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As lot 1.
KERTÉSZ -- PARIS PHOTOGRAPHS
There was a Hungarian dancer. She was called Magda. This photo was taken in the studio of Etienne Beöthy, a friend of mine who was a sculptor. ...I said to her, 'Do something with "the spirit of the studio corner",' and she started to move on the sofa. She just made a movement. I took only two photographs. No need to shoot a hundred rolls like people do today. People in motion are wonderful to photograph. It means catching the right moment -- the moment when something changes into something else. It shows a kind of distortion similar to that in the photograph of the swimmer.
From Kertész on Kertész
This image is reproduced with cropping variations in the following publications: Ungar, 'Kleine Lügen, Dialog zwischen Ehelenten,' Die Dame, October 1927, p.2; Szarkowski, André Kertész, The Museum of Modern Art, New York, 1964, p.22; Fárová, André Kertész, Paragraphic, 1966, pl.28; Ducrot (ed.), André Kertész: Sixty Years of Photography, 1912-1972, Grossman, 1972, p.70 (fig.4); Corkin (ed.), André Kertész: A Lifetime of Photography, Thames & Hudson, 1982, p.243; André Kertész: The Manchester Collection, 1984, p.138, no.223 (fig.5); Phillips, Photographic Work of Kertész in France, CUNY, 1985, no.1926.16; Phillips et al., André Kertész: Of Paris and New York, Thames & Hudson, 1985, p.139, no.25; André Kertész: Photographe, Musée Jacquemart-André, Paris, 1987, p.58 (fig.6); Greenough et al., On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, National Gallery of Art, Washington, DC, 1989, p.299, no.242; Borhan (ed.) André Kertész: Ma France, La Manufacture, 1990, p.41; André Kertész, Aperture Masters of Photography, Aperture, 1993, p.75; Borhan (ed.), André Kertész: His Life and Work, Little, Brown & Co., 1994, p.145; Loengard, Celebrating the Negative, Arcade Publishing, 1994, front cover (negative); André Kertész: Photographien 1925-1936, Schirmer/Mosel, 1995, pl.31; Greenough et al., André Kertész, National Gallery of Art, Washington, DC/Princeton University Press, 2005, pl.47; Photofile: André Kertész, Thames & Hudson, 2007, pl.21.