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LONARD TSUGUHARU FOUJITA (1886-1968)Femme allonge, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).
Painted in Paris in December 1923
Footnotes:Provenance
Private collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.
Exhibited
Paris, Palais la Porte Maillot, Salon des Tuileries, 1924.Paris, Muse de Montmartre, Lonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le matre japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Lonard Foujita et ses modles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Muse Maillol, Foujita, peindre dans les annes folles, 7 March - 15 July 2018, no. 79.
Literature
F. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couche' and dated '1924').S. Buisson, Lonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).
In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange.
Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Cham Soutine, Pablo Picasso and Fernand Lger.
The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Lger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Lger, quoted in S. Buisson, Lonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hbuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allonge, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'.
Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).
Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allonge, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty.
Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geid, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: AR
AR Goods subject to Artists Resale Right Additional Premium.
For further information on this lot please visit Bonhams.com
Painted in Paris in December 1923
Footnotes:Provenance
Private collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.
Exhibited
Paris, Palais la Porte Maillot, Salon des Tuileries, 1924.Paris, Muse de Montmartre, Lonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le matre japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Lonard Foujita et ses modles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Muse Maillol, Foujita, peindre dans les annes folles, 7 March - 15 July 2018, no. 79.
Literature
F. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couche' and dated '1924').S. Buisson, Lonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).
In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange.
Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Cham Soutine, Pablo Picasso and Fernand Lger.
The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Lger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Lger, quoted in S. Buisson, Lonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hbuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allonge, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'.
Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).
Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allonge, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty.
Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geid, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: AR
AR Goods subject to Artists Resale Right Additional Premium.
For further information on this lot please visit Bonhams.com
Timed
Venue address
Test1
Test 2
Test 3
Toronto Toronto City
code 12345
Poland
27 Nov check Timed lot 2
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Auction dates
Starts:
27 Nov 2020 04:25 GMT
Ends from:
28 Nov 2020 12:45 GMT
Viewing dates
17 Aug 2021 15:00 - 20:00 BST
24 Aug 2021 17:00 - 20:00 BST
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- Auctioneer Notes: Auctioneer notes can be located at the bottom of every item description. These notes are from the auctioneer addressing any major or minor facts about a lot / vehicle that he / she thinks the bidder’s should know about before placing a bid or choosing to select the buy it now option.
- Payment and fees
- If you have been successful in purchasing a vehicle in an auction, we will provide you with an invoice for the vehicle by email within 24 hours of the end of the auction (or of you being successful in bidding a “Buy it now” price).
- Unless otherwise stated, all invoices must be paid in full in cleared funds within 48 hours of the invoice being emailed to you, or before you collect the vehicle/arrange for delivery, whichever is the earlier.
- Invoices referred to in clause 10.1 are to be paid by BACS (no other form of payment will be accepted) to the account detailed below:
Name of account holder: ( H&F International Limited )
Name of bank:( HSBC )
Account number: 61873024
Sort code: 40-16-10
IBAN: GB92HBUK40161061873024
Swift code: HBUKGB4124D
- We will charge a commission equal to 20% of the purchase price, and this will be set out in the invoice referred to in clause 10.1.
- VAT will be charged on the purchase price for vehicles / lots that state ( Vat Status + VAT @ 20% ) and this will be set out in the invoice referred to in clause 10.1. Also + Vat lots will also carry a 4% internet surcharge
- None Vat lots will carry a 26% commission charge along with a 4% Internet surcharge ( Plus Vat )
- To view these charges on the bidding platform ( I-Bidder / Bid spotter ) please view the additional charges tab.
- If your bid is successful and you subsequently wish to cancel the contract, then subject to our written agreement and written agreement from the seller, cancellation can take place. However, even if a contract is cancelled, we shall be entitled to charge our commission in accordance with clause 10.4 of these terms. In addition, we shall be entitled to charge a fee of £[95] plus VAT in order to allow the seller to re-auction the vehicle at no cost to the seller
- If your bid is successful and you fail to collect the vehicle or arrange for delivery in accordance with clause 11.1 of these terms, we will charge you a storage fee of [£20+ Vat] per day And a one off administration fee of £150 + Vat We will invoice you for storage fees. Payment is to be made in accordance with clauses 10.2 and 10.3 of these terms.
- If you fail to make a payment due to us in accordance with these terms, by the due date, then, you shall pay interest on the overdue sum from the due date until payment of the overdue sum, whether before or after judgment. Interest under this clause will accrue each day at the rates set out in and in accordance with the Late Payment of Commercial Debts (Interest) Act 1998 (as amended). Percentage set at ( 0.2% per day not exceeding 8% a year ) please also note that there will be a £150 + Vat one off Administration charge at the beginning of late payment fees.
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- Collection and delivery
- You shall, at your own expense take away the vehicle purchased (either personally or via a delivery company) not later than 7 working days (a working day being a day other than a Saturday, Sunday or public holiday in England when banks in London are open for business) after the end of the auction but not before payment to us in full of the purchase price and any other monies owed to us in relation to these terms in relation to the vehicle (including but not limited to our commission as referred to in clause 10.4). You shall be responsible for any removal, storage and insurance charges on any vehicle not taken away within the time limits specified in this clause 11.1. Time for collection is of the essence.
- You will be responsible for loss or damage (i.e. risk) to the vehicle purchased from the time that the auction ends (or when a bid for a “Buy it now” price has been accepted), and neither we nor our servants or agents shall afterwards be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, while any vehicle is in our custody or under our control. Accordingly, we recommend that you arrange for appropriate insurance for the vehicle.
- [We can arrange for any vehicle purchased to be delivered to you. Please contact us directly to arrange delivery. We will charge you for delivery (and invoice you in accordance with clause 10 of these terms), such charge to be agreed when you contact us to arrange delivery (the charge will vary depending on how far the delivery address is from where the vehicle is situated] OR [If you would like any vehicle to be delivered to you, please contact us and we can put you in touch with a delivery company. Any contract for the delivery of the vehicle will be between you and the delivery company, neither we nor the seller will be a party to it nor have any liability of any nature in relation to it. Further, neither we, nor the seller, nor our or their servants or agents will be responsible for any damage caused to the vehicle either directly or indirectly by the delivery company or its servants or agents at any time.
- You shall be responsible for complying with all legal requirements as to the construction and use of any vehicle purchased and for obtaining all certificates, permits or other authorisations necessary before that vehicle can be used on any road.
- You can only collect your vehicle after having made an appointment with us. You will need to bring a proof of payment with you, and also be wearing a high-vis jacket. While one site, you agree to comply with any relevant health and safety procedures and any reasonable directions given by us or our agents or servants.
- You agree that if a vehicle is unroadworthy or does not have proper documentation to legally allow it to be driven, you will not take it away from the collection point until these matters have been properly dealt with by you.
- If any vehicle is not paid for in full and taken away in accordance with these terms, or if there is any other breach of these terms (in relation to payment of an outstanding sum or otherwise), we, as the agents of the seller (or on our own behalf, as applicable) shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights or remedies, that is to say:
(i) to proceed against you for damages for breach of contract, which may include commencing legal proceedings against you for the recovery of monies owed (you may also be liable for our legal fees for pursuing the monies);
(ii) to proceed against you for the debt due under the contract, which may include commencing legal proceedings against you for the recovery of monies owed (you may also be liable for our legal fees for pursuing the monies);
(iii) to rescind the sale of that or any other vehicle sold to you at the same or any other auction;
(iv) to resell the vehicle or cause it to be resold by public auction or private sale. You shall then pay us any resulting deficiency in the purchase price at the first auction (together with our commission (as set out in clause 10.4) and any other sums due under these terms) after deduction of any part payment and addition of resale costs. Any surplus shall belong to the seller, unless title to the vehicle has passed to you in accordance with clause 6.15 of these terms, in which case the surplus shall belong to and shall be paid to you;
(v) to remove, store (either at our premises or elsewhere) and insure the vehicle at your expense;
(vi) to charge interest in accordance with clause 10.8;
(vii) to retain that or any other vehicle sold to you at the same or any other auction and release it only after payment of the purchase price and our commission (as set out in clause 10.4) and any other sums due to us under these terms;
(viii) to proceed against you for damages for breach of these terms or to proceed against you for a debt due under these terms (to include but not limited to proceeding against you for non-payment of our commission as referred to in clause 10.4) which may include commencing legal proceedings against you for the recovery of monies owed (you may also be liable for our legal fees for pursuing the monies.
(ix) to reject or ignore any bids made by you at any future auction; or
(x) to apply any proceeds of sale then due or at any time afterwards becoming due to you towards settlement of the purchase price (and our commission (as set out in clause 10.4) and any other sums due to us under these terms) and to exercise a lien on any of your property which is in our possession for any purpose.
- Personal registration plates
Some vehicles for auction will have a personal registration plate. If the personal registration plate is not to be included in the sale, this will be made clear on the auction page of the vehicle and we will also include on the auction page for the vehicle any extra charge to be incurred by us for removing the personal number plate
- Contacting us
You can contact us at the following:
Postal address / Collection Address (this is where any vehicles will be unless stated otherwise): 67 Station Road Fordham CB7 5LW
Email address: Auctioninfo@hfinternationalltd.com
Telephone number: 01638 453300
- Privacy policy
We take privacy issues seriously. Our current privacy policy covers our use of any information you provide. In using our services you acknowledge and agree to be bound by the terms of our privacy policy which can be found here:
- Termination
We, in our sole discretion, reserve the right to issue a warning, temporary suspension, or an indefinite suspension and termination of your rights to use our services if you:
- act inconsistently and in breach of these terms;
- at any time violate or attempt to violate any rights of any other user of our services or third party;
- are engaged in any fraudulent activity; or
- fail to make any payments due to us in accordance with these terms.
- Compliance with laws
You agree to comply with all applicable laws, statutes and regulations concerning your use of our services.
- Indemnity
You shall indemnify us against all liabilities, costs, expenses, damages and losses suffered or incurred by us arising out of or in connection with any act, omissions or breaches by you of these terms.
- General exclusions
- From time to time our site may contain technical inaccuracies or typographical errors. We expressly exclude all liability howsoever arising for any such inaccuracies or errors.
- We cannot confirm whether the vehicle complies with any applicable health and safety legislation.
- Applicable law
These terms (and any dispute, controversy, proceedings or claim of whatever nature in relation to them) shall be governed and interpreted in accordance with English law and the English courts shall have exclusive jurisdiction in relation thereto.
- Events beyond our control
We will not be in breach of these terms or otherwise liable for any delay in performance to the extent that any delay or failure is due to circumstances beyond our reasonable control and including, without limitation, strikes, lock-outs and other industrial disputes, breakdown of systems or network access, flood, fire, explosion or accident.
- Invalidity
If any part of these terms is unenforceable (including any provision in which we exclude our liability to you) the enforceability of any other part of these terms will not be affected.
- Limitation of liability
- References to liability in this clause 22 include every kind of liability arising under or in connection with these terms including but not limited to liability in contract, tort (including negligence), misrepresentation, restitution or otherwise.
- Nothing in these terms is intended to limit any rights you might have under applicable local law or other statutory rights that may not be excluded nor in any way to exclude or limit our liability to you for fraud or for any death or personal injury resulting from our negligence.
- Nothing in this clause 22 shall limit your payment obligations under these terms.
- The terms and the conditions implied by sections 13 to 15 of the Sale of Goods Act 1979 (as amended) and sections 3 to 5 of the Supply of Goods and Services Act 1982 (as amended) are, to the fullest extent permitted by law, excluded from these terms
- Subject to clause 22.2, our total liability to you shall not exceed the purchase price of the vehicle in relation to which you have suffered a loss.
- Subject to clause 22.2, this clause 22.6 identifies sets out losses the types of losses which we specifically exclude in relation to you:
- Loss of profits.
- Loss of sales or business.
- Loss of agreements or contracts.
- Loss of anticipated savings.
- Loss of use or corruption of software, data or information.
- Loss of or damage to goodwill.
- Indirect or consequential loss.
- Waiver
No failure or delay by a party to exercise any right or remedy provided under these terms or by law shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.
- Third parties
These terms do not give rise to any rights under the Contracts (Rights of Third Parties) Act 1999 (as amended) to enforce any term of these terms.
- Notices
If we need to notify you of anything in accordance with these terms, we will do so by communicating with you at the email address you provide us with when you register (as updated by you from time to time), and such email shall deemed to have been received at the time of transmission.
- Interpretation
- Clause headings shall not affect the interpretation of these terms.
- References to clauses are to the clauses of these terms,
- Unless the context otherwise requires, words in the singular shall include the plural and the plural shall include the singular.
- Any obligation on a party not to do something includes an obligation not to allow that thing to be done.
- A person includes a natural person, corporate or unincorporated body (whether or not having separate legal personality).
- A reference to a company shall include any company, corporation or other body corporate, wherever and however incorporated or established.
- Any words following the terms including, include, in particular, for example or any similar expression shall be construed as illustrative and shall not limit the sense of the words, description, definition, phrase or term preceding those terms.
- Words in the singular include the plural and in the plural include the singular.
- A reference to a statute or statutory provision is a reference to it as it is in force for the time being taking account of any amendment, extension, or re-enactment and includes any subordinate legislation for the time being in force made under it.
- Assignment
You shall not assign, transfer, mortgage, charge, subcontract, delegate, declare a trust over or deal in any other manner with any of your rights and obligations under these terms.
- Entire agreement
These terms, together with any document expressly referred to within its provisions, contains the entire agreement between (i) us and you, and (ii) you and the seller, relating to the subject matter covered and extinguishes all previous agreements, promises, assurances, warranties, representations and understandings between them, whether written or oral, relating to its subject matter. Nothing in this clause shall limit or exclude any liability for fraud.
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