THE ART I ST'SRESERVED

R I GHTS
TRANSFER
AND SALE
AGREEMENT
SECOND ED I T I ON

The accompany i ng f orm i s t he second ed i t i on o f t he con t rac t conce i ved by Se t h S i ege l aub and dra f t ed by Robe r t Pro j ansky , a
New Yor k a t torney , i n 1971 . I t has been rev i sed by Mr . Pro j ansky .
The or i g i na l con t rac t was we l l - rece i ved by ar t i sts , bu t d i s t r i but i on was l i m i t ed and i ts l ega l l anguage was ra t he r f orb i dd i ng .
The ve rs i on pub l i shed on th i s pos t e r i s much shor t er , eas i e r to r ead and eas i e r to use .

WHAT THE CONTRACT DOES

The con t rac t i s des i gned t o g i ve t he ar t i st :
" 15% of any i nc r ease in t he va l ue o f each wo r k each t i me i t i s t rans f e r red ;
" a r ecord o f who owns each wor k a t any g i ven t i me;
" t he r i ght t o have t he wor k r ema i n una l t e r ed by t he owne r ;
" t he r i ght t o be not i f i ed i f t he wo r k i s to be exh i b i t ed ;
" t he r i ght t o show t he wo r k for 2 mon t hs eve r y f i ve yea r s (a t no cos t to t he owne r ) ;
" t he r i ght to be consu l t ed i f res tora t i on becomes necessa r y ;
" ha l f of any ren t a l i ncome pa i d for t he wor k , i f t he r e eve r i s any;
" a l l r eproduc t i on r i gh t s .
The econom i c bene f i t s wou l d l ast for t he ar t i st ' s l i f e t i me , p l us t he l i fe of a surv i v i ng spouse , p l us 21 years , so as t o bene f i t t he a r t i st ' s ch i l dren wh i l e t hey a re grow i ng up . The aes t he t i c con t ro l s wou l d l as t for t he ar t i st ' s l i f e t i me .

WHEN TO USE THE CONTRACT

The con t rac t f orm i s t o be used when t he ar t i s t pa r t s w i th each wor k FOR KEEPS :
Whe t he r by sa l e , gi f t , or t r ade for t h i ngs or se rv i ces;
Whe t he r i t 's a pa i nt i ng , a _scu l p t ure , a dr aw i ng , a non-ob j ec t p i ece or any o t he r f i ne ar t ; . _ .

In shor t , th i s con t rac t w i l l he l p you d i scove r who your f r i ends a re .

I f a buye r wan t s to buy bu t doesn ' t wan t t o s i gn , te l l h i m t ha t a l l your wor k i s so l d unde r t he con t rac t , tha t i t 's s t anda rd for your
wor k .
You can po i n t ou t t o t he re l uc t an t buye r :
The con t rac t doesn ' t cos t any t h i ng un l ess your wo r k appr ec i a t es in va l ue; mos t ar t doesn ' t ;
I f he makes a prof i t on your wor k you ge t on l y a sma l l pe r cen t age o f i t - abou t t he equ i va l en t o f a wa i t ress ' s t i p ;
I f you l i ke you can of f er t o t ake your prospec t i ve 15% paymen t i n some t h i ng o t he r t han money , or t o g i ve h i m a
par t i a l cred i t aga i ns t a new wo r k;
Or you can o f f er t o pu t In an or i g i na l va l ue tha t ' s mo r e t han wha t he ' s pay i ng , g i v i ng h i m a f ree r i de on par t o f any
prospec t i ve prof i t .
O f course , I f a co l l ec tor buys a wor k re f us i ng t o s i gn t he con t rac t he wi l l have t o re l y on good w i l l when he wan t s
you or your dea l e r t o appra i se , res t ore or au t hen t i ca t e i t . Why he shou l d expec t to f i nd good wi l l t he r e i s anybody ' s
guess.
t
Is he buye r rea l l y go i ng to pass up your wo r k because you ask h i m t o . s i gn th i s con t r ac t ? Wo r k tha t he l i kes and t h i nks i s wor t h
hav i ng? I f t he answe r i s ' yes ' , g i ven t he f ac t tha t i t doesn ' t cos t h i m a th i ng t o g i ve you , t he ar t i st , t he r espec t tha t you as t he c rea t or of
t he wor k dese r ve - i f tha t wi l l keep h i m f rom buy i ng , he i s t oo s t ubborn and foo l i sh for anyone t o te l l you how to i l l um i na t e h i m . Non use of th i s con t rac t i s a dumb cr i t er i on for se l ec t i ng ar t .
ENFORCEMENT
F i rst , l e t ' s pu t th i s in pe rspec t i ve : mos t peop l e w i l t honor t he con t rac t because mos t peop l e honor con t rac t s . Those who a r e l i kel y to chea t you a r e l i ke l y t o be t he same ones who gave you a ha rd t i me abou t s i gn i ng t he con t rac t in t he f i rst p l ace . La t e r owne r s w i l l
be mo r e l i ke l y to chea t you t han t he f i rst owne r , bu t t he r e a r e s t rong r easons why bo t h f i rst and f u t ure owne r s o f your wor k shou l d
ful f i l l t he con t rac t ' s t e rms.
Wha t happens i f owne r #1 se l l s your wor k to owne r #2 and doesn ' t send you t he t rans f er f orm? (He ' s no t send i ng your money ,
e i ther .)
No t h i ng happens . (You don ' t know abou t i t ye t . )
Soone r or l a t er you do f i nd ou t abou t i t because t he gr apev i ne wi l l ge t t he news t o you (or your dea l e r ) anyway . Tf ,1en, i f owne r #1
doesn ' t come ac ross you can sue h i m . He w i l l be s t uck f or 15% o f t he prof i t he made OR 15% of t he i nc r ease i n va l ue t o t he t i me you
hea rd abou t i t , wh i ch may be much mo r e . A l so , no t e tha t I f you have t o sue to en f or ce any r i ght unde r t he cont rac t , Pa r agr aph 14
g i ves you t he r i ght t o r ecove r r easonab l e a t torney ' s f ees i r i add i t i on t o any o t he r r emedy t o wh i ch you may be ent i t l ed . C l ear l y , owne r
#1 wou l d be foo l i sh to t ake t he chance .
As t o f a l s i f y i ng va l ues , t he r e wi l l be as much pr essur e f rom new owne r s t o pu t i n h i gh va l ues as t he r e i s f rom o l d owne r s to pu t i n
l ow va l ues. In 95% of t he cases t he amoun t of money t o be pa i d t he ar t i st won ' t be enough t o make t hem l i e to you ( in un i son) .
SUMMARY
We rea l i ze th i s con t rac t , l i ke i ts pr edecessor , w i l l d i s t urb some . dea l e rs , museums and h i gh -powe r ed co l l ec tors , bu t t he i l l s i t
r emed i es a r e un i versa l l y acknow l edged to ex i s t and no o t he r pr ac i ca l way has eve r been dev i sed to cur e t hem .
I ts purpose i s to pu t you - t he ar t i s t - i n t he same pos i t i on as t he man beh i nd t he ren t - a - ca r coun t e r . He d i dn ' t wr i t e h i s con t rac t ,
e i ther , bu t he says: I f you wan t i t , s i gn he r e. You do t he same .
Us i ng th i s con t rac t doesn ' t mean a l l your ar t wor l d re l a t i onsh i ps wi l l be st r i c t l y bus i ness he rea f t e r or tha t you have to en f or ce
eve ry r i ght down t o t he l as t penny. F r i ends w i l l st i l l be f r i ends and i f you wan t t o wa i ve your r i gh t s you can , bu t t hey wi l l be YOUR
r i ght s and t he cho i ce w i l l be YOURS.
The con t rac t in I ts pr i or f orm has been used by many a r t i s t s - known , we l l - known and unknown . Use I t . I t 's en f or ceab l e . The
mo r e ar t i sts and dea l e rs who use i t , t he be t t er and eas i e r i t w i l l be for eve r ybody to use i t . I t requ i res no organ i za t i on , dues , mee t i ngs ,
reg i s t ra t i on or gove rnmen t agency - j us t your des i r e to pro t ec t t he Int egr i t y o f your ar t .
Wha t i t g i ves you , t he ar t i st , i s a l ega l too l you can use t o es t ab l i sh con t i nu i ng r i ght s in your wor k a t t he t i me you t rans f er i t bu t
whe t he r or no t you use t he con t rac t Is up to you . Cons i de r t he con t rac t as a subs t i tu t e for wha t i s ava i l ab l e o t he rw i se : no t h i ng .
Th i s has beep c r ea t ed for no r ecompense to t he au t hor f or j us t t he p l easur e of a t t ack i ng a cha l l eng i ng prob l em , and I t i s based
on t he f ee l i ng tha t shou l d t he r e eve r be a ques t i on abou t ar t i sts ' r i ght s In r e f e r ence t o the i r ar t , t he ar t i st i s mo r e r i ght t han anyone
e l se.

P l ease POST , REPRODUCE and USE th i s pos t er f ree l y . The pos t er i s not to be
so l d . The cos t of the produc t i on , pr i nt i ng , and d i st r i but i on of th i s documen t
has been underwr i t t en by Assoc i a t ed Counc i l s of the Ar ts , 1564 Broadway , NY ,
NY 10036 . I f you use th i s cont rac t p l ease l et us know . Address a l l subs t ant i ve quer i es to Ar t i sts ' R i ght s Assoc i a t i on , 27 Wes t 15th St . , NY , NY 10011 ,

mmm
AGREEMENT OF OR I G I NAL TRANSFER OF WORK OF ART
f i l l in names ,
addresses of
par t i es

Ar t i s t : -

add r ess

Pur chase r : :

addr ess :

WHEREAS Ar t i s t has c r ea t ed tha t cer t a i n Wo r k o f Ar t ( " the Wor k " ) :

f i l l In da t a
i dent i fy i ng the
Wor k

f i l l in
agr eed va l ue

T i t l e:

d i mens i ons ;

med i a:

yea r : :

. and

WHEREAS t he par t i es wan t t he Ar t i s t t o have cer t a i n r i gh t s i n t he fu ture econom i cs and i nt egr i t y o f t he Wor k ,
The par t i es mu t ua l l y agr ee as f o l l ows:
1 . SALE: Ar t i s t he r eby se l l s t he Wo r k to Pur chase r a t t he agr eed va l ue o f $
2 . RETRANSFER : I f Pur chase r i n any way wha t soeve r se l l s , g i ves or t r ades t he Wor k , or i f i t is i nher i t ed f rom
Pur chase r , or I f a th i rd pa r t y pays compensa t i on for i ts des t ruc t i on , Pur chase r (or t he represen t a t i ve of h i s es t a t e )
mus t w i th i n 30 days
t prof i t " , I f any , on t he t rans f er ; and
(a) Pay Ar t i s t 15% o f t he " gross ar
_' - :_
" 6u . d - - l e - a n rneo r l u f i l l -d - eu t ! ' Tr I Ina for da r aoman t su i d . BYCA[d "

" ha l f of any renta l i ncome pa i d for the work , i f there eve r is any ;
" a l l reproduc t i on r i ghts .
The econom i c bene f i t s wou l d l ast for t he ar t i st ' s l i fet i me , p l us t he l i fe of a surv i v i ng spouse , p l us 21 years , so as to bene f i t the ar t ist 's ch i l dren wh i l e they a re grow i ng up . The aes the t i c cont ro l s wou l d l ast for t he ar t i st ' s l i fe t i me .

WHEN TO USE THE CONTRACT

The cont rac t f orm is to be used when the ar t i st par t s w i th each wor k FOR KEEPS:
Whe t he r by sa l e , gi f t , or t rade for th i ngs or serv i ces ;
Whe t he r i t 's a pa i nt i ng , a scu l pture , a draw i ng , a non-ob j ec t p i ece or any o ther f i ne ar t ;
Whe t he r to a f r i end , a co l l ec tor , ano t he r ar t i st , a museum , a corpora t i on , a dent i st , a l awye r - anyone.
I t 's NOT for use when you l end your wor k or cons i gn i t to your dea l er for sa l e ; i t IS for use when your dea l er se l l s your wor k (or i f he
buys i t h i mse l f ) .
HOW TO USE THE CONTRACT
1 . Pho t ocopy the cont rac t f orm . You' l l need 2 cop i es for each t rans f er . Save th i s or i g i na l to make future cop i es and for re f erence.
2. Fi l l out both cop i es , us i ng the check l i s t i ns t ruc t i ons in the ma rg i n .
You may wan t to ent er "Ar t i st ' s address " as c / o your dea l er .
No t e tha t t he cont rac t speaks i n t e rms of a " sa l e " ; t he word "se l l " is used for t he sake of s i mp l i c i ty ( l i kew i se we use the word
" purchaser " because i t 's t he mos t a l l - i nc l us i ve word for th i s purpose ) . In a sense , even i f you a re g i v i ng or t rad i ng your wor k you a re
" se l l i ng" i t for the prom i ses i n the cont rac t p l us any th i ng e l se you ge t : .
In pa ragraph 1 en t er the pr i ce OR t he va l ue of t he wor k . You can en t er any va l ue tha t you and t he new owne r agree upon . If he
se l l s i t l ater for mor e he wi l l have to pay you 15% of t he i ncrease , so t he h i gher the numbe r you pu t in or i g i na l l y the be t t er break the
purchase r is ge t t i ng . If you a re g i v i ng a f r i end a wor k or exchang i ng w i th ano t he r ar t i st (be sure to use t wo separa t e cont rac t s for the
l at ter s i tua t i on) you m i gh t wan t to en t er a very l ow va l ue so you wou l d ge t some money even i f he / she rese l l s i t at a barga i n pr i ce .
If there are th i ngs you w i sh to de l e t e or mod i f y , c ross out wha t you don ' t wan t and make any sma l l changes d i rec t l y on the form,
mak i ng sure tha t bo t h par t i es ini t i a l a l l such s t r i keout s and changes . I f you don ' t have room on the f orm for the changes you wan t ,
add t hem on separa t e shee t s ent i t l ed " R i der to Con t rac t " and be sure bo t h a r e s i gned by par t i es and da t ed . You shou l d consu l t an
a t torney for ex t ens i ve changes .
3. You and t he purchase r s i gn both cop i es so each wi l l have a l ega l or i g i na l .
4. Be fore the wor k is de l i vered be sure to cut ou t the NOT I CE f rom the l ower r i ght corner of one copy and a f f i x i t to the wor k . Pu t i t on
a s t re t cher ba r or unde r a scu l p ture base or whe reve r i t wi l l be aesthe t i ca l l y i nv i s i b l e ye t f i ndab l e . Prot ec t i t w i th a coa t of c l ear
po l yure thane or the l i ke .
I f your wor k s i mp l y has no p l ace on i t for t he NOT I CE or your s i gna t ure - i n wh i ch case you shou l d a l ways use an anc i l l ary documen t wh i ch descr i bes t he work , wh i ch bea rs your s i gna ture and wh i ch is t rans f er red as a ( l ega l ) par t of t he wor k -g l ue or copy t he
NOT I CE on tha t documen t .
RESALE PROCEDURE
When a wor k is reso l d the se l l er makes three cop i es of t he TRANSFER AGREEMENT AND RECORD ( " TAR " ) f rom t he or i g i na l
cont rac t , f i l ls t hem ou t ent er i ng the va l ue tha t he and t he nex t owne r have agreed on , and both of t hem s i gn al l three cop i es . The
se l l er keeps one , sends one to the ar t i st w i th the 15% paymen t ( i f requ i red) and g i ves one to the new owne r a l ong w i th a copy of t he
or i g i na l agreemen t , so he wi l l know h i s respons i b i l i t i es to the ar t i st and have t he TAR f orm i f t he wor k is reso l d aga i n .
THE DEALER
I f you have a dea l er he wi l l be very I mpor t an t in deve l op i ng your use of t he cont rac t . He shou l d make use of the cont rac t a po l i cy
of t he ga l l ery , t he reby g i v i ng t he ar t i sts i n the ga l l ery co l l ec t i ve s t rength aga i ns t those co l l ec tors and i nst i tut i ons who don ' t rea l l y have
the ar t i sts i nt erests at hear t .
Remembe r , your dea l er knows al l the i ns and out s of the ar t wor l d; he knows t he ways to ge t the f ew re l uc t ant buye rs to s i gn t he
con t rac t - the be t t er the dea l er the mor e ways he knows . He can do wha t he does now when he wan t s some t h i ng for one of h i s ar t i s t s-g i ve t he co l l ec tor f avors , exchange pr i v i l eges , d i scount s , hot t i ps , adv i ce , t i me and al l the o ther th i ngs buyers expec t and ap
prec i a t e . I t even g i ves h i m an oppor tun i t y to ra i se the sub j ec t of prospec t i ve i ncrease i n the va l ue of your wor k w i thou t seem i ng
crass.
The cont rac t he l ps dea l ers do wha t they t ry to do now anyway . Dea l ers t ry to keep t rack of t he wor k they have so l d , but now they
can on l y re l y on h i t -or -m i ss i nt e l l i gence and pub l i c i ty. The cont rac t crea t es a -s i mp l e record sys t em wh i ch wi l l automa t i ca l l y ma i nt a i n
a b i ography of each wor k and a chrono l og i ca l record of owne rsh i p. I t makes g i v i ng a provenance no t roub l e at al l . And i t 's a l mos t
cos t l ess to adm i n i s t er , on l y ano t he r f ew m i nu t es of t yp i ng for each sa l e .
Us i ng t he cont rac t is mos t l y a s t a t e of m i nd . I f your dea l er doesn ' t th i nk t he bene f i t s of ' the cont rac t a re i mpor t an t he wi l l have
dozens of reasons why he can ' t ge t t he buye rs to s i gn i t ; i f he ca res and wan t s t hose bene f i t s for you he ' l l use i t every t i me and he
won ' t l ose a sa l e .
THE FACTS OF L I FE : YOU , THE ART WORLD AND THE CONTRACT
The vast ma j or i t y of peop l e i n t he ar t wor l d fee l tha t th i s i dea i s fa i r , reasonab l e and prac t i ca l . Reserva t i ons abou t us i ng t he cont rac t can be summed up in t wo bas i c s t a t emen t s :
" " . . . the econom i cs of buy i ng and se l l i ng ar t is so f rag i l e tha t i f you p l ace one mor e burden on the co l l ec tors of ar t , they wi l l
s i mp l y s top buy i ng ar t . . . " ; and
" " . . . I wi l l cer t a i n l y use the agreemen t , but on l y i f eve ryone e l se uses i t . . . "
The f i rst s t a t emen t is nonsense . C l ear l y the ar t wi l l be j ust as des i rab l e w i th as w i thout t he cont rac t , and there ' s no reason why
the va l ue of any wor k shou l d be a f f ec t ed , espec i a l l y i f th i s cont rac t is s t andard for t he sa l e of ar t , wh i ch br i ngs us to t he second statemen t . If there ' s a prob l em here , i t 's the conce rn of ar t i sts or dea l ers tha t t he i ns i s t ence on use of th i s cont rac t wi l l j eopard i ze the i r
sa l es i n a compe t i t i ve ma rke t . Unde r care fu l scrut i ny th i s proves to be mos t l y i l l usory .
Al l ar t i sts se l l , t rade and g i ve the i r wor k to on l y t wo k i nds of peop l e :
" t hose who a re the i r f r i ends ;
" t hose who a re not the i r f r i ends .
Obv i ous l y . your f r i ends won ' t g i ve you a ha rd t i me . The on l y t roub l e wi l l come w i th someone who i sn' t your f r i end . S i nce sure l y
75% of al l ser i ous ar t that ' s so l d is bough t by peop l e who a re f r i ends of t he ar t i st or dea l e r - f r i ends who dr i nk toge ther , weekend
toge ther . e t c. - res i s t ance wi l l come on l y in some of t hose 25% of your sa l es to s t rangers . O f t hose peop l e , mos t wi l l w i sh to be f r i end
ly w i th you and won ' t hes i t a t e to s i gn the cont rac t to show the i r respec t for your ongo i ng re l a t i onsh i p w i th your wor k Th i s l eaves
pe rhaps 5% of your sa l es wh i ch encoun t e r ser i ous res i s t ance over the cont rac t , and even th i s shou l d dec rease t owa rd . zero as the
cont rac t comes i nto w i despread use .

Ju l y 1975

par t i es
f i l l In da t a
Ident i fy ing the
Wor k

f i l l In
agreed va l ue

address :
WHEREAS Ar t i st has crea t ed tha t cer t a i n Wor k of Ar t ( " the Work " ) :

Purchase r :
Ti t l e:

d i mens i ons*_

med i a:

yea r :

and

WHEREAS t he par t i es wan t the Ar t i st to have cer t a i n r i ghts in the future econom i cs and Integr i ty of t he Wor k ,
The par t i es mutua l l y agree as fo l l ows:
1 . SALE : Ar t i st he reby se l l s t he Wor k to Purchase r at the agreed va l ue of $
2 . RETRANSFER : I f Purchase r In any way wha t soeve r se l l s , g i ves or t rades t he Wor k , or i f It is i nher i t ed f rom
Purchaser , or i f a th i rd par t y pays compensa t i on for I ts des t ruc t i on , Purchase r (or t he represent a t i ve of h i s es t a t e)
mus t w i th i n 30 days
(a) Pay Ar t i st 15% of t he " gross ar t prof i t " , i f any , on the t rans f er ; and
(b) Ge t t he hew owne r to rat i fy th i s cont rac t by s i gn i ng a proper l y f i l l ed-out " Trans f er Agr eemen t and Record "
(TAR) ; and
(c) De l i ver t he s i gned TAR to the Ar t i st .
(d) " Gross ar t prof i t " for th i s cont rac t means on l y: " Agr eed va l ue " on a TAR l ess the " agr eed va l ue " on the l ast
pr i or TAR , or ( i f there hasn ' t been a pr i or resa l e) l ess the agreed va l ue in Pa r agr aph 1 of th i s bont rac t .
(e) " Agr eed va l ue " to be f i l l ed In on each TAR sha l l be the ac tua l sa l e pr i ce i f the Wor k is so l d for money or t ho
fa i r ma rke t va l ue a t the t i me i f t rans f er red any o ther way.
3. NON - DEL I VERY : I f the TAR i sn' t de l i vered In 30 days , Ar t i st may compu t e " gross ar t prof i t " and Ar t i st ' s 15% as i f i t
had , us i ng the fa i r ma rke t va l ue at the t i me of the t rans f er or a t the t i me Ar t i st d i scovers t he t rans f er .
4. NOT I CE OF EXH I B I T I ON : Be f ore comm i t t i ng t he Wor k to a show , Purchase r mus t g i ve Ar t i st not i ce of i ntent to do
so , te l l i ng Ar t i st a l l t he de t a i l s of the show tha t Purchase r t hen knows.
5 . PROVENANCE ; Upon reques t Ar t i st wi l l furn i sh Purchase r and h i s successors a wr i t t enh i s tory and provenance of
the Wor k , based on TAR ' s and Ar t i st ' s bes t Informa t i on as to shows .
6 . ART I STS EXH I B I T I ON : Ar t i st may show t he Wor k for up to 6,0 days once eve ry 5 years at a non-prof i t i nst i tut i on at
no expense to Purchaser , upon wr i t t en not i ce no l ater t han 120 days be fore open i ng and upon sa t i s f ac tory proo f of insurance and prepa i d t ranspor t a t i on .
7 . NON - DESTRUCT I ON : Purchase r wi l l no t perm i t any i nt ent i ona l des t ruc t i on , damage or mod i f i ca t i on of the Wor k.
8 . RESTORAT I ON : I f t he Wor k is damaged , Pur chase r wi l l consu l t Ar t i st be fore any res tora t i on and mus t g i ve Ar t i st
f i rst oppor tun i t y to res tore i t , i f prac t i cab l e .
9. RENTS: I f the Wor k is rent ed , Pur chase r mus t pay Ar t i st 50% of the rent s w i th i n 30 days of rece i pt .
10 . REPRODUCT I ON : Ar t i st reserves a l l r i ghts to r eproduce the Wor k.
11 . NOT I CE: A Not i ce , In the f orm be l ow , mus t be pe rmanen t l y a f f i xed to t he Wor k , wa rn i ng tha t ownersh i p , e t c . , are
sub j ec t to th i s cont rac t . I f , howeve r , a documen t represent s t he Wor k or i s par t of t he Wor k , the Not i ce mus t i ns t ead
be a pe rmanen t par t of tha t documen t ..
12 . TRANSFEREES BOUND : I f anyone becomes the owne r of t he Wor k w i th not i ce o f t t i ts cont rac t , tha t p6r i on sha l l
be bound to al l i ts t e rms as i f he had s i gned a TAR when he acqu l red . the Wor k .
13 . EXP I RAT I ON : Th i s con t rac t b i nds t he par t i es , the i r he i rs and a l l the i r successors In i nterest , and a l l Purchaser ' s
ob l i ga t i ons a re a t t ached to the Wor k and go w i th owne rsh i p of the Wor k , al l for the l i fe of t he Ar t i st and Ar t i st ' s sur v i v i ng spouse p l us 21 years , excep t the ob l i ga t i ons of Pa ragraphs 4, 6 and 8 sha l l l ast on l y for Ar t i st ' s l i fe t i me .
14. ATTORNEYS ' FEES : In any proceed i ng to en force any par t of th i s cont rac t , the aggr i eved par t y sha l l be ent i t l ed to
reasonab l e a t torneys ' f ees in add i t i on to any ava i l ab l e r emedy .

f i l l in da t e
both s i gn

Da t e :
Ar t i st
Purchase r
TRANSFER AGREEMENT AND RECORD

f i l l in da t a
Ident i fy ing
the Wor k
fill

in da t e

f i l l In names ,
addresses of
par t i es
do not F I LL
in anyth i ng
be tween
these l ines

f i l l in da t e
f i l l in names
of par t i es
and Ar t ist 's
address on
both
Not i ces

d i mens i ons :

Ti t l e :

yea r :
Owne rsh i p of t he above Wor k of Ar t has been t rans f er red be t ween the unde rs i gned persons , and the new owne r
be t ween :
he reby express l y rat i f i es, assumes and agrees to be bound by the t e rms of the Con t rac t da t ed
med i a :

Ar t i st :

address :

Purchase r :

address :

and

Agr eed va l ue (as de f i ned in sa i d cont rac t ) at t he t i me of th i s t rans f er : $

O l d owne r:

address :

New owne r :

address :

Da t e of th i s t rans f er :

SPEC I MEN NOT I CE

Owne rsh i p , t ransf er , exh i b i t i on and reproduc t i on of th i s
Wor k of Ar t are sub j ec t to a ' cer ta i n Con t rac t
da t ed
be t ween :
Ar t i st :
Addr ess :
Purchase r :
Ar t i st has a copy.

and

I
t
1
I
I
I
I
I
I
t

cut out , __
a f f i x_to.,Wor
. -k - - - ___ . . . - - - NOT I CE
I
Ownersh i p , t rans f er , exh i b i t i on ar fd reproduc t i on of th i s I
Wor k of Ar t are sub j ec t to a cer t a i n Con t rac t
1
be t ween :
da t ed
1
I

Ar t i st :
and

Address :

Purchase r :

1
I
I
- - - - - - - - - - . - - - - - - - - - - - - - - - 1.

Ar t i st has a

Copy .