Canon PowerShot S100
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I have a particular fascination with Lunar Module hardware, especially if it has been to the moon and back. The lunar landers were marvels of engineering and both the descent stage and ascent stage were abandoned on every mission. All possible weight was left behind, and NASA written protocol governed the item transfer procedure. Moon rocks, flight documents and bags of personal items and flown souvenirs were brought back on each mission. But, generally, not a piece of the lunar lander spacecraft itself, as there was no mission need for that.

From research I have done with space collectors, this may be the only piece of the Eagle spacecraft in existence on Earth (except for the box that held the moon rocks, which now resides in the Smithsonian).

For a part of the LM to survive, an astronaut would need to detach and smuggle booty from the lunar spacecraft, carry it through the hatch to the command module, and retain possession on Earth. Until a law passed through Congress a few months ago, the legal possession of such artifacts was ambiguous. (Now, the common sense of the past four decades has been codified – if an Apollo, Gemini or Mercury astronaut was awarded something on landing, it legally belongs to them).

I started collecting space artifacts three years ago, when I found the COAS from the Apollo 16 lunar module up for auction. And I have since found flown LM hardware from Apollo 10 , 15 and 16.

But Apollo 11 is special, for so many reasons. Beyond the historic significance, it was a short and scripted mission. NASA ordered most of Command Module Columbia to be retained intact, and Neil Armstrong pledged his mementos to museums… so that leaves Buzz Aldrin as the lone possible channel.

Buzz detached this LM Data Clip from Eagle and brought it back with him, a small remnant of the great vessel that first ferried humanity to a celestial body. Had the Apollo astronauts not saved mementos from their craft —contrary to protocol — these artifacts would have been destroyed as the abandoned ascent stage inevitably deorbited and crashed back into the moon.

Buzz Aldrin wrote and signed an explanatory letter which reads:
“This is to certify that the enclosed Data File Clip was flown to the moon. The device held charts and checklists in the Lunar Module. Neil Armstrong, Mike Collins, and I flew the Apollo 11 mission from July 16 to 24, 1969. Neil and I made the first lunar landing on July 20. Part number SEB32100094-301 is listed in the Apollo Stowage List for Mission AS-506 as seen on the copy of page 39. The dark material in the Velcro most likely is moon dust from our space suits or other equipment.”

It seems like an apt post as we are about to kickoff the Google Moonshot brainstorming retreat. They said to bring props… =)

Details: Flown Data File Clip carried to the lunar surface on Apollo 11. It was designed with a mating fixture to be used while attached to the spacecraft. Given the physical space constraints, the data cards were clipped in an area that blocked the AOT. So it makes sense that the space needed to be reconfigurable with detachable hardware (and were it not detachable, it would not be with us on Earth).

Clip measures approximately 2 x 2.25, and is constructed from two plates of aluminum with a spring mounted between the plates to provide tension to hold the plates closed and the ability to grip flight equipment. A one-inch square Velcro patch is attached above the etched part number which reads: “P/N SEB32100094-301, S/N 1122 ASSY.”

The clip was a simple, yet effective tool to secure equipment such as checklist sheets, flight maps, and any loose articles floating in the weightless conditions while traveling to the moon or in the 1/6 gravity environment on the lunar surface. They were placed in the Data Card Kit of the Flight Data File (FDF) with the approximate weight stated as one tenth of a pound.

13 responses to “A Rare Piece of the Apollo 11 Lunar Module Eagle”

  1. Neil Armstrong using a data clip in training (it’s clearly visible in the top center):
    AS11-0625A-69PC-318

    And Buzz Aldrin in the Lunar Module Eagle, with the clip in use on the Apollo 11 mission:
    data_card_file

    You can also see the LM COAS in the window, and in both photos, the copper-colored utility light cords.

  2. I have a question… There are people who can fake a Picasso or a Matisse that can even fool an expert. I know that you are not buying just anything and are nobody’s fool, so I imagine you have some system for knowing what you acquire is authentic. How do you avoid being taken to the cleaners?

  3. Protecting sources and methods used to authenticate artifact provenance is one method of keeping potential forgers off-guard.

  4. @Scott Schneeweis If you tried that line on Sotheby’s they would laugh you out of their shop. Precisely making sure things are authentic is at the heart of the collection business and faking a clipboard is easier than faking a Matisse. If things don’t have a clear pedigree they are impossible to resell.

  5. How about the APOLLO 12 color camera that got fried and the astros brought it back from the mission for analysis? Would that be considered part of the LM or what?????

  6. I would not consider it part of the Eagle spacecraft. (and by the way, there are more things brought back from later missions. Apollo 11 is pretty special. Hence my excitement that this might be unique. I am not 100% certain of that yet, so I ask on a couple space bulletin boards if anyone can think of other examples. After pages of discussion, it seems that way so far… For example, there was a pulley clamp brought back, but it was melted to blend into a series of souvenir medallions… a bit of homeopathic alchemy… and a bit sad to me. Perhaps the astronauts were better stewards of their mission memories after all…).

    @David Seaton – Yes, these things are important. I worry most about signatures on paper documents that are easily replicated. For much of my hardware collection, I have the added protection that the cost of building a replica would likely exceed the value. For this item, that may not be the case. So I take some comfort that Buzz Aldrin signed a letter of authenticity (cited above) AND he is still alive so he could protest if forgeries were attributed to him. In other words, if Matisse were still alive, there may be little incentive to fake his work since he could answer the question. This particular item has been listed in at least two print and online auction catalogs with fairly good circulation, and each of them pass their auction items through a vetting process. The auction houses also provide a refund guaranty around authenticity. And more generally, for the U.S. artifacts, there are extensive serial numbers on everything, which you can cross check to see if it’s the real item that flew (in the Apollo 11 Lunar Module in this case). And to cover the case of possibly doctored numbers, to make an unflown spare look like it was the flown one, I have a letter of authenticity from the astronaut from the mission who brought it back in the first place. When I buy directly from the astronaut, I also have a photo of them signing their name directty on the artifact.

  7. very cool, well captured frame

  8. @Steve Jurvetson I think you have done a splendid job of covering your tush, however, I have a wonderful story to tell you, told to me by the late Catalonian art dealer, René Metrás.

    Metrás was an old friend and avid collector of the great, Joan Miró.

    Miro came to visit René in his gallery and while they were having coffee, and because fake Mirós are very frequent, he had his assistant run down to his fabled storeroom and bring back up a huge pile of drawings and prints attributed to Miró for the master to check and authenticate.

    Miró started going quickly through the pile and every so often he would pull something out and say, "that’s a fake", then turn it over and with a lead pencil that René gave him, write on the back of it, "C’est pas a moi, Miró".

    When the master had left, René erased the "c’est pas a moi", leaving the "Miró".

    René told me, "then I had all these fake Mirós with an authentic signature of Miro", and he laughed and laughed. I think every serious collector of anything should know this story,

  9. @scleroplex Actually for being an art dealer René was better than most.

  10. @vennettaj It’s not that easy to tell the good ones from the false ones. Faking his work is apparently a cottage industry. Another Catalan, the well known sculptor, Xavier Corberó, confessed to me years ago that he had managed to live in Japan rather well for a couple of years when he was young, only on the proceeds of counterfeiting dozens of Miró drawings while there.

  11. @vennettaj This is just a warning to collectors… I had a friend, half Irish-American, half Chechen, who dealt in Persian and Caucasian rugs, who would go to Argentina in the middle of a coup d’etat, with people being disappeared and tortured and murdered all aroud him, just to buy top quality rugs cheap (who later worked for Marc Rich and now buys and sells used executive jets) who told me… "When somebody comes into my shop telling me he knows a lot about rugs… that’s the guy I really fuck".

    Moral of the story: People who buy and sell objets d’art are often not to be trusted any farther than you can throw a grand piano.

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