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NASAAstronaut Edwin E. Aldrin walks on the Surface of the Moon, Apollo 11
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NASA
Astronaut Edwin E. Aldrin walks on the Surface of the Moon, Apollo 11
Vintage, C-Print auf Kodak-Papier. 48,3 x 38,1 cm (Passepartoutausschnitt). Auf Originalkarton aufgezogen und unter Original-Passepartout montiert.
„Ich glaube, dass sich die Vereinigten Staaten das Ziel stellen sollten, noch vor Ende dieses Jahrzehnts einen Menschen auf dem Mond landen zu lassen und ihn wieder sicher zur Erde zurückzubringen. Kein anderes Projekt der Raumfahrt wird in diesen Jahren für die Menschheit eindrucksvoller und für die Erforschung des Weltraumes wichtiger sein.“ Acht Jahre nachdem Präsident John F. Kennedy vor dem amerikanischen Kongress diese Losung ausgegeben hatte, schrieb die NASA mit der Landung auf dem Mond Menschheits- und Wissenschaftsgeschichte. Dass die Weltöffentlichkeit daran teilhaben konnte, verdankte sie den spektakulären Film- und Photoaufnahmen der an der Mission Apollo 11 beteiligten Astronauten.
Von den vielen Bildern, die sie von ihrer Reise in den Weltraum mit zur Erde zurückbrachten, gibt es wohl kaum eines, das wir enger mit der Mondlandung assoziieren als jenes, das Astronaut Neil Armstrong während des ersten gemeinsamen Spaziergangs über den Erdtrabanten von seinem Kollegen „Buzz“ Aldrin machte. Die Aufnahme, die den Astronauten in voller Montur dabei zeigt, wie er auf die an seinem Handgelenk angebrachte Checklist blickt, während sich in seinem Visier der Photograph mit seiner Kamera, die amerikanische Flagge und die Raumfähre „Eagle“ spiegeln, gehört zu den Schlüsselbildern des 20. Jahrhunderts und besitzt heute gleichsam ikonischen Charakter.
Dies liegt gewiss auch darin begründet, dass es sich um eine der am häufigsten publizierten Aufnahmen der NASA handelt. Hier hatte man ihre visuelle Kraft und das sich mit ihr verbindende, öffentlichkeitswirksame Potential schnell erkannt und sie kurz nach der Rückkehr der Astronauten für die Veröffentlichung nachbearbeitet. In der ursprünglichen Aufnahme von Armstrong ist sein Kollege stärker aus dem Zentrum des Bildes herausgerückt und sein Rucksack oben knapp angeschnitten (vgl. die Abb. bei Mailer, a.a.O., S. 241) - eine photographische Ungenauigkeit, die sich aus den im Weltraum deutlich erschwerten Aufnahmebedingungen leicht erklären lässt. Aus Gründen der besseren Optik erweiterte man den schwarzen Himmel nachträglich nach oben. Derart nachbearbeitet, zierte diese Aufnahme die Titelseiten der internationalen Presse, beispielsweise die der Magazine Life, Paris Match, National Geographic und Stern, sowie - bis heute - die Cover zahlreicher Buchpublikationen. Darüber hinaus fand sie Eingang in die Zeitgenössische Kunst, so etwa in das Œuvre Robert Rauschenbergs (siehe Abb.).
Der hier vorliegende Vintage-Abzug des bekannten Motivs besticht durch seine gute Erhaltung im originalen Passepartout, vor allem aber aufgrund seines großen Formats. Im Gegensatz zu den deutlich kleinformatigeren C-Prints im üblichen Format von 20,3 x 23,3 cm, die in größerer Anzahl abgezogen wurden, sind Abzüge dieser Größe sehr selten. Sie waren den bei der NASA beschäftigten leitenden Wissenschaftlern, Staatsgästen, dem Führungspersonal der Firma Hasselblad, oder aber, wie in unserem Fall, Managern der Firma Kodak vorbehalten, von der die NASA ihr photographisches Material bezog.
NASA
Astronaut Edwin E. Aldrin walks on the Surface of the Moon, Apollo 11
Vintage chromogenic print on Kodak paper. 48.3 x 48.1 cm (mat opening). Flush-mounted to original card and mounted under original mat.
'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' Eight years after President John F. Kennedy issued this declaration to the American Congress, NASA made history for mankind and for science with the landing on the moon. The fact that the world public could participate was due to the spectacular film and photographs of the astronauts involved in the Apollo 11 mission.
Of the many images they brought back to Earth from their journey into space, there is hardly one that we associate more closely with the moon landing than the one astronaut Neil Armstrong made of his colleague „Buzz“ Aldrin during the first joint walk over the Earth's satellite. The photograph, which shows the astronaut in full outfit looking at the checklist attached to his wrist, while his visor shows the reflection of the photographer with his camera, the American flag, and the space shuttle „Eagle“, is one of the key images of the 20th century and today possesses an iconic character.
This is certainly also due to the fact that it is one of the most frequently published images of the NASA. Here, its visual power and the connected potential for publicity were quickly recognised, and it was reworked for publication shortly after the astronauts returned. In Armstrong's original photograph, his colleague has moved more out of the centre of the picture and his rucksack has been cut off at the top (cf. Mailer, loc.cit., p. 241) - a photographic inaccuracy that can probably be explained by the considerably more difficult shooting conditions in space. For reasons of better visual effect, the black sky was subsequently extended upwards. After editing it in this way, this shot graced the front pages of the international press, such as Life, Paris Match, National Geographic and Stern magazines as well as the covers of numerous book publications to this day. Furthermore, it found its way into contemporary art, for example into the œuvre of Robert Rauschenberg.
The present vintage print of the well-known motif convinces by its good preservation in the original mat, but above all by its large format. In contrast to the chromegenic prints of a much smaller format, usually 20.3 x 23.3 cm, which were printed in larger numbers, prints of this size are very rare. They were reserved for NASA's senior scientists, state guests, Hasselblad executives, or, as in our case, Kodak managers from whom NASA purchased its photographic material.
- - -
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
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NASA
Astronaut Edwin E. Aldrin walks on the Surface of the Moon, Apollo 11
Vintage, C-Print auf Kodak-Papier. 48,3 x 38,1 cm (Passepartoutausschnitt). Auf Originalkarton aufgezogen und unter Original-Passepartout montiert.
„Ich glaube, dass sich die Vereinigten Staaten das Ziel stellen sollten, noch vor Ende dieses Jahrzehnts einen Menschen auf dem Mond landen zu lassen und ihn wieder sicher zur Erde zurückzubringen. Kein anderes Projekt der Raumfahrt wird in diesen Jahren für die Menschheit eindrucksvoller und für die Erforschung des Weltraumes wichtiger sein.“ Acht Jahre nachdem Präsident John F. Kennedy vor dem amerikanischen Kongress diese Losung ausgegeben hatte, schrieb die NASA mit der Landung auf dem Mond Menschheits- und Wissenschaftsgeschichte. Dass die Weltöffentlichkeit daran teilhaben konnte, verdankte sie den spektakulären Film- und Photoaufnahmen der an der Mission Apollo 11 beteiligten Astronauten.
Von den vielen Bildern, die sie von ihrer Reise in den Weltraum mit zur Erde zurückbrachten, gibt es wohl kaum eines, das wir enger mit der Mondlandung assoziieren als jenes, das Astronaut Neil Armstrong während des ersten gemeinsamen Spaziergangs über den Erdtrabanten von seinem Kollegen „Buzz“ Aldrin machte. Die Aufnahme, die den Astronauten in voller Montur dabei zeigt, wie er auf die an seinem Handgelenk angebrachte Checklist blickt, während sich in seinem Visier der Photograph mit seiner Kamera, die amerikanische Flagge und die Raumfähre „Eagle“ spiegeln, gehört zu den Schlüsselbildern des 20. Jahrhunderts und besitzt heute gleichsam ikonischen Charakter.
Dies liegt gewiss auch darin begründet, dass es sich um eine der am häufigsten publizierten Aufnahmen der NASA handelt. Hier hatte man ihre visuelle Kraft und das sich mit ihr verbindende, öffentlichkeitswirksame Potential schnell erkannt und sie kurz nach der Rückkehr der Astronauten für die Veröffentlichung nachbearbeitet. In der ursprünglichen Aufnahme von Armstrong ist sein Kollege stärker aus dem Zentrum des Bildes herausgerückt und sein Rucksack oben knapp angeschnitten (vgl. die Abb. bei Mailer, a.a.O., S. 241) - eine photographische Ungenauigkeit, die sich aus den im Weltraum deutlich erschwerten Aufnahmebedingungen leicht erklären lässt. Aus Gründen der besseren Optik erweiterte man den schwarzen Himmel nachträglich nach oben. Derart nachbearbeitet, zierte diese Aufnahme die Titelseiten der internationalen Presse, beispielsweise die der Magazine Life, Paris Match, National Geographic und Stern, sowie - bis heute - die Cover zahlreicher Buchpublikationen. Darüber hinaus fand sie Eingang in die Zeitgenössische Kunst, so etwa in das Œuvre Robert Rauschenbergs (siehe Abb.).
Der hier vorliegende Vintage-Abzug des bekannten Motivs besticht durch seine gute Erhaltung im originalen Passepartout, vor allem aber aufgrund seines großen Formats. Im Gegensatz zu den deutlich kleinformatigeren C-Prints im üblichen Format von 20,3 x 23,3 cm, die in größerer Anzahl abgezogen wurden, sind Abzüge dieser Größe sehr selten. Sie waren den bei der NASA beschäftigten leitenden Wissenschaftlern, Staatsgästen, dem Führungspersonal der Firma Hasselblad, oder aber, wie in unserem Fall, Managern der Firma Kodak vorbehalten, von der die NASA ihr photographisches Material bezog.
NASA
Astronaut Edwin E. Aldrin walks on the Surface of the Moon, Apollo 11
Vintage chromogenic print on Kodak paper. 48.3 x 48.1 cm (mat opening). Flush-mounted to original card and mounted under original mat.
'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' Eight years after President John F. Kennedy issued this declaration to the American Congress, NASA made history for mankind and for science with the landing on the moon. The fact that the world public could participate was due to the spectacular film and photographs of the astronauts involved in the Apollo 11 mission.
Of the many images they brought back to Earth from their journey into space, there is hardly one that we associate more closely with the moon landing than the one astronaut Neil Armstrong made of his colleague „Buzz“ Aldrin during the first joint walk over the Earth's satellite. The photograph, which shows the astronaut in full outfit looking at the checklist attached to his wrist, while his visor shows the reflection of the photographer with his camera, the American flag, and the space shuttle „Eagle“, is one of the key images of the 20th century and today possesses an iconic character.
This is certainly also due to the fact that it is one of the most frequently published images of the NASA. Here, its visual power and the connected potential for publicity were quickly recognised, and it was reworked for publication shortly after the astronauts returned. In Armstrong's original photograph, his colleague has moved more out of the centre of the picture and his rucksack has been cut off at the top (cf. Mailer, loc.cit., p. 241) - a photographic inaccuracy that can probably be explained by the considerably more difficult shooting conditions in space. For reasons of better visual effect, the black sky was subsequently extended upwards. After editing it in this way, this shot graced the front pages of the international press, such as Life, Paris Match, National Geographic and Stern magazines as well as the covers of numerous book publications to this day. Furthermore, it found its way into contemporary art, for example into the œuvre of Robert Rauschenberg.
The present vintage print of the well-known motif convinces by its good preservation in the original mat, but above all by its large format. In contrast to the chromegenic prints of a much smaller format, usually 20.3 x 23.3 cm, which were printed in larger numbers, prints of this size are very rare. They were reserved for NASA's senior scientists, state guests, Hasselblad executives, or, as in our case, Kodak managers from whom NASA purchased its photographic material.
- - -
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
30 Years of Photography at Lempertz - 30 Photographic Masterpieces / Photography
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24.00 % buyer's premium on the hammer price
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19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
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Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
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7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
