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David Scott Extremely rare photograph of the first lunar eclipse observed from deep space, Apollo 15, 26 July - 7 August 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), with A KODAK PAPER watermarks on verso, RED NUMBERED NASA AS15-96-13119 (NASA Manned Spacecraft Center)Footnotes: The Apollo 15 spacecraft was about 200,000 km from Earth when the crew captured this truly out of this world view of a lunar eclipse from deep space (through the 80mm lens) that had never been witnessed by humans before.Original NASA caption for a variant of the photograph: The lunar eclipse, which occurred while the Apollo 15 spacecraft was returning from the Moon, was recorded in a series of color photographs. Eleven photographs were taken over a 16-minute period before and during the Moon's entry into Earth's shadow. A second set of ten photographs was obtained over a like period of time as the moon was leaving the shadow. Even when the moon was not in eclipse during this series, it was in Earth's penumbra - the partially shadowed region where only a part of the sun's light can reach the moon directly. These photographs were taken (hand-held mode) by astronaut David R. Scott, commander, using the electric Hasselblad camera. The view was taken with the 80mm lens. Other data on these two-second exposure frames taken six minutes after exit from the eclipse: the white region, whenever it appears, is penumbral lighting of the lunar surface. The orange-red-brown band is caused by sunlight that has first passed through Earth's atmosphere where the shorter wavelength, blue light has been scattered out, allowing only a diminished intensity red light to reach the moon. These pictures tell us something about Earth's atmosphere with the lunar surface acting as a projection screen where we can examine the results. These pictures give us an initial record of scattering by a known atmosphere that can later be compared to similar observations made by future spacecraft showing other moons circling other planets in our solar system. Eastman Kodak SO368 film was used in this series.Condition Report: Light vertical scratch across the black background, though it is very shallow and narrow, it is noticeable.A very small tear in the bottom margin, touching the bottom right corner of the image.Hardly any toning. The black background has light pink-ish tinge. Condition Report Disclaimer

Very rare photograph from space from the human-rated orbital spacecraft, unpublished after the mission, Mercury Atlas 4, 13 September 1961.Vintage chromogenic print on heavy early fibre-based Kodak paper, 20.3 x 25.4 cm (8 x 10 in), [NASA image MA-4-4713-340], with EKC watermarks on verso.Footnotes: An extremely rare photograph from a series of automatic sequential pictures taken from space from the unmanned human-rated spacecraft during the 1-orbit flight (apogee of 248 km; perigee of 156 km). The Mercury Atlas 4 flight was the first successful orbital flight test of the Mercury program.The Earth sky Maurer 220G camera on board the unmanned capsule was equipped with a timer, a 75mm lens and GAF Super Anscochrome T-100 Superior ASA 64 colour reversal film. 

William Anders The most celebrated image of the Earth rising above the Moon's horizon. This is the first Earthrise witnessed by humans and captured in colour on camera in the original 70mm square format of the Hasselblad frame. The view was observed by the crew of Apollo 8 at 75h 48m and 39s of the mission and during the fourth orbit of the Moon. Taken with a 70 mm Hasselblad camera, 250 mm telephoto lens, colour magazine 14/D Apollo 8, 24 December 1968 16.49 GMT Vintage chromogenic print on resin coated Kodak paper, 25.2 x 20.5 cm (10 x 8 in), [NASA photo No AS8-14-2383], with This paper manufactured by Kodak watermark on verso (printed mid-70's) (NASA/North American Rockwell)Footnote: This full view of the entire 70mm square Hasselblad frame of this most famous image is very rare. "There was nothing in the plan for an Earthrise photo. Indeed, we didn't even see an actual Earthrise until, on our third orbit, we changed the spacecraft's orientation to heads up and looking forward. As we came round the back side of the Moon, where I had been taking pictures of craters near our orbital track, I looked up and saw the startlingly beautiful sight of our home planet 'rising' up above the stark and battered lunar horizon. It was the only color against the deep blackness of space. In short, it was beautiful, and clearly delicate." William Anders (Jacobs, p. 33). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. 

Michael Collins or John Young View of Earth from space; Guyana, Venezuela, Trinidad, Gemini 10, July 18-21, 1966 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10 in), with with A Kodak Paper watermarks on the verso and NASA caption numbered S-66-46054 on a separate original sheet (NASA Manned Spacecraft Center)Footnotes: The photograph was taken with the 70mm Maurer space camera and its 80mm lens, using Eastman Kodak, Ektachrome, M.S. (S.O. 217) colour film. The second photograph shows "Venezuela, British Guyana, Surinam and Trinidad, as seen from the Gemini 10 spacecraft. On the left is the mouth of the Orinoco River in Venezuela. Mouth of Essequibo River in British Guyana is in right center" (NASA caption)."We stole some time from our sleep period to get these pictures," recalled Michael Collins. "Even from space it appeared as some of the most forbidding jungle territory in the world. This is as close as I ever hope to get to it" (NASA SP-171, p. 197). 

Gordon Cooper or Charles Conrad Two Hasselblad orbital photographs of the Earth, comprising: 1) snow covered Tibet (NASA S-65-45622), and 2) Arizona, Tucson area (NASA S-65-45750), Gemini 5, 21-29 August 1965. Vintage chromogenic prints on fibre-based Kodak paper, 25.5 x 20.5 cm, RED NUMBERED NASA S-65-45622 and NASA S-65-45750, with A KODAK PAPER watermark on versos, the first with NASA caption on verso, (NASA Manned Spacecraft Center), (2).Footnotes: The splendid photographs of Earth from Gemini 5 graced the cover and pages of LIFE Magazine (Most remarkable photos of Earth ever recorded, September 24, 1965) as flight durations grew longer and space photography reached maturity in 1965. On Gemini 5, astronauts Gordon Cooper and Pete Conrad circled the world 120 times in 190 hours and 55 minutes, returning with dramatic colour photographs of the surface of the Earth. Apogee was 215 miles and perigee 100 miles. The photographs were taken with the hand-held NASA-modified 70mm Hasselblad 500C and its 80mm lens, using MS Ektachrome thin base film, ASA 64.

Neil Armstrong and Buzz Aldrin Two rare views from the CDR and LMP windows of the LM Eagle before liftoff showing footprints, the TV camera, the US flag and craters on the horizon at Tranquility Base, both unpublished after the mission, Apollo 11, 16-24 July 1969 Vintage chromogenic prints on fibre-based Kodak paper, [NASA photos no AS11-37-5503 and AS11-37-5512], 18.5 x 18.5cm, originally trimmed to images, with A KODAK PAPER watermarks on verso, one with 05512 stamp (NASA Manned Spacecraft Center), (2)Footnotes: Extremely rare photographs from colour magazine 37/R taken with the Hasselblad 500 EL camera used for Intra Vehicular Activity (IVA) and equipped with the 80mm lens.

Michael Collins A rare unpublished view of the Earth rising over the curved lunar surface after trans Earth injection, taken through the 80mm lens, Apollo 11, 16-24 July 1969 Vintage chromogenic print on resin-coated Kodak paper, 25.3 x 20.5 (10 x 8 in), [NASA photo No AS11-44-6653], with THIS PAPER MANUFACTURED BY KODAK watermarks on versos (mid-1970s print) (NASA/North American Rockwell)Footnotes: The 80mm lens illustrates the very pronounced curvature of the Moon. Following transearth injection (TEI), Columbia had increased its altitude to over 800 km, which explains the increased curvature of the lunar surface. That was also the last Earthrise witnessed by the first humans on the Moon as they departed for the journey home. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. 

Frank Borman Lunar horizon and forbidding craterous surface of the Moon as it appeared to the first humans to see the far side of the Moon, Apollo 8, 21-27 December 1968 Vintage chromogenic print on fibre-based Kodak paper, 25.2 x 20.5 cm (10 x 8 in), [NASA photo no AS8-14-2453], with A KODAK PAPER watermark on the verso (NASA/North American Rockwell) Footnote: One of the most beautiful photographs of the lunar farside returned by Apollo 8. Borman captured this oblique photograph looking west with the 250mm telephoto lens on rugged terrain never before seen by man, as he enjoyed a lonely view of the spectacular backside of the Moon during Lovell and Anders' sleep period on orbit 8. The foreshortening effects provide an interesting portrayal of lunar farside relief. Original NASA caption for the photograph: This scene is typical of farside terrain illuminated by a sun that is nearly directly overhead. A surface consisting of craters superimposed on older craters extends about 570 kilometres (350 statute miles) to the horizon. Width of view at the horizon is 150 kilometres (94 statute miles). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. 

Alfred Worden, James Irwin or David Scott Two extremely rare views of the first subsatellite deployed by humans in lunar orbit Apollo 15, 26 July - 7 August 1971 Vintage chromogenic prints, the first [NASA photo No AS15-96-13068] on resin-coated Kodak paper, with A KODAK PAPER watermark on verso (NASA/North American Rockwell), the second on fiber-based Kodak paper with A KODAK PAPER watermarks on verso, RED NUMBERED NASA AS15-96-13071 (NASA Manned Spacecraft Center), (2)Footnotes: Before trans-Earth injection, the CSM launched a subsatellite around the Moon containing three experiments: the S-band transponder, the particle shadow/boundary layer experiment, and a magnetometer. As the subsatellite departed, not only the crew filmed it with the DAC 16mm camera, but also with a Hasselblad using magazine Q and a 250-mm telephoto lens. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. 

Two views showing the first photograph of the Earth taken by humans beyond orbit and the first view of the Earth taken by humans of the Earth as a disk Apollo 8, 21-27 December 1968 Vintage chromogenic prints on fibre-based Kodak paper, 19 x 19 cm (7¾ x 7¾ in), originally trimmed to images [NASA photos No AS8-16-2581 and AS8-16-2589], with A KODAK PAPER watermarks on versos (NASA/North American Rockwell), (2)Footnotes: After orbiting the Earth twice, Apollo 8 fired the Saturn V third stage and broke free of Earth's gravitational pull on a trajectory for the Moon. These historic photographs were taken with the Hasseblad 500EL equipped with a 80mm lens after separation from the expended SIVB third stage."Already farther out in space than man has ever flown, Apollo 8's crew at 3,500 miles gazedown on the shallow Bahama Banks, turquoise against the darker, deeper Atlantic. Few clouds veil the south-eastern coast of the United States and the West Indies, but to the northeast a huge storm system swirls over the ocean. The spacecraft has now kicked out of Earth orbit toward the Moon" (NATIONAL GEOGRAPHIC caption for AS8-16-2581, May 1969, p. 609). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.Literature:NATIONAL GEOGRAPHIC, May 1969, pp. 608-609 see illustration (a copy of the magazine is not included in the lot)Condition Report: very goodCondition Report Disclaimer

Buzz Aldrin or James Lovell The beauty of Earth: four breathtaking views from space taken with the unrivalled Hasselblad SuperWide camera, Gemini 12, 11-15 November 1966 Four vintage chromogenic prints on heavy fibre-based Kodak paper [NASA photos No S-66-63030: Texas-Louisiana, looking east, Houston, Galveston, M.S.C. area, astrodome, Gulf coast, Matagorda to Vermillion bay, S-66-63435: Florida, Cape Kennedy, S-66-63475: Algeria, Tiffrnine and Irrarene Dune fields, Tassili-N-Ajjer Mountains, S-66-63481: United Arab Republic, Saudi Arabia, Red Sea, Nile Valley, Sinai, looking southeast], 20.3 x 25.4 cm (8 x 10 in), with A KODAK PAPER watermarks on versos, (4)Footnotes: Gemini's wonderful photographs of the Earth marked the birth of our environmental consciousness. The longer missions and perfected photographic equipment allowed the astronauts to record extremely detailed photographs of the Earth, definitely confirming the potential of photography from space and bringing to light the fragility of the Earth.These photographs were taken with the amazing Hasselblad SuperWide camera and its 38mm lens loaded with Kodak film which offered unparalleled photography quality but was unfortunately discontinued on later Apollo missions for practical reasons. "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 Condition Report: MintCondition Report Disclaimer

Buzz Aldrin "Tranquility Base here; the Eagle has landed": shadow of Eagle from the LM after touchdown, rare photograph not published after the mission Apollo 11, 16-24 July 1969 Vintage gelatin silver print on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), numbered S11-39-5788 in right margin on recto (NASA/USGS)Footnote: A photograph symbolizing the arrival of the first humans on the surface of another world: the Eagle casts a long shadow at Tranquility Base just after touchdown. It is a frame from a panoramic sequence of the landing site from B&W magazine 39/Q taken by Buzz Aldrin from his Pilot LM window with the lunar surface EVA Hasselblad 500 EL Data Camera and its 60mm (focal length) lens. The EVA camera had a reseau plate, so images taken with it show a grid of crosses. While in the LM on the Moon, Armstrong and Aldrin had three photographic magazines: two color magazines 37/R and 40/S; and one B&W magazine 39/S. Frames from this magazine 39/Q were not released by NASA after the mission and are extremely rare..Aldrin: Descent Engine Command Override, Off. Engine Arm, Off. 413 is in. Duke (Mission Control): We copy you down, Eagle. Armstrong: Engine arm is off. Houston, Tranquility Base here. The Eagle has landed. Duke: Roger, Twan...(correcting himself) Tranquility. We copy you on the ground. You got a bunch of guys about to turn blue. We're breathing again. Thanks a lot. Aldrin: Thank you.   

Five views of the Moon as seen by the five lunar orbiters, Lunar Orbiter 1 to 5, August 1966 - September 1967 Vintage gelatin silver prints on fibre-based paper, 25.3 x 20.3 cm (10 x 8 in), with NASA captions on versos, the first BLACK NUMBERED S-66-55238 (NASA Manned Spacecraft Center and NASA Headquarters), (5)Footnotes:Gambart area (Lunar Orbiter 1), the first primary landing target in the eastern Sea of Tranquility (Lunar Orbiter 2), secondary landing site 7 near Crater Dembowski (Lunar orbiter 3), the Alpine valley of the Moon north of Mare Imbrium (Lunar Orbiter 4), landing target V-51 in the Marius Hills. Lunar Orbiter was the first robotic spacecraft to take high resolution photographs of the whole Moon from lunar orbit, offering amazing never before seen views of Earth's satellite, from a perspective different from Earth. Soviet spacecrafts had already sent back whole Moon images, but mostly very crude.The Lunar Orbiters had an ingenious imaging system which consisted of a dual-lens camera, a film processing unit, a readout scanner, and a film handling apparatus. The film was processed, scanned, and the images transmitted back to Earth with incredible resolution for the time. 

Michael Collins UV photograph of spectra of stars taken from outer space during Michael Collins' EVA, Gemini 10, 18 July 1966 Vintage gelatin silver print on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), with NASA caption on verso (NASA Headquarters).Footnote: An incredibly rare photograph because Michael Collins lost a camera magazine during his EVA and, consequently, most of the photographs taken by him or John Young during the EVAs were lost in space. After opening of the hatch for his stand up EVA, Collins stood up in his seat and photographed stellar UV radiation, taking 22 images of the southern Milky Way for 49 minutes. This was important because imaging the stars in the ultraviolet spectrum is only possible outside the Earth's atmosphere.[NASA caption] "Ultraviolet spectra of stars in the region of the Southern Cross. These objective grating spectra were obtained by astronauts John W. Young and Michael Collins during Gemini 10 stand-up EVA on July 19, 1966, with a 70mm Maurer camera and its f/3.3 focal length lens. The spectra extends from 2,200 angstroms to about 4,000 angstroms. The spacecraft was docked to the horizon-stabilized Agena-10; thus giving an apparent field of rotation resulting from the four-degrees-per-minute orbital motion during the 20-second exposure time." 

Alfred Worden, James Irwin or David Scott A view of a very thin sliver of Earth disc from deep space, barely illuminated by sunlight from the side, with an amazing lens flare effect, Apollo 15, 26 July - 7 August 1971Vintage chromogenic print on resin coated Kodak paper [NASA photo No AS15-96-13132], 20.3 x 25.4cm (8 x 10in), with A KODAK PAPER watermarks on verso (NASA / North American Rockwell).Footnotes: This view of our Home Planet illuminated only by sunlight from the side and basked in the beam of a lens flare, was taken from about 100,000 km from Earth with the Hasselblad equipped with a 105mm lens and magazine 96/Q. Only the slightest glimpse of the daylight side can be seen. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.  

William Anders The most celebrated image of the Earth rising above the Moon's horizon. This is the first Earthrise witnessed by humans and captured in colour on camera. The view was observed by the crew of Apollo 8 at 75h 48m and 39s of the mission and during the fourth orbit of the Moon. Taken with a 70 mm Hasselblad camera, 250 mm telephoto lens, colour magazine 14/D Apollo 8, 24 December 1968 16.49 GMT Vintage chromogenic print on fibre-based Kodak paper, 25.2 x 20.5 cm (10 x 8 in), [NASA photo No AS8-14-2383], with A KODAK PAPER watermark on verso (NASA/North American Rockwell)Footnote: "There was nothing in the plan for an Earthrise photo. Indeed, we didn't even see an actual Earthrise until, on our third orbit, we changed the spacecraft's orientation to heads up and looking forward. As we came round the back side of the Moon, where I had been taking pictures of craters near our orbital track, I looked up and saw the startlingly beautiful sight of our home planet 'rising' up above the stark and battered lunar horizon. It was the only color against the deep blackness of space. In short, it was beautiful, and clearly delicate." William Anders (Jacobs, p. 33). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. Condition Report: Condition Report Disclaimer

Buzz Aldrin 4-photo panoramic sequence of Tranquility Base from the LMP window of Eagle before liftoff, extremely rare photographs from B&W magazine 39/Q, Apollo 11, 16-24 July 1969 Vintage gelatin silver prints on fibre-based paper, [NASA photos No AS11-39-5818, AS11-39-5820, AS11-39-5822, AS11-39-5824], 25.4 x 20.3 cm (10 x 8 in), numbered in left margin on rectos, blank on versos (NASA/USGS), (4)Footnotes: Extremely rare photographs from B&W magazine 39/Q taken with the Hasselblad 500 EL used for Intra Vehicular Activity (IVA) and equipped with the 80mm lens, not published by NASA after the mission. The US flag, the TV camera which recorded the moonwalk and footprints left by the moonwalkers are visible in the foreground but also near a crater to the left of Eagle's shadow.  

Jack Swigert or Fred Haise Three views of the Moon receding in size during the dramatic journey back to Earth, unpublished after the mission Apollo 13, 11-17 April 1970 Vintage chromogenic prints on fibre-based Kodak paper, 25.4 x 20.3 (10 x 8 in), RED NUMBERED NASA AS13-62-8937?, AS13-62-8924, AS13-62-8952 and AS13-62-9015, with A KODAK PAPER watermarks on versos (NASA Manned Spacecraft Center), (3)Footnotes: On the way back to Earth, Swigert and Haise, despite exhaustion and grave danger they found themselves in, took a fantastic series of photographs of the Moon with magazine 62/JJ and the 60mm lens of the lunar surface Hasselblad 500EL Data Camera which never made it to the lunar surface. "We really got out the cameras, at least Jack and I, and tried to make use of as much of the film as we could." Fred Haise 

William Anders The first human-taken photograph of the entire disc of the Earth as seen by the Apollo 8 crew during the trans-lunar coast at a distance of about 27,000 miles, Apollo 8, 21 December 1968 13.06 GMT Vintage chromogenic print on fibre-based Kodak paper, 25.4 x 20.5 cm (10 x 8 in), [NASA photo no AS8-16-2593, inverted], with A KODAK PAPER watermark on versoFootnotes: "We came all this way to explore the moon, and the most important thing is that we discovered the earth" William AndersWilliam Anders and his crewmates James Lovell and Frank Borman became the first human beings to see the Earth as a sphere hanging in space. The photograph showing nearly the entire Western Hemisphere, from the mouth of the St. Lawrence River, including nearby Newfoundland, extending to Tierra del Fuego at the southern tip of South America was taken by Anders 4 hours and 36 minutes after launch with the 80mm lens from about 27,000 km out in space.Literature:LIFE magazine The incredible year 1968, 10 January 1969, cover, see illustration (a copy of the magazine not included within the lot)Condition Report: Processing marksCondition Report Disclaimer

William Anders The disc of the Earth first seen by humans Apollo 8, 21-27 December 1968 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4 cm (8 x 10 in) [NASA photo No AS8-16-2588, inverted], with TUCKER collection stamp and A KODAK PAPER watermarks on verso (NASA/North American Rockwell)Footnote: The photograph was taken by William Anders with the 80mm lens. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.About three hours and thirty minutes after launch, the crew of Apollo 8 was already further from Earth than any humans before them and experienced a never before seen view of the curved Earth from 6,500 nautical miles away. The Atlantic Ocean and the west coast of Africa are clearly visible. Commander Frank Borman reported to Mission Control: 'We see the Earth now, almost as a disk.'Illustrated: LIFE 10 January 1969 p. 22-23, see illustrations (a copy of the magazine is not included within this lot)"The View from Space: American Astronaut Photography, 1962-1972", Schick and Van Haaften, pg. 94. Condition Report: MintCondition Report Disclaimer

William Anders Extremely rare negative view of the very first Earthrise photograph captured by William Anders on B&W film during the first Earthrise witnessed by humans, Apollo 8, 21-27 December 1968 Vintage gelatin silver print on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), [negative view of NASA photo No AS8-13-2329], blank on versoFootnote: Caught off guard by the amazing sight of Earthrise during Apollo 8's 4th orbit of the Moon, Anders took this historic shot using B&W film already inside his 500EL Hasselblad equipped with the 250mm telephoto lens before changing his camera's magazine to capture the now iconic colour Earthrise. Condition Report: Small tear in left margin, image not affected; otherwise very goodCondition Report Disclaimer

Michael Collins A rare unpublished view of the Earth rising over the curved lunar surface after trans Earth injection taken through the 250mm telephoto lens Apollo 11, 16-24 July 1969 Vintage chromogenic print on resin-coated Kodak paper, 25.3 x 20.5 (10 x 8 in), [NASA photo No AS11-44-6649], with THIS PAPER MANUFACTURED BY KODAK watermarks on versos (mid-1970s print) (NASA/North American Rockwell)Footnotes: Following transearth injection (TEI), Columbia had increased its altitude to over 800 km, which explains the increased curvature of the lunar surface. That was also the last Earthrise witnessed by the first humans on the Moon as they departed for the journey home. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module.  

Harrison Schmitt, Eugene Cernan or Ronald Evans Very rare oblique view of the lunar horizon over the backside of the Moon, after the last lunar orbit insertion performed by a manned spacecraft, unpublished after the mission Apollo 17, 7-19 December 1972 Vintage chromogenic print on fibre-based Kodak paper, 25,4 x 20,3 cm (10 x 8 in), with A KODAK PAPER watermarks on verso, RED NUMBERED NASA AS17-151-23119 (NASA Manned Spacecraft Center)Footnotes: The Apollo 17 crew took this photograph as they marvelled at their first view of the Moon after lunar orbit insertion. It is a very rare unreleased oblique photograph taken looking north through the 80mm lens over lunar farside highlands in the area of Crater Crookes (centre right of picture) from an altitude of 113 km. The relief is accentuated by the low Sun near the terminator. 

Alfred Worden, James Irwin or David Scot Four rare orbital views of the Moon, taken with three different lens and four different Hasselblad magazines, unpublished after the mission Apollo 15, 26 July - 7 August 1971 Four vintage gelatin silver prints on fibre-based paper, 25,4 x 20,3 cm (10 x 8 in), BLACK NUMBERED NASA AS15-81-11031, NASA AS15-90-12327, NASA AS15-94-12836, NASA AS15-95-12903 (NASA Manned Spacecraft Center), (4)Footnotes: These extremely rare photographs from the Apollo 15 mission reveal stunning details of the lunar surface captured by the crew with various lens and magazines mounted on the Hasselblad cameras. First photograph [AS15-81-11031]: 500 mm telephoto lens vertical photograph (Hasselblad telephoto 500EL data camera also used on the lunar surface) of an ejecta near the north rim of Crater Lambert in the Sea of Rains (26.5° N / 21° W), magazine 81/QQ, altitude 111 km, orbit 69. Second photograph [AS15-90-12327]: 60 mm wide angle lens (Hasselblad lunar surface 500EL data camera) view of the lunar horizon looking northwest over Crater Menelaus (top right), magazine 90/PP, altitude 118 km, orbit 70. Third photograph [AS15-94-12836]: 80 mm lens oblique photograph (Hasselblad 500EL) looking northwest of the fresh impact crater Proclus located to the west of the Sea of Crises (19.5° N / 45° E), magazine 94/S, altitude 115 km, orbit 37. Fourth photograph [AS15-95-12903] : 500 mm telephoto lens vertical photograph (Hasselblad telephoto 500EL data camera also used on the lunar surface) over the Apennine mountains (19° N / 4° W), magazine 95/R, taken post rendezvous with the LM. 

A brass Voigtländer & Sohn no.9947 brass lens, 5.125in long, aperture 56mm

A Rolleiflex SL 35E, sealed, a Rolleiflex SL ME & SL 35 M & a Yashica Electro 35 camera twinned with a Taylor, Taylor & Hobson Super Comat 1.5" F 1.9 lens

19th century brass telescope by Watson & Son Opticians, High Holborn, London, inscribed around the lens, within a mahogany fitted case, 44" long; together with a W Harris & Son single drawer telescope (2)

Olympus OM10 35mm camera with 1-1.850mm lens, Olympus OM Winder 2 and other accessories including lenses, filters, instructions etc

Frank & Heidecke Rolleiflex camera with Carlzise Tessar 1;3.5 f=75mm lens other accessories in tan leather case

Six Nao by Lladro figures incl. 1136 First Love H17cm, collection of Liliput Lane cottages, Eumig P8 automatic projector with box, and a Yashica reflex 8mm cinecamera zoom lens

FIVE BINOCULARS, A TELESCOPE AND A CASED PHOTAX 1:5.6 CAMERA LENS

A VINTAGE MAHJONG SET, A LARGE VINTAGE LENS, CLOCK BRACKET, AN ANTIQUE SEWING MACHINE ETC.

A CANON EOS 7D MARK II CAMERA TOGETHER WITH A CANON EOS 70 D CAMERA, A ZOOM LENS EF 100-400MM, AN EFS 18-55MM LENS, A MACRO LENS EF 100MM, ASIGMA EX 10-20MM LENS AND A SIGMA APO MACRO DG HSM 180MM LENS

TWO BOXED KODAK CINE MODEL E CAMERAS TOGETHER WITH A TAYLOR-HOBSON COOKE TELEKINIC LENSAND A WOLLENSAK-ROCHESTER CINE TELEPHOTO LENS

A GAUMONT QUARTER PLATE CAMERA WITH LEATHER CARRYING CASE, THE LENS BY PROTAR-ZEISS

A KODAK AERO-EKTAR f:2.5 LENS 178MM

A GOLZ BREUTMANN MENTOR CAMERA WITH A ZEISS LENS AND VARIOUS PLATES, TOGETHER WITH AN ENSIGN FUL-VUE CAMERA AND A MAHOGANY FRAMED GLASS PLATE

A large circular lens 

Two boxes of various camera lens etc 

SEALIFE DC500 UNDERWATER CAMERA CASED WITH ACCESSORIES including a ReefMaster digital flash, Land & Sea digital camera, wide angle lens, cables and memory card

NIKON D200 CAMERA AND AN OLYMPUS CAMERA the Nikon with 17-70MM macro lens, the Olyumpus E-420 with 17.5-45MM lens, both with carry case

PRAKTICA MTL 5 B CAMERA AND FURTHER VINTAGE CAMERAS the Praktica with Pentacon 1.8/50mm lens, along with a Polaroid 'The Button' Land and 635 cameras, Fujica STX-1, Solida 1, Yashica IC 14E, Houghton Ensignette No.2 and a USSR cine-camera, some cased

A Leica model If 35mm camera, serial number 682554, (1955 Red Dial), with two accessory shoes, Leitz Elmar f=5cm 1:3,5 lens, in a brown leather fitted case, with Watameter rangefinder

DISNEY STUDIOS - Disney-Owned 35mm Mitchell BNCR Camera - A Disney-owned 35mm Mitchell BNCR camera from Disney Studios. The updated Mitchell BNCR camera, sold to Disney Studios circa 1960s, featured blimp housing for sound-shooting, and a lens mount for the reflex viewer so operators could view action through the lens while filming.Composed of metal and plastic, this camera features engraved labels for audio plug-ins and visual input; housing for a dummy lens; and plaque with serial "BNCR-163 E-3482." The camera's internals are in good condition and complete, and it still maintains its original paint finish. The metal "Cinema Product Development" plaque on the side is for a boxy motor, which was added to the camera later on. The magazine has "BNC 325" stenciled in white. Included is a wood tripod and a Worrall geared head but exhibits damage and requires work to stay intact as a unit. This lot also exhibits chipped paint, grime, and fragile components. Dimensions: 48" x 24" x 14" (122 cm x 61 cm x 35.5 cm)Contains electronics and mechanical components; see notice in the Buyer's Guide.Special shipping required; see notice in the Buyer's Guide.Estimate: $4,000 - 8,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

STAR TREK: THE NEXT GENERATION (T.V. SERIES, 1987 - 1994) - Lt. Cmdr. Data's (Brent Spiner) Cranial Cybernetic Tool - Data's (Brent Spiner) cranial cybernetic tool featured in "Deja Q" from Gene Roddenberry's series Star Trek: The Next Generation. After Data saved a mortal Q's (John de Lancie) abduction by vengeful energy beings, Geordi LaForge (LeVar Burton) repaired him. This modified black-and-white plastic flashlight with a black rubber toggle is painted battleship gray. It features a custom-made black, gray, and copper-color painted resin adapter with a diffused red gel acrylic rectangular lens; two small bulbs behind blue plastic gel; two metal triplex-head nails emulating probes; and inset grills. It exhibits scratching, scuffing, chipping, discoloration, staining, and glue residue. Dimensions: 7" x 3" x 3" (17.75 cm x 7.75 cm x 7.75 cm)Contains electronics; see electronics notice in the Buyer's Guide.Estimate: $2,000 - 4,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.

ALIENS (1986) - USCM M314 Motion Tracker Screen - A USCM M314 Motion Tracker screen from James Cameron's sci-fi sequel Aliens. Ripley (Sigourney Weaver) and the team of Colonial Marines used their M314 Motion Trackers to track the deadly xenomorphs on LV-426.This gray and black plastic tracker screen with an acrylic screen, two static switches, two small LED lights at the bottom, and a reflective lens on the reverse is painted in the so-called "Aliens Brown" shade. It exhibits cracked plastic, missing parts, lifted tape, and notable adhesive residue. Dimensions: 3" x 3.5" x 2.5" (7.75 cm x 9 cm x 6.75 cm)Contains electronics; see electronics notice in the Buyer's Guide.Estimate: $4,000 - 8,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

FURY (2014) - Don "Wardaddy" Collier's (Brad Pitt) M1 Helmet - Don "Wardaddy" Collier's (Brad Pitt) M1 helmet from David Ayer's war-drama film Fury. Wardaddy wore his helmet during a platoon rescue mission. This black and green metal M1 helmet features a brown plastic insert, nylon, elastic, and leather straps, and a pair of metal frame goggles with clear acrylic lens, a suede and brown leather trim, and a brown elastic strap. This lot exhibits intentional distressing from production, and scuffs and worn elastic on the goggles and helmet.Estimate: $3,000 - 6,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

FURY (2014) - Don "Wardaddy" Collier's (Brad Pitt) Tank Helmet with Goggles - Don "Wardaddy" Collier's (Brad Pitt) tank helmet with goggles from David Ayer's war-drama film Fury. Wardaddy wore his helmet in the Fury tank with his unit throughout the film. This lot consists of a green color metal fiberglass helmet with a brown leather insert featuring an elastic strap and a pair of metal frame goggles with clear acrylic lens, a suede and brown leather trim, and a brown elastic strap. It features an AUX cable that allowed Wardaddy to communicate with his unit and is marked "BRAD 22 1/12" in blue ink on tape in the interior. This lot exhibits intentional distressing from production and scuffs and worn elastic on the goggles and helmet. Contains mechanical components; see notice in the Buyer's Guide.Estimate: $3,000 - 6,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

JUDGE DREDD (1995) - Deactivated Blank-Firing Lawgiver Mark II Pistol - A deactivated Lawgiver Mark II pistol from Danny Cannon's sci-fi adventure Judge Dredd. Lawgivers, the signature weapons of Judge Dredd (Sylvester Stallone) and the Street Judges who patrolled Mega-City One, only operated when their rightful owners wielded them.Created for scenes requiring live-fire, this futuristic pistol features a detailed, ribbed resin clamshell cast around a Beretta 92FS pistol and painted black and silver-color with rubber pistol grips, a machined aluminum barrel extension, and a matching base on the magazine. It features the Hall of Justice crest on the side, red and blue acrylic inserts in place of lights, and a vented sight post.Also included are a rubber prototype grip, an additional Double Whammy lens barrel, and a Certificate of Deactivation from London Proof House noting the weapon's sympathetic deactivation following production. The pistol exhibits breakage to its sight, shrunken rubber, and paint scuffing throughout from production use and age. Dimensions: 12" x 7" x 2" (30.5 cm x 18 cm x 5 cm)Firearm deactivated; see firearm deactivation notice in the Buyer's Guide.Estimate: $10,000 - 20,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

BLADE RUNNER (1982) - Richard Edlund Collection: Custom-Made 65mm VFX Matte Camera Used on Blade Runner and Close Encounters of the Third Kind - A custom-made 65mm VFX matte camera used for the productions of Blade Runner and Close Encounters of the Third Kind. This matte camera was first made as a bi-pack camera by George Randle for Pacific Title, Hollywood's premier title and optical house that was founded in 1919. It was later acquired by Douglas Trumbull and put into service as the matte department's camera on Close Encounters. In 1983, Academy Award®-winning VFX supervisor Richard Edlund formed BOSS Film Corp and acquired Trumbull's EEG facility and equipment. This camera ultimately formed the backbone of BOSS' matte department.This lot comes from the collection of Edlund and includes a Letter of Authenticity from him. It consists of one matte camera with a stack of three magazines. Filming matte paintings requires cameras to have two stacks of magazines, known as "bi-packing," which allows the camera to film a matte painting with another piece of film next to the negative. Thus both are recorded on a single piece of film in a single pass and show a greatly enhanced image quality of the resulting composite. Famed matte artist Matthew Yuricich used this camera to photograph all of the matte paintings on Blade Runner and Close Encounters. It was later upgraded by adding another set of magazines, making it a tri-pack as it currently appears. It was used on virtually every project that BOSS Film worked on that required matte paintings, including Ghostbusters, 2010: The Year We Made Contact, Batman Returns, Species, Cliffhanger, and more. Constructed of metal with glass lenses and plastic components, this camera features several taped labels hand-marked "460," "350," "CM/BC," "SE PS [sic]," "5248-363," and "Focus." Known for its steadiness, this camera was mounted to a fixed pedestal that would face the matte stand. It is complete with inner movement, tri-pack magazines, and lens with cover. This lot exhibits adhesive residue, lifted tape, a buildup of grime, and fragile components. Dimensions: 26.25" x 14" x 42.5" (66.75 cm x 35.5 cm x 108 cm)Contains electronics and mechanical components; see notice in the Buyer's Guide.Special shipping required; see notice in the Buyer's Guide.Estimate: $25,000 - 50,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

BOSS FILMS VFX COMPANY - 65mm Mitchell FC Camera - A 65mm Mitchell FC camera from the Boss Films VFX company. To counter the decline in movie attendance starting in the late 50's, film makers and camera manufacturers turned to larger format film cameras. 65mm film has an image area more than three times the size of a standard 35mm frame. Due largely to the expense of the film and processing, shooting on 65mm was limited to large, epic films such as "Bridge on the River Kwai", "2001: A Space Odyssey", and "Lawrence of Arabia". Non-blimped cameras, such as this, were typically included as part of a camera package to be used for capturing MOS (silent) footage.This lot comes from the collection of Academy Award®-winning VFX supervisor Richard Edlund and includes a Letter of Authenticity from Edlund. This camera, serial number 6560, was initially sold to Claude Chevereau's "Chevereau au Service du Cinema" rental house in Paris in late 1962 and was notedly unique in that it had the capability to film at a higher frame rate than the standard 24fps, making it ideal for action sequences. While specific camera reports have not been located showing its usage, conversations between Richard Edlund and Stanley Kubrick in the mid-1990's indicate this could have been part of a larger package of equipment that worked on classic films based out of Europe in the mid-late 1960's. Later, VFX Supervisor Richard Edlund purchased this camera directly from Claude Chevreau in 1993 to be used as a higher speed VFX camera for his BOSS Film VFX company.This lot consists of one 65mm Mitchell FC camera, which very few FC cameras were ever made by Mitchell, is composed of metal with glass lenses and plastic components and features matching serial numbers on the body and movement, lens, as well as the attached high speed motor. This camera features a single lens mount rather than a turret lens, and is a rackover camera rather than a reflex camera. It also comes with a Taylor & Hobson 30mm lens; a 65mm magazine with case; its original camera case; and a power supply and speed control engineered by BOSS Film. This lot exhibits adhesive residue, a buildup of grime, and fragile components. Dimensions: 27" x 12.5" x 21.5" (68.75 cm x 31.75 cm x 54.75 cm)Contains electronics and mechanical components; see notice in the Buyer's Guide.Special shipping required; see notice in the Buyer's Guide.Estimate: $25,000 - 50,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

A Nikon F-301 camera, a Clubman 1:45 lens, a Nikkor 50mm and filtersLocation: RAF

Cameras and equipment - 35mm photography - an Olympus OM-1 camera with OM System 50mm f/1.8 lens; Sirius Olympus-fit 28-200mm; Topman Mc 135mm; Hoya wide angle 35mm; Minolta mini tripod; etc.

Photography - a Sigma zoom 28-80mm 1:3.5 - 5.6 macro lens; another, Strathconar Auto 1:2.8 135mm lens, no.61123 (2)

Zenit 11 Soviet 35mm SLR Film Camera and accessories - Helios 44M-4 Lens, Helios 135mm automatic lens, f/1:2.8, manual, cased.

Bernard Lens III (1682-1740) Portrait miniature of King Richard III (1452-1485) the last Plantagenet King of England, wearing a dark green Houppelande edged with fur, black cap with a gold jewelled clasp and matching jewelled collar, painted against a blue ground with gold border signed with gilt monogram 'BL' (lower right), the reverse inscribed '10/ King Richard III,/ 1485/ Bernd. Lens Fecit/ 1732.' watercolour on vellum, circular 5cmProvenance: Bonhams, London, 21st November 2012, lot 4, when acquired by the late Barry Lock (1934-2021)As well as producing original likenesses throughout his career, Bernard Lens also had a thriving business producing copies of historic miniatures and miniature copies of oil paintings by Old Masters and contemporary artists. The present miniature belongs to a series of over 30 portraits of the Kings and Queens of England by Bernard Lens and his sons. The solid blue background harks back to Tudor and early Stuart miniatures and thus lends the portrait a historical character. In the early 18th century, these subjects were highly sought after amongst antiquarians who had a passion for collecting so-called 'heads', or portraits of famous historical figures. This collecting trend was typified by Horace Walpole (1717-1797), who was an amateur pupil of Bernard Lens, and amassed an extensive collection of thousands of paintings and prints of famous people. The Victoria & Albert Museum holds six examples from this series (inv. E.594-1994 to E.599-1994).The sitter, Richard III, only ruled as King of England for two short years and was the last English king to die on a battlefield. His defeat and demise at the Battle of Bosworth Field marks the end of the Wars of the Roses, the reign of the Plantagenet dynasty and the end of the Middle Ages in England.Not examined out of frame. Colours appear strong. Wrinkling to the vellum support with a pronounced crease along the bottom left side under the sitter's jewelled collar and another raised area near the sitter's cap. The right hand side of the miniature appears to be in better condition.

Bernard Lens III (1682-1740) Portrait miniature of Edward V (1470-1483), wearing an ermine-trimmed robe, painted against a blue ground with a gold bordersigned with gilt monogram 'BL' (lower right), the reverse inscribed '17/ King Edwardy.e V / Bern.d Lens Fecit/ 1732.'watercolour on vellum, circular5cmProvenance:Ellison Fine Art, from whom acquired in 2018 by the late Barry Lock (1934-2021)Edward succeeded his father, Edward IV, upon his death as King of England and Lord of Ireland on 9th April 1483. He was, however, never crowned and his brief reign was dominated by the influence of his uncle and Lord Protector, the Duke of Gloucester, who deposed him to reign as Richard III on 26th June 1483.Minor undulations across the vellum commensurate with age. Little loose in its frame. Colours appear strong. Examined out of frame. 9 x 9cm framed

Bernard Lens III (1682-1740) after Sir Godfrey Kneller Portrait miniature of King George I (1660-1727) in ceremonial state robes and collar of the Order of the Gartersigned with gilt monogram 'BL' (centre right) and inscribed 'Georgius Dg Mag Britannicae Franciae et Hiberniae Rex Fidei Defensor, Brun: et Lunen: Dux S.R.I. Arch Thesau: et Princeps Elector & Inauguratus XX die Octobris 1714 Kneller S.R. Imp: et Mag: Brit Baronet: pinx ab Originall Bernard Lens ... fecit May ye 18 Londini 1718' (to the reverse)watercolour on ivory, oval8cmProvenance: Ellison Fine Art, from whom acquired in 2015 by the late Barry Lock (1934-2021)The present composition derives from Kneller's state portrait of George I, painted circa 1714, which was according to Horace Walpole "the only picture for which he ever sat in England." It is at Houghton Hall, Norfolk as it was given by the King to his Prime Minister, Sir Robert Walpole. The present miniature predates Lens' appointment in 1723 as "Painter in Enamell [sic] in Ordinary" to the King, and it was therefore probably painted to help secure his position at the court. Another version from 1718, but dated slightly later, to the 27th June, is in the Victoria and Albert Museum (P.64-1987).This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. TZMX446R.Light surface dirt under glass. Appears to be in good condition overall. Not examined out of frame. 10 x 8.5cm framed.

Attributed to Andrew Benjamin Lens (1713 - after 1779) Portrait miniature of a gentleman, thought to be a member of the Warde family of Hooton Pagnell Hall, in a blue coat and red waistcoat, holding a black hat under his left armwatercolour on ivory, oval6cmProvenance:Hooton Pagnell Hall, South Yorkshire,Their sale, Bonhams, London, 1st December 2015, lot 90, as 'Manner of Andrew Benjamin Lens, circa 1740';Ellison Fine Art, from whom acquired in 2016, as 'by Andrew Benjamin Lens and of a member of the Warde family', by the late Barry Lock (1934-2021)This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. RKK86TTT.Small losses and flaking paint lower left corner in the sitter's sleeve. Another small loss in his hair. The background in the lower left area seems a little abraded. Not examined out of frame.

Peter Paul Lens (1714 - after 1754) Portrait miniature of a lady in a yellow dress with lace lawn collar, blue bow at the bodice, blue wide-brimmed hat adorned with white plumes, ropes of pearls in her hair and wrapped around her dresssigned and dated indistinctly 'PLens / 174(?)' (lower right)watercolour on ivory, oval, in a gold frame6cmProvenance:Elle Shushan, Philadelphia, from whom acquired in 2015 by the late Barry Lock (1934-2021)This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 655Y328BSlight abrasion and wear to the paint layer along the top and minor losses along the edges. Not examined out of frame.