company acting as agent for the Seller and Bonhams under the terms of the Storage Agreement. ou underta e to comply with the terms of the Storage Agreement and to pay the Charges (and any costs relating to the removal of the Lot for storage) due under the Storage Agreement. ou ac nowledge and agree that you may not retrieve the Lot from the Storage Company’s premises until you have paid in full the Purchase Price and all Fees and costs due under the Storage Agreement. ou shall be fully responsible for the pac aging, handling, and transportation of the Lot to be retrieved and compliance with all import or export regulations applicable to the Lot. ou will be wholly responsible for any removal, storage or other charges or expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

8. FAILURE TO PAY FOR THE LOT 8.1.

If the Purchase Price for a Lot is not paid to Bonhams in within three months after the Sale, the Seller will be entitled, with the prior written agreement of Bonhams but without further notice to you, to exercise one or more of the following rights (whether through Bonhams or otherwise): 8.1.1. to terminate immediately the Contract for Sale of the Lot for your breach of contract; 8.1.2. to resell the Lot by auction, by private treaty or by any other means by notifying you of the intention to resell with seven days’ written notice; in the event of a re-bid, Bonhams will be entitled to claim from the defaulting bidder payment of the difference between the original hammer price and the re-bid hammer price if the latter is lower;

8.1.3. to retain possession of the Lot; 8.1.4. to remove and store the Lot at your expense; 8.1.5. to ta e legal proceedings against you for any sum due under the Contract for Sale and/or damages for breach of contract; 8.1.6. to receive interest on all sums due (both before and after the ruling of a judgment or order) at a rate equal to three times the prevailing legal interest rate, interest being calculated on a daily basis from the date on which the said sums became payable until the date of full payment; 8.1.7. to retain possession of any other property sold to you by the Seller at the Sale or any other auction or by private treaty until all sums due under the Contract for Sale shall have been paid in full in cleared funds; 8.1.8. to retain possession of any of your other property in the possession of the Seller and/or Bonhams (as the Seller’s bailee) for any purpose (including, without limitation, other property sold to you); and 8.1.9. so long as such goods remain in the possession of the Seller or Bonhams as its bailee, to rescind the contract for the Sale of any other goods sold to you by the Seller at the Sale or at any other auction or by private treaty and apply any monies received from you in respect of such goods in part or full satisfaction of any amounts owed to the Seller or to Bonhams by you.

8.1.10. to set off any sums received from you for whatever reason, whether at the time of your default or at any other time, as full or part payment of all sums owed by you to Bonhams under this Agreement; 8.1.11. to retain possession of, and on three months’ written notice to sell, ithout Reserve, any of your other property in the possession of the Seller and/or of Bonhams (as bailee for the Seller) for any purpose (including, without limitation, other goods sold to you) and to apply any monies due to you as a result of such Sale in satisfaction or part satisfaction of any amounts owed to the Seller or to Bonhams; and 8.1.12. to decline to allow you to register for a future Sale or to reject any bid you may ma e for a future Sale or to require you to pay a deposit before accepting a bid for a future Sale, in which case Bonhams shall be entitled to apply such deposit as full or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer; 8.1.13. after ma ing reasonable efforts to inform you, to give your name and address to the Seller, so that he may ta e the appropriate measures to recover the amounts due and the costs associated with such measures.

8.2. ou agree to indemnify Bonhams and the Seller against all legal and other costs of enforcement, all losses and other expenses and costs (including any monies payable to Bonhams in order to obtain the release of the Lot) incurred by the Seller (whether or not court proceedings will have been issued) as a result of Bonhams ta ing steps under this paragraph 8 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until payment by you.

8.3.

Upon any resale of the Lot in accordance with paragraph 8.1.2, Bonhams will account to you for any balance remaining on the amounts received by it or on its behalf in respect of the Lot, after payment of all sums due to the Seller and Bonhams, within 28 days of receipt of such sums by it or on its behalf. If you pay Bonhams only part of the sums you owe to Bonhams, such payment will be applied, in the first instance, to the Auction Price and VAT on the Lot (or, if you have purchased more than one Lot, pro rata to the Auction Price and VAT on each Lot) and, second, on the Purchase Commission and VAT thereon (or, if you have purchased more than one Lot, pro rata on the Purchase Commission and VAT on each Lot) and, third, on any other sums due to Bonhams.

9. THIRD-PARTY CLAIMS RELATING TO LOTS 9.1

9.1.1 9.1.2

here it becomes apparent to Bonhams that the Lot is subject to a claim by someone other than you or the Seller (or that Bonhams may reasonably expect such a claim to be made), Bonhams shall not be liable for any loss or damage arising from the Lot. Bonhams may, at its sole discretion, dispose of the Lot in a manner consistent with the terms and conditions of the Lot, use the Lot in a manner consistent with its legitimate interests and those of the other parties involved and lawfully defend its legitimate interests and positions. ithout prejudice to the generality of the foregoing and by way of example, Bonhams may: ithhold the Lot to investigate any matter raised or which Bonhams may reasonably expect to be raised in connection with the Lot and/or; See relief from any court, arbitrator, mediator or

9.1.3 9.2

administrative authority by way of main, incidental, additional, counterclaim, forced or conservatory intervention, etc. and/or; Require you to pay an indemnity or security in exchange for ta ing any action to which you agree.

The discretion to which Bonhams refers in paragraph 9.1: - May be exercised at any time during which Bonhams has physical or legal possession of the Lot or at any other time after such possession, where the cessation of possession has occurred by reason of a decision or injunction of any court, mediator, arbitrator or administrative authority and; - ill not be exercised unless Bonhams believes that there are serious grounds that can be raised in favour of the claim.

10. FORGERIES 10.1

10.2 10.2.1 10.2.2 10.2.3

10.3 10.3.1

10.3.2

10.4 10.5

10.6 10.7

Bonhams guarantees the authenticity of lots offered in its sales for a period of 5 years from the date of sale and will assume all liability for any Forgeries, in accordance with the terms and conditions of paragraph 10.

Paragraph 10 only applies if: your name is as it appears on the invoice sent by Bonhams in relation to the Lot and that invoice has been paid; ou ma e a claim to Bonhams within 5 years of the sale, in writing, immediately upon becoming aware that the Lot may be a Forgery; ithin one month after such notification has been made, you return the Lot to Bonhams in the same condition as it was in at the time of the Sale, accompanied by written proof of the fact that the Lot is a Forgery and together with details of the Sale and the Lot number sufficient to identify it.

Paragraph 10 shall not apply if: The Article relating to the Lot contained in the Catalogue re ected the then generally accepted opinion of connoisseurs and experts or clearly indicated that such an opinion was being discussed or re ected the prevailing opinion of an expert considered eminent in the relevant field or; It can only be established that the Lot is a Fa e by means of procedures that became generally accepted only after the publication of the Catalogue or by means of procedures that Bonhams could not reasonably have been required to employ. ou authorise Bonhams to use any procedures and carry out any tests it considers necessary to determine whether the Lot is a Fa e, at its sole discretion.

If Bonhams is satisfied that the Lot is a Fa e, Bonhams will terminate the sale of the Lot in question and Bonhams will refund to you an amount equal to the sum of the Purchase Price, the Purchase Commission, VAT and the Expenses paid by you to acquire the Lot. The benefit of paragraph 10 is personal to you and is not transferable. ou will lose the benefit of paragraph 10 if you sell or otherwise dispose of your rights to the Lot.

11. STRIKING TEXTS OR ILLUSTRATIONS FROM A BOOK here the Lot consists in whole or in part of a Boo or Boo s and a Boo does not contain text or illustrations (in all cases, referred to as a “Non-Conforming Lot”), Bonhams will be personally liable in relation to such Non-Conforming Lot, for a period of five years from the date of sale, in accordance with the terms of this paragraph, if: - The original invoice was sent to you by Bonhams in relation to the Lot and this invoice has been paid and; - ou ma e a claim to Bonhams, in writing, immediately after becoming aware that the Lot may be a nonconforming Lot and, in any event, within 5 years of the Sale and; - you return the Lot to Bonhams in the same condition as it was at the time of the Sale, accompanied by written proof that the Lot is a non-conforming Lot and details of the Sale and the Lot number sufficient to identify it.

But not if: - The Article relating to the Lot contained in the Catalogue states that the rights provided for in this paragraph do not apply to this Lot; - The Article referring to the Lot contained in the Catalogue re ected the then generally accepted opinion of connoisseurs and experts or clearly indicated that such an opinion was being discussed or; - It can only be established that the Lot is a nonconforming Lot by means of procedures which were not generally accepted until after publication of the Catalogue or by means of procedures which Bonhams PARIS/MAIN/V1/11.2024

could not reasonably have been required to employ or; - The Lot includes atlases, maps, autographs, manuscripts, illustrated boo s, music or periodicals or; - The Lot was listed in the Catalogue under the category “collections” or “collections and miscellaneous” or the Catalogue indicated that the Lot included or contained a collation, number or Boo s that are not described or missing text or illustrations are referenced, or the Boo contains blan spaces, halftitles or advertisements.

If Bonhams is convinced that the Lot is a Nonconforming Lot, Bonhams will terminate the sale of the Lot and you will transfer ownership of the Lot in question to Bonhams and Bonhams will refund to you an amount equal to the sum of the Purchase Price, the Purchase Commission, the VAT and the Costs you have paid to acquire the Lot. The benefit of paragraph 12 is personal to you and is not transferable. ou will lose the benefit of paragraph 12 if you sell or otherwise dispose of your rights to the Lot. 12. THE SELLER’S LIABILITY 12.1.

The Seller will not be liable for any injury, loss or damage caused by the Lot after the fall of the Auctioneer’s hammer in respect of the Lot. 12.1.1. the Seller will not be liable for any loss of Business, Business profits or revenue or income or for loss of reputation or for disruption to Business or wasted time on the part of the Buyer or of the Buyer’s management or staff or, for any indirect losses or consequential damages of any ind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, another uasi-delict, breach of contract, breach of a legal obligation breach of a legal obligation, breach of an obligation, a claim for restitution or claim for restitution or otherwise; 12.1.2. in any circumstances where the Seller is liable to you in respect of the Lot, or any act, omission, statement, or representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for the restitution of a remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract, statutory duty, bailee’s duty, claim for restitution or otherwise.

12.2 Nothing set out in paragraph12 above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by the Seller’s negligence (or any person under the Seller’s control or for whom the Seller is legally responsible), or (iii) any other liability to the extent the same may not be excluded or restricted as a matter of law.

13.5

13.6

13.7 13.8 13.9 13.10 13.11

13.12

for the attention of the Company Secretary), and if to you to the address or fax number of the Buyer given in the Bidder Registration Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

If any term or any part of any term of the Contract for Sale is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

References in the Contract for Sale to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees, and agents and to any subsidiary of Bonhams Holdings Limited and its officers, employees, and agents.

The headings used in the Contract for Sale are for convenience only and will not affect its interpretation.

In the Contract for Sale “including” means “including, without limitation”.

References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

Reference to a numbered paragraph is to a paragraph of the Contract for Sale.

Save as expressly provided in paragraph 10.12, nothing in the Contract for Sale confers (or purports to confer) on any person who is not a party to the Contract for Sale any benefit conferred by, or the right to enforce any term of, the Contract for Sale. here the Contract for Sale confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee, and agent of Bonhams and its companies.

14. GOVERNING LAW Sales Contract shall apply, and all related matters shall be governed by and construed in accordance with French law and you and the Seller each submit to the exclusive jurisdiction of the courts of Paris; as an exception to this principle, the Seller may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the law applicable in the jurisdiction of such court.

Bonhams has set up a claims handling procedure available from the Company Secretary. In accordance with the law, civil liability claims arising from voluntary sales of furniture by public auction are time-barred five years after the auction.

13. MISCELLANEOUS 13.1 13.2

13.3.

13.4

ou may not assign either the benefit or burden of the Contract for Sale.

The Seller’s failure to exercise, including by way of specific performance, or delay in exercising, including by way of specific performance, any power or right under the Sales Contract shall not constitute or be deemed to constitute a waiver of its rights with respect thereto, except to the extent expressly waived by Seller by delivery to you of a written instrument of waiver. Any such waiver shall not affect the Seller’s subsequent ability to exercise, including by way of compulsory execution, any rights under the Sales Contract.

If either party to the Contract for Sale is prevented from performing that party’s respective obligations under the Contract for Sale by circumstances beyond its reasonable control (including without limitation, governmental intervention, industrial action, insurrection, warfare (declared or undeclared), terrorism, power failure, epidemic or natural disaster) or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 6.

Any notice or other communication to be given under the Contract for Sale must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax number in the Catalogue (mar ed PARIS/MAIN/V1/11.2024

Formulaire d’inscription et d’enchère (Ordre d’achat en personne / en absence / par téléphone)

Numéro d’identification (réservé à l’administration)

Veuillez entourer le mode d’enchère ci-dessus.

Cette vente, y compris les enchères et les achats, est régie par les conditions de vente de Bonhams. Vous devez lire les conditions et toutes les informations sur la vente avant d'enchérir et vous assurer que vous comprenez les frais à payer pour tout achat que vous effectuerez. Les Conditions définissent également certains engagements pour les enchérisseurs et les acheteurs et limitent la responsabilité de Bonhams à votre égard. Veuillez noter que la facture pour le lot acheté sera établie au nom figurant sur ce formulaire et que le paiement ne sera accepté qu'à partir d'un compte à ce nom (ou au nom de la société si l'enchère est faite au nom de cette société).

Protection des données – utilisation de vos renseignements personnels Lorsque nous obtenons des informations personnelles vous concernant lors de votre inscription ou de votre enchère, nous ne les utilisons que conformément aux termes de notre Politique de confidentialité. Une copie de notre politique de confidentialité est disponible sur notre site web (www.bonhams.com) ou peut être demandée par courrier à Customer Services Department,

Titre de la vente aux enchères:

Date de la vente:

N° de la vente:

Lieu de la vente:

Si vous n’assistez pas à la vente en personne, veuillez fournir les coordonnées des lots pour lesquels vous souhaitez faire une enchère au moins 24 heures avant la vente. Les enchères seront arrondies à la surenchère inférieure la plus proche.

Veuillez consulter l’avis aux enchérisseurs publié dans le catalogue pour tout complément d’information se rapportant aux offres par téléphone, en ligne ou par écrit que Bonhams peut accepter en votre nom. Bonhams fera tout son possible pour exécuter ces ordres d’achat en votre nom mais ne sera pas tenu pour responsable en cas d’erreurs ou de manquement à exécuter ces offres d’achat.

Paliers d'enchère généraux: €10,000 - 20,000 .........1,000s €10 - 200 .....................10s €20,000 - 50,000 .........2,000 / 5,000 / 8,000s €200 - 500 ...................20 / 50 / 80s €50,000 - 100,000 .......5,000s €500 - 1,000 ................50s €100,000 - 200,000 .....10,000s €1,000 - 2,000 .............100s au-delà de €200,000 ....à la discrétion du €2,000 - 5,000 .............200 / 500 / 800s commissaire-priseur €5,000 - 10,000 ...........500s Le commissaire-priseur peut, à sa discrétion, diviser les offres d’achat à tout moment.

Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

Numéro client

Titre

ou par e-mail à info@bonhams.com.

Prénom

Nom

Nous pouvons de temps à autre vous fournir des informations sur des biens et services qui, selon nous, pourraient vous intéresser, sur base de vos interactions précédentes avec nous. À tout moment, vous pouvez choisir de ne pas recevoir ces communications. Si vous ne souhaitez pas recevoir ces communications, veuillez cocher cette case

Nom de la société (pour l’envoi de la facture dans le cas échéant)

Avis aux enchérisseurs.

Au moins 24 heures avant la vente, vous devez fournir une pièce d'identité avec photo délivrée par le gouvernement, par exemple un passeport ou un permis de conduire, et - si cela ne figure pas sur la pièce d'identité - un justificatif de domicile, par exemple une facture (électricité, téléphone ou autre), ou un relevé de carte bancaire/de crédit. Dans le cas échéant ou le client est une entreprise, ce dernier doit également fournir les documents d'enregistrement de leur société, les justificatifs des bénéficiaires effectifs détenant 25 % ou plus de la société et la confirmation du nom de la personne ayant le pouvoir d'agir de la société. Si vous ne fournissez pas ces documents, vos enchères risquent de ne pas être enregistrées. Les clients qui ne sont pas en mesure de fournir les documents avant la vente peuvent choisir d'enchérir en ligne en utilisant notre option de vérification de carte de crédit.

Veuillez noter que nous nous réservons le droit de demander une référence bancaire ou un dépôt.

En cas de succès Je viens chercher mes achats en personne Je vous remercie de bien vouloir donner mes coordonnées aux transporteurs qui me transmettront un devis et j’accepte que vous leur communiquiez mes coordonnées afin qu’ils puissent me contacter.

Téléphone ou ordre d’achat en cas d’absence (T/A)

N° de lot

Adresse

Ville

Département/Région

Code postal

Pays

Téléphone portable Téléphone fixe Adresse courriel (en lettres majuscules) Veuillez répondre à toutes les questions ci-dessous

1. Pièce d'identité fournie: Une pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas votre adresse) une facture ménagère ou un relevé bancaire. S'il s'agit d'une société, veuillez fournir un Kbis (un document officiel attestant l'existence juridique de votre entreprise commerciale), votre pièce d'identité (comme ci-dessus) (et, si vous n'êtes pas directeur, une lettre vous autorisant à agir), ainsi qu'une preuve attestant les bénéficiaires effectifs de la société.

2. Représentez-vous l’enchérisseur ?

Si oui, veuillez répondre à la question 3.

Nom, adresse et coordonnées (téléphone et courriel) de l’enchérisseur: Pièce d'identité de l’enchérisseur: Pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas l'adresse) facture ménagère/relevé bancaire.

Agissez-vous à titre professionnel ? Si vous êtes immatriculé à la TVA, veuillez indiquer votre numéro d'immatriculation ici: Oui

Non

/

-

-

Veuillez noter que tous les appels téléphoniques peuvent être enregistrés.

Offre d’achat maximale en EUR (hors prime et TVA)

Brève description

Ordre d’achat de sécurité*

EN SIGNANT CE FORMULAIRE, VOUS CONFIRMEZ QUE VOUS AVEZ EXAMINÉ LE CATALOGAGE DES LOTS SUSMENTIONNÉS, VOUS ACCEPTEZ LES CONDITIONS DE VENTE, Y COMPRIS LES GARANTIES ÉNUMÉRÉES, ET VOUS ACCEPTEZ DE PAYER LA PRIME D'ACHAT, LA TVA ET TOUS LES AUTRES FRAIS QUI SERAIENT DUS. CECI AFFECTE VOS DROITS LÉGAUX.

Signature de l’enchérisseur/agent (veuillez en supprimer un):

Date:

*Ordre d’achat de sécurité : une enchère maximale (hors prime et TVA de l’acheteur) devant être exécutée par Bonhams au cas où nous serions dans l’impossibilité de vous joindre par téléphone ou si la connexion venait à être coupée pendant les enchères.

Le paiement ne sera accepté que sur un compte au même nom que celui figurant sur la facture et le formulaire d’inscription à la vente aux enchères.

S’il vous plait, veuillez envoyer par email ou par la poste le formulaire d'inscription à la vente aux enchères dûment rempli.

Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

Bonhams France SAS, 6 avenue Hoche, 75008 Paris. N° d'agrément 2007-638 - RCS Paris 500 772 652. EORI Number : FR50077265200011

detail lot 318 Fra/01/2023

Formulaire d’inscription et d’enchère (Ordre d’achat en personne / en absence / par téléphone)

Numéro d’identification (réservé à l’administration)

Veuillez entourer le mode d’enchère ci-dessus.

Cette vente, y compris les enchères et les achats, est régie par les conditions de vente de Bonhams. Vous devez lire les conditions et toutes les informations sur la vente avant d'enchérir et vous assurer que vous comprenez les frais à payer pour tout achat que vous effectuerez. Les Conditions définissent également certains engagements pour les enchérisseurs et les acheteurs et limitent la responsabilité de Bonhams à votre égard. Veuillez noter que la facture pour le lot acheté sera établie au nom figurant sur ce formulaire et que le paiement ne sera accepté qu'à partir d'un compte à ce nom (ou au nom de la société si l'enchère est faite au nom de cette société).

Protection des données – utilisation de vos renseignements personnels Lorsque nous obtenons des informations personnelles vous concernant lors de votre inscription ou de votre enchère, nous ne les utilisons que conformément aux termes de notre Politique de confidentialité. Une copie de notre politique de confidentialité est disponible sur notre site web (www.bonhams.com) ou peut être demandée par courrier à Customer Services Department,

Titre de la vente aux enchères: For All Mankind

Date de la vente:

28 avril 2025

N° de la vente: 30739

Lieu de la vente:

Paris

Si vous n’assistez pas à la vente en personne, veuillez fournir les coordonnées des lots pour lesquels vous souhaitez faire une enchère au moins 24 heures avant la vente. Les enchères seront arrondies à la surenchère inférieure la plus proche.

Veuillez consulter l’avis aux enchérisseurs publié dans le catalogue pour tout complément d’information se rapportant aux offres par téléphone, en ligne ou par écrit que Bonhams peut accepter en votre nom. Bonhams fera tout son possible pour exécuter ces ordres d’achat en votre nom mais ne sera pas tenu pour responsable en cas d’erreurs ou de manquement à exécuter ces offres d’achat.

Paliers d'enchère généraux: €10,000 - 20,000 .........1,000s €10 - 200 .....................10s €20,000 - 50,000 .........2,000 / 5,000 / 8,000s €200 - 500 ...................20 / 50 / 80s €50,000 - 100,000 .......5,000s €500 - 1,000 ................50s €100,000 - 200,000 .....10,000s €1,000 - 2,000 .............100s au-delà de €200,000 ....à la discrétion du €2,000 - 5,000 .............200 / 500 / 800s commissaire-priseur €5,000 - 10,000 ...........500s Le commissaire-priseur peut, à sa discrétion, diviser les offres d’achat à tout moment.

Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

Numéro client

Titre

ou par e-mail à info@bonhams.com.

Prénom

Nom

Nous pouvons de temps à autre vous fournir des informations sur des biens et services qui, selon nous, pourraient vous intéresser, sur base de vos interactions précédentes avec nous. À tout moment, vous pouvez choisir de ne pas recevoir ces communications. Si vous ne souhaitez pas recevoir ces communications, veuillez cocher cette case

Nom de la société (pour l’envoi de la facture dans le cas échéant)

Avis aux enchérisseurs.

Au moins 24 heures avant la vente, vous devez fournir une pièce d'identité avec photo délivrée par le gouvernement, par exemple un passeport ou un permis de conduire, et - si cela ne figure pas sur la pièce d'identité - un justificatif de domicile, par exemple une facture (électricité, téléphone ou autre), ou un relevé de carte bancaire/de crédit. Dans le cas échéant ou le client est une entreprise, ce dernier doit également fournir les documents d'enregistrement de leur société, les justificatifs des bénéficiaires effectifs détenant 25 % ou plus de la société et la confirmation du nom de la personne ayant le pouvoir d'agir de la société. Si vous ne fournissez pas ces documents, vos enchères risquent de ne pas être enregistrées. Les clients qui ne sont pas en mesure de fournir les documents avant la vente peuvent choisir d'enchérir en ligne en utilisant notre option de vérification de carte de crédit.

Veuillez noter que nous nous réservons le droit de demander une référence bancaire ou un dépôt.

En cas de succès Je viens chercher mes achats en personne Je vous remercie de bien vouloir donner mes coordonnées aux transporteurs qui me transmettront un devis et j’accepte que vous leur communiquiez mes coordonnées afin qu’ils puissent me contacter.

Téléphone ou ordre d’achat en cas d’absence (T/A)

N° de lot

Adresse

Ville

Département/Région

Code postal

Pays

Téléphone portable Téléphone fixe Adresse courriel (en lettres majuscules) Veuillez répondre à toutes les questions ci-dessous

1. Pièce d'identité fournie: Une pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas votre adresse) une facture ménagère ou un relevé bancaire. S'il s'agit d'une société, veuillez fournir un Kbis (un document officiel attestant l'existence juridique de votre entreprise commerciale), votre pièce d'identité (comme ci-dessus) (et, si vous n'êtes pas directeur, une lettre vous autorisant à agir), ainsi qu'une preuve attestant les bénéficiaires effectifs de la société.

2. Représentez-vous l’enchérisseur ?

Si oui, veuillez répondre à la question 3.

Nom, adresse et coordonnées (téléphone et courriel) de l’enchérisseur: Pièce d'identité de l’enchérisseur: Pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas l'adresse) facture ménagère/relevé bancaire.

Agissez-vous à titre professionnel ? Si vous êtes immatriculé à la TVA, veuillez indiquer votre numéro d'immatriculation ici: Oui

Non

/

-

-

Veuillez noter que tous les appels téléphoniques peuvent être enregistrés.

Offre d’achat maximale en EUR (hors prime et TVA)

Brève description

Ordre d’achat de sécurité*

EN SIGNANT CE FORMULAIRE, VOUS CONFIRMEZ QUE VOUS AVEZ EXAMINÉ LE CATALOGAGE DES LOTS SUSMENTIONNÉS, VOUS ACCEPTEZ LES CONDITIONS DE VENTE, Y COMPRIS LES GARANTIES ÉNUMÉRÉES, ET VOUS ACCEPTEZ DE PAYER LA PRIME D'ACHAT, LA TVA ET TOUS LES AUTRES FRAIS QUI SERAIENT DUS. CECI AFFECTE VOS DROITS LÉGAUX.

Signature de l’enchérisseur/agent (veuillez en supprimer un):

Date:

*Ordre d’achat de sécurité : une enchère maximale (hors prime et TVA de l’acheteur) devant être exécutée par Bonhams au cas où nous serions dans l’impossibilité de vous joindre par téléphone ou si la connexion venait à être coupée pendant les enchères.

Le paiement ne sera accepté que sur un compte au même nom que celui figurant sur la facture et le formulaire d’inscription à la vente aux enchères.

S’il vous plait, veuillez envoyer par email ou par la poste le formulaire d'inscription à la vente aux enchères dûment rempli.

Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

Bonhams France SAS, 6 avenue Hoche, 75008 Paris. N° d'agrément 2007-638 - RCS Paris 500 772 652. EORI Number : FR50077265200011

Fra/01/2023

Registration and Bidding Form (Attendee / Absentee / Telephone Bidding)

Paddle number (for office use only)

Please circle your bidding method above.

The Sale, including all bidding and buying, is governed

by Bonhams’ Conditions of Sale. You should read the Conditions and any Sales Information prior to bidding and ensure you understand the charges payable on any purchase you make. The Conditions also set out certain undertakings by bidders and buyers and limits Bonhams’ liability to you. Please note an invoice for a purchased lot will be made out in the name as shown on this form and payment will only be accepted from an account in that name (or the name of the company if the bid is on behalf of that company).

Data protection Where we obtain any personal information about you when you register or bid with us, we shall only use it in accordance with the terms of our Privacy Policy. A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Client Services Department, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com We may from time to time provide you with information about goods and services that we believe may interest you, based on your previous interactions with us. You can opt out of receiving these communications at any time. If you do not want to receive such communications, please tick this box Notice to Bidders.

At least 24 hours prior to the Sale, you must provide government issued photo ID, e.g., a passport or driving licence and - if not included on the ID document - proof of address, e.g., a current utility bill, or bank/credit card statement. Corporate clients must also provide their company registration documents, documentary proof of beneficial owners owning 25% or more of the company and confirmation of the named individual’s authority to act. Failure to provide these documents may result in your bids not being processed. Clients who are not able to provide documents prior to Sale may opt to bid online using our credit card verification option. Please note we reserve the right to request a bank reference or deposit.

Sale title: For All Mankind

Sale date:

Sale no: 30739

Sale venue: Paris

If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.

General Bid Increments: €10 - 200 .....................by 10s €200 - 500 ...................by 20 / 50 / 80s €500 - 1,000 ................by 50s €1,000 - 2,000 .............by 100s €2,000 - 5,000 .............by 200 / 500 / 800s €5,000 - 10,000 ...........by 500s

€10,000 - 20,000 .........by 1,000s €20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s €50,000 - 100,000 .......by 5,000s €100,000 - 200,000 .....by 10,000s above €200,000 ...........at the auctioneer’s discretion

The auctioneer has discretion to split any bid at any time.

Customer Number

Title

First Name

Last Name

Company name (if applicable) Company Registration number (if applicable) Address City Post / Zip code

County / State

Telephone (mobile)

Country

Telephone (landline) E-mail (in capitals) Please answer all questions below 1. ID supplied: Government issued ID and (if the ID does not confirm your address) current utility bill/ bank statement.

If a company, please provide the Certificate of Incorporation, your ID (as above) (plus, if not a director, a letter authorising you to act), and documentary evidence of the company’s beneficial owners 2. Are you representing the Bidder?

If successful

28 april 2025

If yes, please complete question 3.

3. Bidder's name, address and contact details (phone and email): Bidder’s ID: Government issued ID and (if the ID does not confirm their address)

I will collect the purchases myself Please arrange shippers to contact me with a quote and I agree that you may pass them my contact details.

Are you acting in a business capacity?

Yes

current utility bill/bank statement

If registered for VAT please enter your registration here:

No

-

/

-

Please note that all telephone calls may be recorded.

Telephone or Absentee (T / A)

Lot no.

Brief description

MAX bid in EUR (excluding premium & VAT)

Covering bid

*

BY SIGNING THIS FORM, YOU CONFIRM THAT YOU HAVE REVIEWED THE CATALOGUING FOR THE ABOVE LOTS, YOU AGREE TO THE CONDITIONS OF SALE INCLUDING THE WARRANTIES LISTED THEREIN, AND AGREE TO PAY THE APPLICABLE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES DUE. THIS AFFECTS YOUR LEGAL RIGHTS.

Bidder/Agent’s (please delete one) signature:

Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.

Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.

Please email or post the completed Auction Registration form and requested information to: Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

Bonhams France SAS, 6 avenue Hoche, 75008 Paris. N° d'agrément 2007-638 - RCS Paris 500 772 652. EORI Number : FR50077265200011

Fra/01/23

Bonhams Cornette de Saint Cyr 6, Avenue Hoche Paris, 75008 +33 (0) 1 42 61 10 10 bonhams.com AUCTIONEERS SINCE 1793