NBA Auctions: Game Changers

NIKE, NIKE MESH JERSEY, SIZE 50 (+4 LENGTH)

View 1 of Lot 80: Matt Ryan New Orleans Pelicans 2023-2024 Game Worn Statement Edition Jersey 

matt ryan new orleans pelicans 2023-2024 game worn statement edition jersey

NBA Auctions: Defining Moments

NIKE, NIKE MESH JERSEY, SIZE 50 (+4 LENGTH) MESH

View 1 of Lot 125: Matt Ryan New Orleans Pelicans 2024 NBA Playoffs Western Conference Round 1 Game Issued Icon Edition Jersey | Game 1

matt ryan new orleans pelicans 2024 nba playoffs western conference round 1 game issued icon edition jersey | game 1

NBA Auctions: Season Standouts

View 1 of Lot 101: Matt Ryan New York Knicks 2024-2025 Emirates NBA Cup Game Worn Statement Edition Jersey 

matt ryan new york knicks 2024-2025 emirates nba cup game worn statement edition jersey

NBA Auctions: 2025 Abu Dhabi Games

View 1 of Lot 31: Matt Ryan ‘Abu Dhabi Games’ New York Knicks 2025-2026 Game Worn Icon Edition Jersey | Matched to 2 Games 

matt ryan ‘abu dhabi games’ new york knicks 2025-2026 game worn icon edition jersey | matched to 2 games

NBA Auctions: 2025 Finals | Online

View 1 of Lot 219: Matt Ryan ‘Christmas Day’ New York Knicks 2024-2025 Game Issued Association Edition Jersey 

matt ryan ‘christmas day’ new york knicks 2024-2025 game issued association edition jersey

NBA Auctions: Moment Makers

View 1 of Lot 60: Matt Ryan New York Knicks 2024-2025 Game Issued City Edition Jersey 

matt ryan new york knicks 2024-2025 game issued city edition jersey

NBA Auctions: Summer Stars

View 1 of Lot 66: Matt Ryan New Orleans Pelicans 2023-2024 In-Season Tournament Game Worn City Edition Jersey 

matt ryan new orleans pelicans 2023-2024 in-season tournament game worn city edition jersey

LoveEMC Charity Auction

Virtual Masterclass on Independent Film Making with Ed Burns

Virtual Masterclass on Independent Film Making with Ed Burns Learn to make a big impact on a small budget in film production, evoke the best from actors and non-actors, and protect your creative vision so you tell the story that can only come from you. The winning bidder will also enjoy a signed copy of Ed's new book "Independent Ed"At the age of twenty-five, Ed Burns directed and produced his first film on a tiny $25,000 budget. "The Brothers McMullen" went on to win the Grand Jury Prize at the Sundance Film Festival in 1995, and established the working-class Irish American filmmaker as a talent to watch. In the twenty years since, Burns has made ten more films ("She’s the One", "Sidewalks of New York", and "The Fitzgerald Family Christmas"), while also acting in big budget Hollywood movies ("Saving Private Ryan"), hit television shows ("Entourage" and "Mob City"), and pioneering a new distribution network for indie filmmakers online and with TV’s On Demand service (“why open a film in twenty art houses when you can open in twenty million homes?”). Inspired by Burns’s uncompromising success both behind and in front of the camera, students and aspiring filmmakers are always asking Burns for advice. In Independent Ed, Burns shares the story of his two remarkable decades in a fickle business where heat and box office receipts are often all that matter. He recounts stories of the lengths he has gone to to secure financing for his films, starting with The Brothers McMullen (he told his father: “Shooting was the twelve best days of my life”). How he found stars on their way up—including Jennifer Aniston and Cameron Diaz—to work in his films, and how he’s adhered religiously to the dictum of writing what you know, working as if he was just starting out, and always “looking for the next twelve best days of my life.” Chronicling the struggles and the long hours as well as the heady moments when months of planning and writing come to fruition, "Independent Ed" is a must-read for movie fans, film students, and everyone who loves a gripping tale about what it takes to forge your own path in work and life.

virtual masterclass on independent film making with ed burns

Americana: Furniture, Folk Art, Silver, Chinese Export Art, Prints, Photographs, Books, and Historical Documents

The Collection of Jay I. Kislak: Sold to Benefit the Kislak Family Foundation

The Collection of Jay I. Kislak: Sold to Benefit the Kislak Family Foundation Charles Lindbergh Typed document signed by Lindbergh ("Charles A. Lindbergh") and Carlisle MacDonald ("J. Carlisle MacDonald"), being a memorandum of agreement for the publication of a book on Lindbergh’s trans-Atlantic flight by G. P. Putnam’s 2 pages (280 x 216 mm), [New York,] 14 June 1927, neatly attached to a blue legal file docket, being a memorandum of agreement for the publication of a book on Lindbergh’s trans-Atlantic flight by G. P. Putnam’s; light creases. [Accompanied by:] a printed outline map of the Northern Atlantic Ocean bounded by North America and the west coasts of Europe and Northern Africa (456 x 205 mm on paper watermarked with the seal of the United States), with grid of latitude and longitude lines, dated in pencil lower right "5-19-27" and annotated in pencil and red pen as an aviation weather map with streamlines and high- and low-pressure areas; light creases. Author and ghostwriter—and author: the writing of "We", the aviator’s firsthand account of his historic transatlantic flight. In 1919, a New York City hotel owner named Raymond Orteig offered $25,000 to the first person to fly nonstop from New York to Paris. By 1927, the prize had still not been claimed, although six pilots had lost their lives in the attempt. Lindbergh convinced a group of St. Louis businessmen to underwrite a plane built to his own design modifications. Ryan Aeronautical Company of San Diego produced The Spirit of St. Louis, and after a cross-country shakedown flight, Lindbergh took off, 20 May, from Roosevelt Field near New York City at 7:52 a.m. He landed at Le Bourget Field near Paris at 10:21 p.m., 21 May. He had covered some 3,600 miles in thirty-three and one-half hours and won not only the Orteig Prize but the adulation of much of the world. Before he left New York, Lindbergh contracted with the New York Times for the exclusive rights to his own story of the flight—if it was successful. The front-page story of his safe landing and many subsequent feature stories published in the Times before the return to New York of the aviator and his plane aboard the U.S.S. Memphis, 11 June 1927, carried the by-line of Charles Lindbergh, but they were actually written by the paper’s Paris correspondent, Carlisle MacDonald. Because of the arrangement between Lindbergh and the Times, MacDonald had far greater access to the pilot than any other correspondent. In the meantime, Lindbergh had also agreed to provide an autobiography with a full account of the transatlantic flight to G. P. Putnam’s Sons. Putnam’s, as a matter of course, engaged a ghostwriter for the work: Carlisle MacDonald. To the publisher’s surprise, Lindbergh would not approve MacDonald's account, which he found to be overly dramatic and inaccurate. He vowed to write the book himself—and did so in some three weeks. The present Memorandum of Agreement demonstrates, however, that Lindbergh remained in MacDonald’s debt. And while it is not reflected in the agreement, which gives the tentative title of the book as His Own Story, it was MacDonald who came up with the title "We" a pronoun that the aviator frequently employed when speaking of his triumphant flight. According to the dust-jacket of the first edition, the pronoun title refers to Lindbergh's view of a deep "spiritual" partnership that had developed "between himself and his airplane during the dark hours of his flight." The book was published with a less obscure subtitle: The Daring Flyer's Remarkable Life Story and his Account of the Transatlantic Flight that Shook the World. The present Agreement states that Lindbergh will share his royalties on the book with MacDonald on the following schedule: 10% of the first $100,000; 7 ½ % on the next $100,000; and 5% on any amount above $200,000. In return, "MacDonald agrees to render Lindbergh every possible assistance in the preparation of the book which Lindbergh has agreed to furnish to Putnams; releases to Lindbergh for use in the said book or otherwise, any and all rights in articles written by Lindbergh with MacDonald’s assistance for the New York Times … and releases any and all claims which he may have against Lindbergh for all services of every kind to date." The Agreement also notes that Arthur Hays Sulzberger had released the Times’s copyright on the Lindbergh-MacDonald articles. The accompanying map is dated the day before Lindbergh took off from Roosevelt Field, and it was evidently used in planning his record-breaking flight. It was presumably given by him to MacDonald sometime after his arrival in France. PROVENANCE: Sotheby's New York, 18 June 2004, lot 403 (undesignated consignor) ⁠— Ira Lipman, his sale, Sotheby's New York, 4 June 2013, lot 108

View 1 of Lot 993: Charles Lindbergh | A memorandum of agreement for the publication of a book on his transatlantic flight

charles lindbergh | a memorandum of agreement for the publication of a book on his transatlantic flight

Books and Manuscripts from the Collection of Jay I. Kislak. Sold to Benefit the Kislak Family Foundation. 

Lindbergh, Charles Typed document signed by Lindbergh ("Charles A. Lindbergh") and Carlisle MacDonald ("J. Carlisle MacDonald"), being a memorandum of agreement for the publication of a book on Lindbergh’s trans-Atlantic flight by G. P. Putnam’s 2 pages (280 x 216 mm), [New York,] 14 June 1927, neatly attached to a blue legal file docket, being a memorandum of agreement for the publication of a book on Lindbergh’s trans-Atlantic flight by G. P. Putnam’s; light creases. [Accompanied by:] a printed outline map of the Northern Atlantic Ocean bounded by North America and the west coasts of Europe and Northern Africa (456 x 205 mm on paper watermarked with the seal of the United States), with grid of latitude and longitude lines, dated in pencil lower right "5-19-27" and annotated in pencil and red pen as an aviation weather map with streamlines and high- and low-pressure areas; light creases. Author and ghostwriter—and author: the writing of "We", the aviator’s firsthand account of his historic transatlantic flight. In 1919, a New York City hotel owner named Raymond Orteig offered $25,000 to the first person to fly nonstop from New York to Paris. By 1927, the prize had still not been claimed, although six pilots had lost their lives in the attempt. Lindbergh convinced a group of St. Louis businessmen to underwrite a plane built to his own design modifications. Ryan Aeronautical Company of San Diego produced The Spirit of St. Louis, and after a cross-country shakedown flight, Lindbergh took off, 20 May, from Roosevelt Field near New York City at 7:52 a.m. He landed at Le Bourget Field near Paris at 10:21 p.m., 21 May. He had covered some 3,600 miles in thirty-three and one-half hours and won not only the Orteig Prize but the adulation of much of the world. Before he left New York, Lindbergh contracted with the New York Times for the exclusive rights to his own story of the flight—if it was successful. The front-page story of his safe landing and many subsequent feature stories published in the Times before the return to New York of the aviator and his plane aboard the U.S.S. Memphis, 11 June 1927, carried the by-line of Charles Lindbergh, but they were actually written by the paper’s Paris correspondent, Carlisle MacDonald. Because of the arrangement between Lindbergh and the Times, MacDonald had far greater access to the pilot than any other correspondent. In the meantime, Lindbergh had also agreed to provide an autobiography with a full account of the transatlantic flight to G. P. Putnam’s Sons. Putnam’s, as a matter of course, engaged a ghostwriter for the work: Carlisle MacDonald. To the publisher’s surprise, Lindbergh would not approve MacDonald's account, which he found to be overly dramatic and inaccurate. He vowed to write the book himself—and did so in some three weeks. The present Memorandum of Agreement demonstrates, however, that Lindbergh remained in MacDonald’s debt. And while it is not reflected in the agreement, which gives the tentative title of the book as His Own Story, it was MacDonald who came up with the title "We" a pronoun that the aviator frequently employed when speaking of his triumphant flight. According to the dust-jacket of the first edition, the pronoun title refers to Lindbergh's view of a deep "spiritual" partnership that had developed "between himself and his airplane during the dark hours of his flight." The book was published with a less obscure subtitle: The Daring Flyer's Remarkable Life Story and his Account of the Transatlantic Flight that Shook the World. The present Agreement states that Lindbergh will share his royalties on the book with MacDonald on the following schedule: 10% of the first $100,000; 7 ½ % on the next $100,000; and 5% on any amount above $200,000. In return, "MacDonald agrees to render Lindbergh every possible assistance in the preparation of the book which Lindbergh has agreed to furnish to Putnams; releases to Lindbergh for use in the said book or otherwise, any and all rights in articles written by Lindbergh with MacDonald’s assistance for the New York Times … and releases any and all claims which he may have against Lindbergh for all services of every kind to date." The Agreement also notes that Arthur Hays Sulzberger had released the Times’s copyright on the Lindbergh-MacDonald articles. The accompanying map is dated the day before Lindbergh took off from Roosevelt Field, and it was evidently used in planning his record-breaking flight. It was presumably given by him to MacDonald sometime after his arrival in France. PROVENANCE: Sotheby's New York, 18 June 2004, lot 403 (undesignated consignor) ⁠— Ira Lipman, his sale, Sotheby's New York, 4 June 2013, lot 108

View 1 of Lot 59: Lindbergh, Charles | A memorandum of agreement for the publication of a book on his transatlantic flight

lindbergh, charles | a memorandum of agreement for the publication of a book on his transatlantic flight

Paddy Tjamatji (Jampin) circa 1912-1996 Ngumurli Warra (Cyclone Tracy) 1983 Natural earth pigments and natural and synthetic binder on plywood Bears artist's name 'Paddy Jampinji' (sic.) and 'Darwin Ngumurliwarra', together with a descriptive label prepared by Ian Kirby on the reverse 92 by 92cm Provenance: Acquired from Rover Thomas in Darwin, after this work was used in a public performance of the Krill-Krill Ceremony on May 9th 1983 Private collection, Sydney Cf. Ryan, J., Images of Power: Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne, 1993, p.38; for a closely related example depicting the same subject matter and from the same period in the collection of the National Museum of Australia, Canberra. Thomas, R., Roads Cross: The Paintings of Rover Thomas, National Gallery of Australia, Canberra, 1994, back cover and p.60, number 9, for a related painting entitled 'The Rainbow Serpent Destroyed Darwin', 1983. Thomas, when interviewed about 'The Rainbow Serpent Destroyed Darwin', commented: 'Okay, people got cyclone all over Darwin, this the coroborree now. Darwin. Tracy. Cyclone Tracy, that's the place now. Wind blow from here - city part, wind come around from seas, went back again, ... coroborree, we do that thing. Good'. (ibid. p.60) This painting relates to the final verse of the Krill Krill ceremony, verse 31, Ngumuli Wawra Tawun Pirringa, which can be loosely translated as 'looking across from Kununurra they see that Darwin has been flattened by the cyclone. The rainbow serpent destroyed Darwin'. (ibid. p.27) 'Although receiver of the ceremony, Rover Thomas did not paint the boards borne by the dancer in the early performances of the Krill Krill. The first boards were painted by his mother's brother, Paddy Jaminji and others whom he instructed as to their basic format... A feature of several of these paintings is the depiction of a single motif or conventional icon such as those painted onto boards used in public rituals or Palga. Paintings not used in Palga tend to have more complex compositions in order to reveal the context in which these images operate'. (ibid. p.27) Attached to the reverse of the painting is a document prepared by Ian Kirby, who was at that time in the employ of the West Australian Museum. The document indicates that this work is representative of Cyclone Tracy, Ngumurliwarra being the Gidga word for Cyclone, which can be literally broken down and translated as Ngumurli meaning 'Dark', and Warra meaning 'Growing'. Cyclone Tracy virtually destroyed the city of Darwin in 1975, and is the culmination of the narrative that is sung and danced in the Krill-Krill performance. Kirby's attached documentation reads in part: 'This ceremony derives from the dreaming of a Walmatjari man, Rover Thomas (sub-section Juru) who lives at Turkey Creek, East Kimberleys. During the Wet Season immediately after Cyclone Tracy, Rover had a dream relating to the death of a woman (Kija/Wula speaker) who lived at Dunham River, an Aboriginal run pastoral station, 90 km north or Turkey Creek. The woman had been travelling from Dunham River to Hall's Creek the previous Wet Season. The vehicle she had been travelling in overturned and slid off the road at a small creek just south of the Aboriginal settlement at Turkey Creek. The woman was taken to Wyndham and flown to Perth for treatment but died somewhere between Derby and Perth. Rover's dream 'explains' the cause of her death, and tells of her travels back to the place where she was born. This relates to traditional sites of specific importance to people now resident at Turkey Creek, but also incorporates new elements - such as the Diversion Dam west of Kununurra, and the beacon on top of Kelly's Knob. Rover's 'dream' was incorporated into the song-cycle know as Krirl-Krirl by a Malnin man George Mung-Mung (Makany; subsection Jampin). The songs are in Kija, Malnin and Wula. Paddy Jampinji (sub-section Jampin), draws paintings using traditional materials (apart from the wood he paints on) and these are an important feature of the ceremony. Each painting represents a specific location or event connected with the travel of the woman's Kuni (spirit/dreaming)'. Please note that the artist was Kukatja, not Walmatjari, and was of the Joolama sub-section, not Juru, as this documentation suggests. AU$ 12,000-18,000

paddy tjamatji (jampin)

Music, Continental and Russian Books and Manuscripts

SULLIVAN, ARTHUR. Six letters: 1) to “my dear Ryan”, thanking him for “kind sympathetic words” [on the death of his mother], 1 page, 1 Queen’s Mansions, London, 15 June 1882; 2) to Lady Cole, declining an invitation since “unfortunately, the University of Cambridge have fixed the 1 June for investing me with the full dignity of Doctor of Music”, 1 page, 8 Albert Mansions, London, 27 May 1876; 3) to Mrs Ward hoping to forward seats in the Albert Hall, 1 page, 1 Queen’s Mansions, London, 5 February 1886; 4) to “Charlie” noting departure to Contrexeville and asking for the recipient to “jot down your plot, and send it to me… No harm can come of that, can it?”, 1 page, 1 Queen’s Mansions, London, 16 July 1891; 5) a letter signed to W[alter] Sichel, explaining that he has “no influence to bring to bear in the matter”, 2 pages, 2 Queen’s Mansions, London, 9 March 1895, remnants of former mount; 6)  to “Mr Stow”, asking for permission to “rearrange the harmony” in “Mr Tudor’s little tune”, 1 page, Eastwood Park, Falfield, n.d., laid-down, together with: a document signed (and cancelled) regarding debentures in the Savoy Hotel, 1 page, [n.d.]

SULLIVAN, ARTHUR. Six letters: 1) to “my dear Ryan”, thanking him for “kind sympathetic words” [on the death of his mother], 1 page, 1 Queen’s Mansions, London, 15 June 1882; 2) to Lady Cole, declining an invitation since “unfortunately, the University of Cambridge have fixed the 1 June for investing me with the full dignity of Doctor of Music”, 1 page, 8 Albert Mansions, London, 27 May 1876; 3) to Mrs Ward hoping to forward seats in the Albert Hall, 1 page, 1 Queen’s Mansions, London, 5 February 1886; 4) to “Charlie” noting departure to Contrexeville and asking for the recipient to “jot down your plot, and send it to me… No harm can come of that, can it?”, 1 page, 1 Queen’s Mansions, London, 16 July 1891; 5) a letter signed to W[alter] Sichel, explaining that he has “no influence to bring to bear in the matter”, 2 pages, 2 Queen’s Mansions, London, 9 March 1895, remnants of former mount; 6)  to “Mr Stow”, asking for permission to “rearrange the harmony” in “Mr Tudor’s little tune”, 1 page, Eastwood Park, Falfield, n.d., laid-down, together with: a document signed (and cancelled) regarding debentures in the Savoy Hotel, 1 page, [n.d.] GILBERT, W.S. Eighteen letters, including 1) to [Stenermann?] enclosing “a box for the St. James” and noting “it is quite useless to give you an order for the Royalty, as there is no room whatever in the house” [presumably referring to Trial by Jury], 2 pages, 8 Essex Villas, London, 14 May [1875?], some folds; 2) - 12) a series of eleven letters to Meemie [Compton], giving his views on an argument that had caused her to leave his house (“…I looked upon you as so intimate a friend that I did not suppose it was necessary to address you with the circumspection which one observes towards a mere acquaintance, and I disclaimed, as I now disclaim, all idea of having acted rudely or neglectfully towards you…”), declining an invitation (“I’m not as fond of actors and actresses as some people are…”), commenting on “people who get commissions in crack regiments”, thanking the recipient “for the Mikado bill. I saw the piece at Carlsbad fifteen years ago – it was not well done then”, commenting on his relationship with Helen D’Oyly Carte (“My relations with Mrs Carte are so strained that I cannot bring myself to buy stall from her as I usually do – but I have written to the Acting Manager to ask him to reserve two stalls for you… If you will be good enough to pay for them I will pay you again…”), inviting her to visit (“…my wife will be there, so the voice of scandal will be hushed…”), thanking her for her congratulations [on his knighthood], and giving advice about “an ‘amicable’ separation”, 19 pages, 39 Harrington Gardens, London, Grim’s Dyke, Harrow Weald and 90 Eaton Square, London, 1888-1911; 13) to [William Backhouse Fabian], stating that the cast for Trial by Jury is “quite satisfactory”, 1 page, Grim’s Dyke, Harrow Weald, 11 November 1896; 14) ALS to Brandon Thomas, asking him to visit early as “I am to be subjected to the tender mercies of a masseuse”, 2 pages, Grim’s Dyke, Harrow Weald, 5 October 1900, remnants of former mount; 15) to Alfred Murray, agreeing to inscribe a photograph, 1 page, Grim’s Dyke, Harrow Weald, 17 July 1903; 16) to Seymour Hicks, thanking the recipient for “your more than cordial congratulations” and asking “may I write as I feel + say ‘Love to your wife’?”, 1 page, Grim’s Dyke, Harrow Weald, 30 June 1907, former mount; 17) - 18) to Miss Amy Brandon Thomas making an arrangements for the recipient to visit, 2 pages, Grim’s Dyke, Harrow Weald and 90 Eaton Square, 12 June 1909 – 15 March 1911; -- D'OYLY CARTE, RICHARD. ALS to Mr Ponsonby Fane expressing gratitude for a note and “for your friendly support”, 1 page, Savoy Theatre, London, 28 May 1883; [together with] Printed announcement 'To the Public' regarding the Savoy Theatre, 4 pages, 6 October 1881, with original pencil sketch of the theatre’s seating arrangement and two diagrams of light fittings, former mount--BARRINGTON, RUTLAND.  to J.W. O’Connor asking for a photograph not to be published, 2 pages, Savoy [Theatre], London, [n.d.], former mount--BURNAND, F.C. Memorandum signed to a potential contributor to Punch and noting “anything sharp and short likewise quite up to date acceptable”, 2 pages, 27 The Boltons, London, 25 November 1892-- PONSONBY, HENRY. ALS to George Tanze enclosing a playbill of “tonight’s performance” of The Gondoliers (at Windsor Castle) (playbill no longer present), 1 page, Windsor Castle, 17 March 1891 (30)

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