THE ART IST 'S -RESERVEDR IGHTS

TRANSFERAND SALEAGREEMENT

SECOND ED IT ION

The accompany ing form i s the second ed i t ion o f the con t rac t conce i ved by Se th S i ege l aub and dra f ted by Rober t Pro j ansky , aNew York a t torney , in 1971 . I t has been rev i sed by Mr . Pro j ansky .

The or ig ina l con t rac t was we l l - rece i ved by ar t i s ts , bu t d i s t r ibu t ion was l im i ted and i t s l ega l l anguage was ra ther forb idd ing .The vers ion pub l i shed on th i s pos ter i s much shor ter , eas i er to read and eas i er to use .

WHAT THE CONTRACT DOESThe con t rac t i s des igned to g i ve the ar t i s t :

" 15% o f any increase in the va lue o f each work each t ime i t i s t rans fer red ;" a record o f who owns each work a t any g i ven t ime ;" the r igh t to have the work rema in una l tered by the owner ;" the r igh t to be no t i f i ed i f the work i s to be exh ib i ted ;" the r igh t to show the work for 2 mon ths every f i ve years (a t no cos t to the owner ) ;" the r igh t to be consu l ted i f res tora t ion becomes necessary ;" ha l f o f any ren ta l income pa id for the work , i f there ever i s any;" a l l reproduc t ion r igh t s .The econom i c bene f i t s wou ld l as t for the ar t i s t ' s l i fe t ime , p lus the l i fe o f a surv i v ing spouse , p lus 21 years , so as to bene f i t the ar -

t i s t ' s ch i ldren wh i l e they are grow ing up . The aes the t i c con t ro l s wou ld l as t for the ar t i s t ' s l i fe t ime .

WHEN TO USE THE CONTRACT

The con t rac t form i s to be used when the ar t i s t par ts w i th each work FOR KEEPS :

Whe ther by sa l e , g i f t , or t rade for th ings or serv i ces;Whe ther i t ' s a pa in t ing , a _scu lp ture , a draw ing , a non-ob j ec t p i ece or any o ther f ine ar t ; . _ .

In shor t , th i s con t rac t w i l l he lp you d i scover who your f r i ends are .I f a buyer wan t s to buy bu t doesn ' t wan t to s ign , te l l h im tha t a l l your work i s so ld under the con t rac t , tha t i t ' s s tandard for your

work .You can po in t ou t to the re luc tan t buyer :

The con t rac t doesn ' t cos t any th ing un l ess your work apprec i a tes in va lue ; mos t ar t doesn ' t ;

I f he makes a pro f i t on your work you ge t on l y a sma l l percen tage o f i t -abou t the equ i va l en t o f a wa i t ress ' s t ip ;

I f you l i ke you can o f fer to take your prospec t i ve 15% paymen t in some th ing o ther than money , or to g i ve h im apar t i a l cred i t aga ins t a new work ;

Or you can o f fer to pu t In an or ig ina l va lue tha t ' s more than wha t he ' s pay ing , g i v ing h im a f ree r ide on par t o f anyprospec t i ve pro f i t .

O f course , I f a co l l ec tor buys a work re fus ing to s ign the con t rac t he w i l l have to re l y on good w i l l when he wan t syou or your dea l er to appra i se , res tore or au then t i ca te i t . Why he shou ld expec t to f ind good w i l l there i s anybody ' sguess.

Is the buyer rea l l y go ing to pass up your work because you ask h im to . s ign th i s con t rac t? Work tha t he l i kes and th inks i s wor thhav ing? I f the answer i s ' yes ' , g i ven the fac t tha t i t doesn ' t cos t h im a th ing to g i ve you , the ar t i s t , the respec t tha t you as the crea tor o fthe work deserve - i f tha t w i l l keep h im f rom buy ing , he i s too s tubborn and foo l i sh for anyone to te l l you how to i l lum ina te h im . Non-use o f th i s con t rac t i s a dumb cr i ter ion for se l ec t ing ar t .

ENFORCEMENT

F i rs t , l e t ' s pu t th i s in perspec t i ve : mos t peop l e w i l t honor the con t rac t because mos t peop l e honor con t rac t s . Those who are l i ke -l y to chea t you are l i ke l y to be the same ones who gave you a hard t ime abou t s ign ing the con t rac t in the f i rs t p l ace . La ter owners w i l lbe more l i ke l y to chea t you than the f i rs t owner , bu t there are s t rong reasons why bo th f i rs t and fu ture owners o f your work shou ldfu l f i l l the con t rac t ' s terms.

Wha t happens i f owner #1 se l l s your work to owner #2 and doesn ' t send you the t rans fer form? (He ' s no t send ing your money ,e i ther . )

No th ing happens . (You don ' t know abou t i t ye t . )Sooner or l a ter you do f ind ou t abou t i t because the grapev ine w i l l ge t the news to you (or your dea l er ) anyway . T f ,1en , i f owner #1

doesn ' t come across you can sue h im . He w i l l be s tuck for 15% o f the pro f i t he made OR 15% o f the increase in va lue to the t ime youheard abou t i t , wh i ch may be much more . A l so , no te tha t I f you have to sue to en force any r igh t under the con t rac t , Paragraph 14g i ves you the r igh t to recover reasonab l e a t torney ' s fees i r i add i t ion to any o ther remedy to wh i ch you may be en t i t l ed . C l ear l y , owner

#1 wou ld be foo l i sh to take the chance .As to fa l s i f y ing va lues , there w i l l be as much pressure f rom new owners to pu t in h igh va lues as there i s f rom o ld owners to pu t in

low va lues. In 95% o f the cases the amoun t o f money to be pa id the ar t i s t won ' t be enough to make them l i e to you ( in un i son) .

SUMMARYWe rea l i ze th i s con t rac t , l i ke i t s predecessor , w i l l d i s turb some . dea l ers , museums and h igh-powered co l l ec tors , bu t the i l l s i t

remed i es are un i versa l l y acknow l edged to ex i s t and no o ther prac i ca l way has ever been dev i sed to cure them .I t s purpose i s to pu t you- the ar t i s t - in the same pos i t ion as the man beh ind the ren t -a -car coun ter . He d idn ' t wr i te h i s con t rac t ,

e i ther , bu t he says: I f you wan t i t , s ign here . You do the same .Us ing th i s con t rac t doesn ' t mean a l l your ar t wor ld re l a t ionsh ips w i l l be s t r i c t l y bus iness herea f ter or tha t you have to en force

every r igh t down to the l as t penny. Fr i ends w i l l s t i l l be f r i ends and i f you wan t to wa i ve your r igh t s you can , bu t they w i l l be YOURr igh t s and the cho i ce w i l l be YOURS .

The con t rac t in I t s pr ior form has been used by many ar t i s ts-known , we l l -known and unknown . Use I t . I t ' s en forceab l e . Themore ar t i s ts and dea l ers who use i t , the be t ter and eas i er i t w i l l be for everybody to use i t . I t requ i res no organ i za t ion , dues , mee t ings ,reg i s t ra t ion or governmen t agency- jus t your des i re to pro tec t the In tegr i t y o f your ar t .

Wha t i t g i ves you , the ar t i s t , i s a l ega l too l you can use to es tab l i sh con t inu ing r igh t s in your work a t the t ime you t rans fer i t bu twhe ther or no t you use the con t rac t Is up to you . Cons ider the con t rac t as a subs t i tu te for wha t i s ava i l ab l e o therw i se : no th ing .

Th i s has beep crea ted for no recompense to the au thor for jus t the p l easure o f a t tack ing a cha l l eng ing prob l em , and I t i s basedon the fee l ing tha t shou ld there ever be a ques t ion abou t ar t i s ts ' r igh t s In re ference to the i r ar t , the ar t i s t i s more r igh t than anyonee l se .

f i l l in names ,addresses o fpar t i es

f i l l In da taiden t i f y ing theWork

f i l l inagreed va lue

P l ease POST , REPRODUCE and USE th i s pos ter f ree l y .

The pos ter i s no t to beso ld .

The cos t o f the produc t ion , pr in t ing , and d i s t r ibu t ion o f th i s documen thas been underwr i t ten by Assoc i a ted Counc i l s o f the Ar ts , 1564 Broadway , NY ,NY 10036 . I f you use th i s con t rac t p l ease l e t us know . Address a l l subs tan-t i ve quer i es to Ar t i s ts ' R igh t s Assoc i a t ion , 27 Wes t 15 th S t . , NY , NY 10011 ,

Ar t i s t : -

Purchaser : :

WHEREAS Ar t i s t has crea ted tha t cer ta in Work o f Ar t ( " the Work " ) :

T i t l e :

d imens ions ;

med i a :

year : :

AGREEMENT OF OR IG INAL TRANSFER OF WORK OF ART

address

address :

WHEREAS the par t i es wan t the Ar t i s t to have cer ta in r igh t s in the fu ture econom i cs and in tegr i t y o f the Work ,The par t i es mu tua l l y agree as fo l lows:

mmm

. and

1 . SALE : Ar t i s t hereby se l l s the Work to Purchaser a t the agreed va lue o f $2 . RETRANSFER : I f Purchaser in any way wha t soever se l l s , g i ves or t rades the Work , or i f i t i s inher i ted f rom

Purchaser , or I f a th i rd par ty pays compensa t ion for i ts des t ruc t ion , Purchaser (or the represen ta t i ve o f h i s es ta te )

mus t w i th in 30 days

(a ) Pay Ar t i s t 15% o f the "gross ar t pro f i t " , I f any , on the t rans fer ; and_ ' - :_

" 6u .d- - l e - a nrneor lu f i l l -d-eu t ! 'Tr I Ina for daraoman t su id .BYCA[d "

" ha l f o f any ren ta l income pa id for the work , i f there ever i s any ;" a l l reproduc t ion r igh t s .The econom i c bene f i t s wou ld l as t for the ar t i s t ' s l i fe t ime , p lus the l i fe o f a surv i v ing spouse , p lus 21 years , so as to bene f i t the ar -

t i s t ' s ch i ldren wh i l e they are grow ing up . The aes the t i c con t ro l s wou ld l as t for the ar t i s t ' s l i fe t ime .

WHEN TO USE THE CONTRACTThe con t rac t form i s to be used when the ar t i s t par ts w i th each work FOR KEEPS:Whe ther by sa l e , g i f t , or t rade for th ings or serv i ces ;Whe ther i t ' s a pa in t ing , a scu lp ture , a draw ing , a non-ob j ec t p i ece or any o ther f ine ar t ;Whe ther to a f r i end , a co l l ec tor , ano ther ar t i s t , a museum , a corpora t ion , a den t i s t , a l awyer -anyone .

I t ' s NOT for use when you l end your work or cons ign 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 work (or i f hebuys i t h imse l f ) .

HOW TO USE THE CONTRACT1 . Pho tocopy the con t rac t form . You ' l l need 2 cop i es for each t rans fer . Save th i s or ig ina l to make fu ture cop i es and for re ference.2. F i l l ou t bo th cop i es , us ing the check l i s t ins t ruc t ions in the marg in .

You may wan t to en ter "Ar t i s t ' s address " as c /o your dea l er .No te tha t the con t rac t speaks in terms o f a " sa l e " ; the word " se l l " i s used for the sake o f s imp l i c i t y ( l i kew i se we use the word

"purchaser " because i t ' s the mos t a l l - inc lus i ve word for th i s purpose ) . In a sense , even i f you are g i v ing or t rad ing your work you are" se l l ing " i t for the prom i ses in the con t rac t p lus any th ing e l se you ge t : .

In paragraph 1 en ter the pr i ce OR the va lue o f the work . You can en ter any va lue tha t you and the newowner agree upon . I f hese l l s i t l a ter for more he w i l l have to pay you 15% o f the increase , so the h igher the number you pu t in or ig ina l l y the be t ter break thepurchaser i s ge t t ing . I f you are g i v ing a f r i end a work or exchang ing w i th ano ther ar t i s t (be sure to use two separa te con t rac t s for thel a t ter s i tua t ion) you m igh t wan t to en ter a very low va lue so you wou ld ge t some money even i f he / she rese l l s i t a t a barga in pr i ce .

I f there are th ings you w i sh to de l e te or mod i f y , cross ou t wha t you don ' t wan t and make any sma l l changes d i rec t l y on the form ,mak ing sure tha t bo th par t i es in i t i a l a l l such s t r i keou t s and changes . I f you don ' t have room on the form for the changes you wan t ,add them on separa te shee t s en t i t l ed "R ider to Con t rac t " and be sure bo th are s igned by par t i es andda ted . You shou ld consu l t ana t torney for extens i ve changes .3 . You and the purchaser s ign bo th cop i es so each w i l l have a l ega l or ig ina l .4 . Be fore the work i s de l i vered be sure to cu t ou t the NOT ICE f rom the lower r igh t corner o f one copy and a f f i x i t to the work . Pu t i t ona s t re tcher bar or under a scu lp ture base or wherever i t w i l l be aes the t i ca l l y inv i s ib l e ye t f indab l e . Pro tec t i t w i th a coa t o f c l earpo l yure thane or the l i ke .

I f your work s imp l y has no p l ace on i t for the NOT ICE or your s igna ture - in wh i ch case you shou ld a lways use an anc i l l ary docu-men t wh i ch descr ibes the work , wh i ch bears your s igna ture and wh i ch i s t rans fer red as a ( l ega l ) par t o f the work -g lue or copy theNOT ICE on tha t documen t .

RESALE PROCEDUREWhen a work i s reso ld the se l l er makes three cop i es o f the TRANSFER AGREEMENT AND RECORD ( "TAR " ) f rom the or ig ina l

con t rac t , f i l l s them ou t en ter ing the va lue tha t he and the next owner have agreed on , and bo th o f them s ign a l l three cop i es . These l l er keeps one , sends one to the ar t i s t w i th the 15% paymen t ( i f requ i red) and g i ves one to the new owner a long w i th a copy o f theor ig ina l agreemen t , so he w i l l know h i s respons ib i l i t i es to the ar t i s t and have the TAR form i f the work i s reso ld aga in .

THE DEALERI f you have a dea l er he w i l l be very Impor tan t in deve lop ing your use o f the con t rac t . He shou ld make use o f the con t rac t a po l i cy

o f the ga l l ery , thereby g i v ing the ar t i s ts in the ga l l ery co l l ec t i ve s t reng th aga ins t those co l l ec tors and ins t i tu t ions who don ' t rea l l y havethe ar t i s ts in teres ts a t hear t .

Remember , your dea l er knows a l l the ins and ou t s o f the ar t wor ld ; he knows the ways to ge t the few re luc tan t buyers to s ign thecon t rac t - the be t ter the dea l er the more ways he knows . He can do wha t he does now when he wan t s some th ing for one o f h i s ar -t i s ts-g i ve the co l l ec tor favors , exchange pr i v i l eges , d i scoun t s , ho t t ips , adv i ce , t ime and a l l the o ther th ings buyers expec t and apprec i a te . I t even g i ves h im an oppor tun i t y to ra i se the sub j ec t o f prospec t i ve increase in the va lue o f your work w i thou t seem ingcrass.

The con t rac t he lps dea l ers do wha t they t ry to do now anyway . Dea l ers t ry to keep t rack o f the work they have so ld , bu t now theycan on l y re l y on h i t -or -m i ss in te l l igence and pub l i c i t y. The con t rac t crea tes a -s imp l e record sys tem wh i ch w i l l au toma t i ca l l y ma in ta ina b iography o f each work and a chrono log i ca l record o f ownersh ip . I t makes g i v ing a provenance no t roub l e a t a l l . And i t ' s a lmos tcos t l ess to adm in i s ter , on l y ano ther few m inu tes o f t yp ing for each sa l e .

Us ing the con t rac t i s mos t l y a s ta te o f m ind . I f your dea l er doesn ' t th ink the bene f i t s o f ' the con t rac t are impor tan t he w i l l havedozens o f reasons why he can ' t ge t the buyers to s ign i t ; i f he cares and wan t s those bene f i t s for you he ' l l use i t every t ime and hewon ' t lose a sa l e .

THE FACTS OF L IFE : YOU , THE ART WORLD AND THE CONTRACT

The vas t ma jor i t y o f peop l e in the ar t wor ld fee l tha t th i s idea i s fa i r , reasonab l e and prac t i ca l . Reserva t ions abou t us ing the con-t rac t can be summed up in two bas i c s ta temen t s :

" " . . . the econom i cs o f buy ing and se l l ing ar t i s so f rag i l e tha t i f you p l ace one more burden on the co l l ec tors o f ar t , they w i l ls imp l y s top buy ing ar t . . . " ; and" " . . . I w i l l cer ta in l y use the agreemen t , bu t on l y i f everyone e l se uses i t . . . "The f i rs t s ta temen t i s nonsense . C l ear l y the ar t w i l l be jus t as des i rab l e w i th as w i thou t the con t rac t , and there ' s no reason why

the va lue o f any work shou ld be a f fec ted , espec i a l l y i f th i s con t rac t i s s tandard for the sa l e o f ar t , wh i ch br ings us to the second s ta te -men t . I f there ' s a prob l em here , i t ' s the concern o f ar t i s ts or dea l ers tha t the ins i s tence on use o f th i s con t rac t w i l l j eopard i ze the i rsa l es in a compe t i t i ve marke t . Under care fu l scru t iny th i s proves to be mos t l y i l lusory .

A l l ar t i s ts se l l , t rade and g i ve the i r work to on l y two k inds o f peop l e :" those who are the i r f r i ends ;" those who are no t the i r f r i ends .Obv ious l y . your f r i ends won ' t g i ve you a hard t ime . The on l y t roub l e w i l l come w i th someone who i sn ' t your f r i end . S ince sure l y

75% o f a l l ser ious ar t tha t ' s so ld i s bough t by peop l e who are f r i ends o f the ar t i s t or dea l er - f r i ends who dr ink toge ther , weekendtoge ther . e tc . - res i s tance w i l l come on l y in some o f those 25% o f your sa l es to s t rangers . O f those peop l e , mos t w i l l w i sh to be f r i endl y w i th you and won ' t hes i ta te to s ign the con t rac t to show the i r respec t for your ongo ing re l a t ionsh ip w i th your work . Th i s l eavesperhaps 5% o f your sa l es wh i ch encoun ter ser ious res i s tance over the con t rac t , and even th i s shou ld decrease toward zero as thecon t rac t comes in to w idespread use .

Ju l y 1975

par t i es

I Purchaser : address :WHEREAS Ar t i s t has crea ted tha t cer ta in Work o f Ar t ( " the Work " ) :

f i l l in da tebo th s ign

f i l l in da te

f i l l In names ,addresses o fpar t i es

do no t F ILLin any th ingbe tweenthese l ines

f i l l in da tef i l l in nameso f par t i esand Ar t i s t ' saddress onbo thNo t i ces

Da te :

f i l l in da ta

T i t l e :

d imens ions :Iden t i f y ing med i a :

year :the WorkOwnersh ip o f the above Work o f Ar t has been t rans fer red be tween the unders igned persons , and the new ownerhereby express l y ra t i f i es , assumes and agrees to be bound by the terms o f the Con t rac t da ted

be tween :

Ar t i s t :

address :

Purchaser :

address :

Agreed va lue (as de f ined in sa id con t rac t ) a t the t ime o f th i s t rans fer : $

O ld owner :

address :

New owner :

address :

Da te o f th i s t rans fer :

SPEC IMEN NOT ICEOwnersh ip , t rans fer , exh ib i t ion and reproduc t ion o f th i sWork o f Ar t are sub j ec t to a ' cer ta in Con t rac tda ted

be tween :

Ar t i s t :

Address :

and

Purchaser :

Ar t i s t has a copy.

TRANSFER AGREEMENT AND RECORD

It1IIIIIItr

Ar t i s t :

Address :

Purchaser :

Ar t i s t has a Copy .

Ar t i s t

Purchaser

and

cu t ou t , a f f i x_ to. Work__ , . - - - -___ . . . - - - -NOT ICE

IOwnersh ip , t rans fer , exh ib i t ion ar fd reproduc t ion o f th i s IWork o f Ar t are sub j ec t to a cer ta in Con t rac t

1da ted

be tween :

1I

and I- I- 1

II

- - - - - - - - - - . - - - - - - - - - - - - - - -1 .

f i l l In da taIden t i f y ing theWork

T i t l e : d imens ions*_

med i a: year : and

WHEREAS the par t i es wan t the Ar t i s t to have cer ta in r igh t s in the fu ture econom i cs and In tegr i t y o f the Work ,The par t i es mu tua l l y agree as fo l lows:

f i l l In 1 . SALE : Ar t i s t hereby se l l s the Work to Purchaser a t the agreed va lue o f $i agreed va lue 2 . RETRANSFER : I f Purchaser In any way wha t soever se l l s , g i ves or t rades the Work , or i f I t i s inher i ted f rom

Purchaser , or i f a th i rd par ty pays compensa t ion for I ts des t ruc t ion , Purchaser (or the represen ta t i ve o f h i s es ta te )

v mus t w i th in 30 days(a ) Pay Ar t i s t 15% o f the "gross ar t pro f i t " , i f any , on the t rans fer ; and(b) Ge t the hew owner to ra t i f y th i s con t rac t by s ign ing a proper l y f i l l ed-ou t "Trans fer Agreemen t and Record "

(TAR) ; and(c ) De l i ver the s igned TAR to the Ar t i s t .(d) "Gross ar t pro f i t " for th i s con t rac t means on l y : "Agreed va lue " on a TAR l ess the "agreed va lue " on the l as t

pr ior TAR , or ( i f there hasn ' t been a pr ior resa l e ) l ess the agreed va lue in Paragraph 1 o f th i s bon t rac t .(e ) "Agreed va lue " 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 Work i s so ld for money or tho

fa i r marke t va lue a t the t ime i f t rans fer red any o ther way.3 . NON-DEL IVERY : I f the TAR i sn ' t de l i vered In 30 days , Ar t i s t may compu te "gross ar t pro f i t " and Ar t i s t ' s 15% as i f i thad , us ing the fa i r marke t va lue a t the t ime o f the t rans fer or a t the t ime Ar t i s t d i scovers the t rans fer .4 . NOT ICE OF EXH IB IT ION : Be fore comm i t t ing the Work to a show , Purchaser mus t g i ve Ar t i s t no t i ce o f in ten t to doso , te l l ing Ar t i s t a l l the de ta i l s o f the show tha t Purchaser then knows.5 . PROVENANCE ; Upon reques t Ar t i s t w i l l furn i sh Purchaser and h i s successors a wr i t tenh i s tory and provenance o f

the Work , based on TAR ' s and Ar t i s t ' s bes t In forma t ion as to shows .6 . ART ISTS EXH IB IT ION : Ar t i s t may show the Work for up to 6 ,0 days once every 5 years a t a non-pro f i t ins t i tu t ion a t

no expense to Purchaser , upon wr i t ten no t i ce no l a ter than 120 days be fore open ing and upon sa t i s fac tory proo f o f in-surance and prepa id t ranspor ta t ion .7 . NON-DESTRUCT ION : Purchaser w i l l no t perm i t any in ten t iona l des t ruc t ion , damage or mod i f i ca t ion o f the Work .

8 . RESTORAT ION : I f the Work i s damaged , Purchaser w i l l consu l t Ar t i s t be fore any res tora t ion and mus t g i ve Ar t i s tf i rs t oppor tun i t y to res tore i t , i f prac t i cab l e .9. RENTS : I f the Work i s ren ted , Purchaser mus t pay Ar t i s t 50% o f the ren t s w i th in 30 days o f rece ip t .10 . REPRODUCT ION : Ar t i s t reserves a l l r igh t s to reproduce the Work .

i 11 . NOT ICE : A No t i ce , In the form be low , mus t be permanen t l y a f f i xed to the Work , warn ing tha t ownersh ip , e tc . , aresub j ec t to th i s con t rac t . I f , however , a documen t represen t s the Work or i s par t o f the Work , the No t i ce mus t ins tead

be a permanen t par t o f tha t documen t . .12 . TRANSFEREES BOUND : I f anyone becomes the owner o f the Work w i th no t i ce o f t t i t s con t rac t , tha t p6r ion sha l l

be bound to a l l i t s terms as i f he had s igned a TAR when he acqu l red . the Work .

13 . EXP IRAT ION : Th i s con t rac t b inds the par t i es , the i r he i rs and a l l the i r successors In in teres t , and a l l Purchaser ' sob l iga t ions are a t tached to the Work and go w i th ownersh ip o f the Work , a l l for the l i fe o f the Ar t i s t and Ar t i s t ' s sur -

v i v ing spouse p lus 21 years , excep t the ob l iga t ions o f Paragraphs 4 , 6 and8 sha l l l as t on l y for Ar t i s t ' s l i fe t ime .

14 . ATTORNEYS ' FEES : In any proceed ing to en force any par t o f th i s con t rac t , the aggr i eved par ty sha l l be en t i t l ed toreasonab l e a t torneys ' fees in add i t ion to any ava i l ab l e remedy .