3. During the period of the year, the buyer is responsible for exhibiting works by the artist in the cities of `O` and in other places that the parties jointly designate. The buyer is responsible for all expenses of these exhibitions, including advertising and catalogue and insurance costs, and bears the full cost of storing all the artist`s purchase items delivered to the buyer in accordance with this agreement. 5. Upon the sale of one of the works of art covered by this agreement, the buyer is reimbursed to the buyer, based on the actual net proceeds, for the initial shipping costs advanced in connection with this item. In addition, and in compensation for the buyer`s performance in connection with the sale of a given work, the buyer has the right to pay the quarterly artist the balance of the net proceeds of the sale in question as well as the buyer`s commission for the realization of such a sale with the remaining percentages of that balance, net of the sums earned to the buyer under that agreement. The words and figures above describe the date, location, purchase price and terms of payment for this contract to purchase the artwork above. However, in order to protect the future existence and use of the work, the parties continue to agree as follows: 4. The parties acknowledge that the artist provided the purchaser with photographs of any objects of works by artists belonging to the artist at the time of this agreement. The price at which the buyer proposes to sell each of these items should not be less than the price set on the back of this photo. The parties jointly determine the minimum selling price to be paid for the works of art to be created by Artist during the duration of this contract. Minimum prices can be changed from time to time in a way determined by the parties. 8.
Resale. The artist reserves the right to restrict the resale of the work. No work can be resold without the artist`s explicit and written consent. The job sale is simple: give it to the buyer and take the money. However, many artists and buyers are interested in what might happen to the work in the future: buyers are often concerned about originality, the size of publishing and reproduction rights; Artists are often concerned about the maintenance of the work by the buyer, repairing the damage, acting back for exhibition purposes, where and how the work is delivered by the buyer, and the resale of royalties; Both are often concerned about responsibility for the deterioration of work. 1. For a period of years beginning on the date of this Agreement, the buyer has the exclusive right to put up for sale in any part of the world and to authorize other works of art created by Artist and in the possession of Artist. The artist must first deliver each of these works to the place designated by the buyer. The form of contract proposed above does not raise three important questions: the artist`s responsibility for the deterioration of the work; The artist`s right to resale and license; and the commitment of the second subsequent purchasers of the work under the terms of this contract. These will be discussed in the next issue. In last month`s edition, it was proposed that one method to gently introduce the artist and buyer into the idea of a written agreement is to ensure that all artists begin to use a sales bulletin that simply recorded the date and place of sale, described the parts and the work, and set the price and payment terms.
(Artists and their agents could use a simple co2 copy book for the purchaser`s use and keep the copy; Buyers who do not stand ready to sign the invoice could receive the original signed by the artist or agent alone.) The Sales Bulletin will act not only as a receipt for money, but also as documentary proof of the sale. Enforcement could be made more acceptable to reluctant buyers if supported by artists` organizations and groups, galleries, museums, regional arts associations and national arts councils; everyone was able to authorize its use, so it became the « Standard Artists Bill of Sale ».