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.
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A collection of 27 views tracking this ill-fated mission through pre-launch, launch, the accident and the recovery of the wreckage, Space Shuttle "Challenger" STS-51L, 28 January 1986.Twenty-seven chromogenic prints on resin-coated paper, 25.3 x 20.5 cm (10 x 8 in), all RED NUMBERED in margins with their respective NASA negative numbers, with THIS PAPER MANUFACTURED BY KODAK watermark on the versos, all but one with a NASA caption on the verso.Due to the sensitive nature of this lot, we will only show a limited number of photographs on our website. Additional images are available on request.Provenance: From the collection of Tim Furniss.Condition Report: Some prints have annotations and stickers on verso (attached by Tim Furniss). One print bears stickers on recto (by Tim Furniss).Overall very goodCondition Report Disclaimer
James Lovell, Fred Haise or Jack Swigert Three views, comprising 1) a view of the Lunar Module "Aquarius", which later became the crew's lifeboat, stowed at the top of the S-IVB stage of the Saturn launch vehicle and taken during the approach of the Command Module during the transposition, docking and extraction maneouvers (AS13-60-8579), 2) the S-IVB of the Saturn launch vehicle, side-on, after the jettison AS13-60-8587), and 3) view of the severely damaged Service Module photographed following the jettison (AS13-58-8458), Apollo 13, 11-17 April 1970 Vintage chromogenic prints on fibre-based paper, 25.4 x 20.3 cm (10 x 8 in), BLACK NUMBERED NASA AS13-60-8579, NASA AS13-60-8587 and NASA AS13-58-8458, (NASA Manned Spacecraft Center), (3)
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.
Three views of the giant Saturn V at pad 39A prepared for launch, the crew entering the spacecraft for launch and Mission Control during the landing on the Moon, July 1971 Vintage gelatin silver prints on fibre-based paper, 20.3 x 25.2 cm (8 x 10 in), with NASA captions on versos (NASA Kennedy Space Center and NASA Headquarters), (3)
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
Three views of the Apollo 9 launch including liftoff, staging and separation and Launch Control Center during pre-launch activities, Apollo 9, 3-13 March 1969Vintage gelatin silver prints on fibre-based paper, 25.3 x 20.5 cm (10 x 8), with NASA captions on versos, (NASA Kennedy Space Center and NASA Headquarters), (3)Footnotes: Apollo 9 was the maiden voyage of the Lunar Module into space. The success was critical for the upcoming moon landings.Condition Report: MintCondition Report Disclaimer
Saturn and its rings, Voyager 1 &2, 1979 -1980Vintage chromogenic prints on resin-coated paper, 25.3 x 20.3 cm (10 x 8 in), with THIS PAPER MANUFACTURES BY KODAK watermarks and NASA JPL captions attached by tape to the versos Condition Report: Tape residue on versos not affecting the fronts but severe residue on the latter printCondition Report Disclaimer
Four views of John Glenn during various phases of the preparation for the first manned orbital American mission Mercury Atlas 6, February 1962.Vintage gelatin silver prints on fibre-based paper, 20.4 x 20.3 cm (10 x 8 in), with NASA captions on versos of the first three, (NASA, Cape Canaveral), (4).Footnotes: Glenn enters station wagon at during simulated activities at Cape Canaveral (first photo), Glenn, Dr. Douglas and suit technician Joe Schmitt at the Aero Med facilities of the famous Hangar S at Cape Canaveral (second photo), Glenn studies recovery map with Astronaut Deke Slayton looking on (third photo), Glenn in front of Mercury network tracking antenna (fourth photo).
Dave ScottTwo views of the Lunar Rover, the first one, unreleased view of the Rover at Station 6, with the landing site in the far background, the second, at its final parking spot, Apollo 15, 26 July - 7 August 1971Vintage chromogenic prints on fibre-based Kodak paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA AS15-86-11618 and AS15-88-11901, with A KODAK PAPER watermarks on versos (2)Condition Report: MintCondition Report Disclaimer
Michael Collins "Eagle" after undocking from the Command Module Columbia prior to the historic descent to the Moon Apollo 11, 16-24 July 1969 Two vintage chromogenic prints on resin-coated Kodak paper, 25.3 x 20.5 cm (10 x 8 in), [NASA photo no AS11-44-6575 and AS11-44-6585], with THIS PAPER MANUFACTURED BY KODAK watermarks on versos (printed mid-1970s), (NASA/North American Rockwell)Footnotes: Two rare frames taken in lunar orbit by Michael Collins aboard the Command Module "Columbia". The Lunar Module had separated from "Columbia" to land on the Moon with Aldrin and Armstrong aboard ."In my view, the emotional moment was the landing. That was human contact with the Moon, the landing." Neil Armstrong
Two views of the historic Apollo 11 Saturn V rocket on the crawlerway on its way to Pad 39A for the launch of the first lunar landing mission, Apollo 11, May 1969 Two vintage gelatin silver prints on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), the first with NASA caption on verso, the second BLACK NUMBERED NASA S-69-35307, (NASA Headquarters and NASA Manned Spacecraft Center), (2)Footnote: The crawlerway started the roll-out of the Saturn V/Apollo and mobile launcher at 12:30 pm and at a snail's pace of one mile per hour arrived atop the launch complex at 6:30 pm with the 363 foot tall space vehicle.Condition Report: MintCondition Report Disclaimer
Two views of James Lovell and Frank Borman before the launch of their epic 14-day mission, the record breaking longest spaceflight of the Golden Age of Space Exploration, Gemini 7, November 1965.Vintage gelatin silver prints on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), the first blank on verso, the second with NASA caption and Culver Pictures stamp on verso, (NASA Headquarters), (2).Footnotes:Frank Borman and James Lovell would not only spend 14 days in space in the tiny Gemini VII capsule but they would become the first humans to break free of Earth's gravity on Apollo 8 three years later. The first photograph shows James Lovell in the cockpit of the spacecraft during joint systems tests of the launch vehicle and spacecraft. The second photograph shows Frank Borman during weight and balance test. They are wearing lightweight pressure spacesuits designed to be removable during their marathon 14-day mission.The longest previous spaceflight was the eighth-day mission of Gemini 5. Borman noted that he and Lovell hoped to take advantage of the earlier experiences. "One of the things we got from Gemini 5 was that flying in the heavier spacesuits was very debilitating," he said. "So we were able to convince NASA that we should have a lightweight pressure suit which was developed in a very short period of time. It was very convenient because we could get out of it, and we did." (https://www.nasa.gov/feature/dual-gemini-flights-achieved-crucial-spaceflight-milestones)
Buzz Aldrin Two overlapping photographs of Buzz Aldrin's first panorama of Tranquility Base showing the so-called "Double Crater", unpublished views, Apollo 11, 16-24 July 1969 Two vintage gelatin silver prints on fibre-based paper [NASA photos No AS11-40-5889, AS11-40-5890, originally shot on colour film], 20,3 x 25,4 cm (8 x 10 in), numbered AS11-40-5889, 40-5890 in margin, with original handwritten USGS inventory numbers identifying lunar rocks (NASA/USGS), (2) Footnotes: An extremely rare 2-photo panoramic view from the first manned mission on the surface of another world. Aldrin took this panoramic sequence from the rim of the so-called Double Crater on a position 7 m west of the LM ladder. The interior and wall of Double Crater are visible in detail. The diameter of the younger (and largest) eastern component of Double Crater to the right is about 12 m. 'I was struck by the contrast between the starkness of the shadows and the desert-like barrenness of the rest of the surface.' Buzz Aldrin
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.
JOSEPH RODGERS & SONS LTD, 6 NORFOLK STREET, SHEFFIELD: THREE CATALOGUES, AND SIXTEEN EARLY PRINTS, 20TH CENTURY the first 124 pp., extensively illustrated, original printed board covers; the second 194 pp. extensively illustrated, paper covers (worn, losses); the third 26 pp. paper covered and bound with a plastic spine bar, the fourth comprising sixteen photographs of penknives and cutlery, probably proof pieces for a catalogue (4) In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
John A. Bryan de Grineau (1882-1957) - "The Tourist Trophy Race", Isle of Man, June, 1914" vintage Bentley cars rounding the Ramsey hairpin bend, the place where some of the greatest thrills are experienced, charcoal, pen, ink and watercolour, heightened with white, possibly on tinted paper, 20" x 14.5", An original drawing by a "Motor Artist"; together with two related vintage motor car racing prints. one inscribed 'Nuvolari Wins On The M.G' (1933 TT) (3)
Hendrik Hulsbergh after Inigo and William Kent, (18th/19th century) - Architectural subject, inscribed with various plate numbers, also inscribed with the engravers name and further details, black and white engravings, each approximately 13" x 38", originally published by H.Flitcroft a set of four; framed (4) ** Provenance - sold by Sebastian D'Orsai Ltd, 39 Thoebalds Road, London, WC1X 8NW. ** The prints were originally made and designed circa 1727, the present four prints are later editions and relate to further engravings of the old St Paul's Cathedral, London, the west front and portico, and further designs
Collection of Beatles and band members vinyl record singles and LPs to include The White Album (No 0418795 with original band member prints), Help, Yellow Submarine, John Lennon Imagine etc. Also books, 2 magazines, 2 DVDs and a VHS video. Also included a collection of vinyl record singles and LP's from The Rolling Stones, Neil Young, Cliff Richard, Gerry Rafferty, Def Leopard and many other artists (mostly without sleeves), and a collection of "Now That's What I Call Music" CD's. Qty, 3 boxes
Collection of tram, bus, railway and industry related books and magazines incl. Tramfare, Last Of The Trams, newspaper articles, vinyl records "Tramway Sounds", "Sounds Of Sheffield Tramways" and BBC sound effects, National Transport tokens, phonecards (including Star Trek First Contact phonecard collection), pin badges, prints, DVD's etc. (7 boxes)
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255176 item(s)/page