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Lot Essay
644 a 143:31:56 Cernan: We’re getting some samples this time. I want to get an “after”, and I want to get a closeup stereo of that. And I’m going to get some pictures around this block, too. 143:32:05 Cernan: Okay. There’s an “after” and now I’m going to get sort of a close-up stereo around it. That ought to do it. 143:32:18 Schmitt: Hey, Bob, while he’s doing that, there’s a real good example of a pit-bottom crater up here even on this talus slope. I’ll try to take a stereo of it.
644 b After having played with a rock and rolled it, the astronauts sampled the soil underneath. Cernan is standing a little uphill and closing a sample bag as Schmitt skims a sample.
143:34:02 Cernan: Get that sample under there, Jack. Under that rock. 143:34:07 Schmitt: Okay. Got a bag? 143:34:09 Cernan: Got a bag. 143:34:12 Schmitt: The soil from right underneath the rock - down to about 4 centimeters (depth) - (is going) in 505.
644 c At the left Schmitt is pictured as he is turning around to capture a panoramic sequence. Cernan took the photograph as a Cross-Sun “before” of the second rake site. The gnomon and footprints are in the foreground.
143:37:23 Cernan: You getting your pan? 143:37:24 Schmitt: Yeah, I said... 143:37:25 Cernan: Where do you want it (the gnomon for the rake sample)? 143:37:26 Schmitt: Well, right over there where there’s some fragments. And you get the... 143:37:28 Cernan: I’ll get the “before” (picture) and the “locator”.
644 d A frame from a panoramic sequence taken at the second station 2 rake site near Nansen Crater. Footprints lead to the rover parked in a field of boulders above; the summit of the South Massif forms the skyline in the background.
Although they spent most of their time working on a fairly steep slope and had to watch their footing, the crew found the slope above the rover to be no more than an inconvenience.
143:38:10 Schmitt: (Laughing) (It’s) tiring to take pictures. 143:38:12 Cernan: Yeah. Let me tell you, you just got to think an order of magnitude bigger than what you’re normally accustomed to thinking. 143:38:20 Schmitt: Okay, pan’s complete. 143:38:21 Cernan: Let’s get the rake sample so we can move on. (Pause) Bob, I couldn’t get those 500’s (pictures) anyway. It would require me to pitch up (lean back) too far, and there’s no way I could do it.
644 e “The lunar rover performed well throughout the mission; however, as shown in this closeup, the right rear fender was accidentally knocked off during the first EVA and allowed the rover to kick up a dust plume while moving, which caused difficulty for the crew. Following a suggestion from astronaut John Young at Mission Control, the crew repaired the fender at the beginning of EVA 2 using lunar maps and clamps from the optical alignment telescope lamp” (http://www.lpi.usra.edu/lunar/missions/apollo/apollo_17/surface_opp/).
“Cernan took the photograph just before driving off from Station 2; Schmitt is already seated in the rover. The dust-coated-originally-blue Traverse Gravimeter is mounted on the back of the Rover just above the replacement fender. Cernan took this photo, in part, to document its condition after the 9.1 kilometer drive out from the LM and, in part, to document his handiwork. At the end of EVA-3 Cernan decided to bring the fender back to Earth and, as of the late 1990s, it was still on display at the National Air & Space Museum in Washington D.C” (ALSJ caption for AS17-137- 20979).
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Voyage to Another World: The Victor Martin-Malburet Photograph Collection
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The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
Overall in very good condition with wear commensurate with age and use.
Please note that photographs in this sale are drawn from a variety of sources and include photographs used to prepare press articles. Condition will vary from lot to lot but some photographs may display signs of further handling including, but not limited to:
Nicks to edges; fading or yellowing; slight warping and creasing; light scruffs or scratches; small tears to margins; handwritten annotations in pencil or ink; captions affixed to verso; staining to verso; affixed labels or stickers; occasional hand retouching to press photographs, and cropped margins.
Most of these will be discernible from the catalogue images.
The mosaic panoramas are composed of multiple photographs attached together using adhesive. These may be trimmed to allow for correct registration of successive images within the panorama.
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