{"product_id":"help-lord-no-1-eva-bouzard-hui-c-1990s","title":"Help Lord No. 1 - Eva Bouzard-Hui, c. 1990s","description":"\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable height=\"1543\" style=\"width: 98.087%;\" width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eWhy This Work Matters\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHelp Lord No. 1\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e gives visual form to the moment when fear or exhaustion becomes a direct plea for intervention. Bouzard-Hui presents prayer not as certainty, but as an intensely human act of reaching beyond oneself when personal strength no longer feels sufficient.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003cbr\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHelp Lord No. 1\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eEva Bouzard-Hui, c. 1990s\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eEva Bouzard-Hui organizes \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e around an upward movement from human supplication toward an unsettled sky. Several blue and turquoise figures rise from the lower edge, their bodies elongated into vertical forms and their arms lifted overhead. The gestures are immediately recognizable as prayer, appeal, or surrender, yet their repetition also gives them the visual rhythm of a chorus. They do not plead as isolated individuals; they form a communal body.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThat choral quality is especially meaningful given the inscription’s connection to Mendelssohn’s \u003cem\u003eElijah\u003c\/em\u003e. The oratorio combines biblical narrative from 1 and 2 Kings with psalms and poetic expansions, moving among choruses, recitatives, arias, and duets. Bouzard-Hui appears to translate that mixture of collective and individual voices into visual form. The grouped figures below operate like a chorus, while the more isolated figure at left may represent a solo voice, prophet, witness, or personification of the suffering earth.\u003c\/p\u003e\n\u003cp\u003eThe figures’ raised arms are not anatomically detailed. Bouzard-Hui reduces them to broad, looping gestures that seem to absorb the entire body into the act of reaching. This is consistent with her larger practice, in which emotion reorganizes anatomy. In \u003cem\u003ePain\u003c\/em\u003e, suffering compresses and crosses the body; in \u003cem\u003eCaught\u003c\/em\u003e, restraint becomes inseparable from a bird’s feathers; here, prayer lengthens the figures until they become almost entirely upward-directed.\u003c\/p\u003e\n\u003cp\u003eTheir gestures can also be read musically. The curved arms resemble conductors’ movements, notes rising through space, or bodies physically shaped by sound. Bouzard-Hui does not illustrate an orchestra, but the composition feels performed. The figures’ postures suggest the bodily intensity of voices projected toward an absent or silent power.\u003c\/p\u003e\n\u003cp\u003eThe orange band extending across the top establishes a forceful atmospheric ceiling. It may suggest heat, a burning sky, late sunlight, or the oppressive duration of drought. Unlike a softly painted horizon, it is broad, flat, and visually insistent. It closes the composition from above, making the figures’ appeals appear to strike against an unyielding boundary.\u003c\/p\u003e\n\u003cp\u003eBeneath it, yellow descends irregularly toward the center. This passage can be interpreted in several ways: harsh sunlight, lightning, divine illumination, or the first suggestion of a changing atmosphere. Bouzard-Hui keeps the form unresolved, allowing it to occupy the space between danger and deliverance. The same yellow that scorches can also illuminate.\u003c\/p\u003e\n\u003cp\u003eSweeping blue areas move across the left and upper center. Their color invites associations with water, sky, cloud, and rain—the very forms of relief desired within the Elijah narrative. Yet these blues do not settle into a clearly depicted storm. They remain atmospheric and uncertain. Relief appears imaginable, but not yet secured.\u003c\/p\u003e\n\u003cp\u003eThis uncertainty reflects the wording of the inscription:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e“The summer days are gone yet no power cometh to help us!”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe phrase locates the speaker after prolonged waiting. Time has passed, the expected season has ended, and still no intervention has arrived. Bouzard-Hui’s sky similarly seems to contain several possible outcomes without confirming one. Heat, cloud, rain, and light occupy the same field.\u003c\/p\u003e\n\u003cp\u003eThe yellow bouquet-like cluster at left center becomes especially poignant against this atmospheric instability. Its circular blossoms are gathered close to the head of the pale figure beneath them, making the flowers resemble both a carried bouquet and a floral crown. They may signify remaining life, an offering, a prayer embodied in nature, or the memory of growth during a period of barrenness.\u003c\/p\u003e\n\u003cp\u003eFlowers recur throughout Bouzard-Hui’s body of work as emotionally unstable symbols. In \u003cem\u003eLifeless Love\u003c\/em\u003e, blossoms continue beside a relationship emptied of vitality. In \u003cem\u003eFlower Sacrifice\u003c\/em\u003e, floral abundance becomes inseparable from surrender. In \u003cem\u003eFlower Beyond Your Grasp\u003c\/em\u003e, the flower is divided between aspiration and decay. In \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e, the bouquet appears to represent nature’s precarious survival while relief is still withheld.\u003c\/p\u003e\n\u003cp\u003eIts yellow-green coloring also distinguishes it from the blue figures below. The bouquet belongs to the living earth, while the figures have become almost spectral through their cooler hues. This difference suggests that they may be praying not only for themselves but for the landscape and its ability to continue producing life.\u003c\/p\u003e\n\u003cp\u003eThe pale figure associated with the bouquet stretches diagonally into the composition. One arm reaches downward while the body appears to lean or move beneath the flowers. This figure may be Elijah, a supplicant, a bearer of the offering, or a personification of nature itself. Bouzard-Hui avoids fixed iconography, allowing several identities to coexist.\u003c\/p\u003e\n\u003cp\u003eAbove and around the figures, small blue birds cross the central sky. Birds are among Bouzard-Hui’s most persistent motifs, but their meanings change according to their circumstances. In \u003cem\u003eA Doubtful Spring\u003c\/em\u003e, a bird becomes an uncertain messenger of renewal. In \u003cem\u003eCaught\u003c\/em\u003e, flight is obstructed. In \u003cem\u003eDestination Pin Point\u003c\/em\u003e, birds represent competing routes and states of possession. In \u003cem\u003eWorld Trade Feelings\u003c\/em\u003e, the bird inhabits an elevated realm beyond ordinary human access.\u003c\/p\u003e\n\u003cp\u003eHere, the birds occupy precisely the space toward which the figures reach. They move freely through the atmosphere while the human bodies remain earthbound. This makes them natural intermediaries between the people below and the unseen power above. They may carry prayer, announce changing weather, or simply embody the freedom from physical limitation that the supplicants desire.\u003c\/p\u003e\n\u003cp\u003eTheir movement also introduces hope. Unlike the largely static figures, the birds have direction. They traverse the composition rather than waiting beneath the orange sky. Yet Bouzard-Hui does not make them obvious heralds of answered prayer. They are small and easily overwhelmed by the larger atmospheric passages. Hope remains present but fragile.\u003c\/p\u003e\n\u003cp\u003eThe contrast between the birds’ dark blue silhouettes and the pale washes surrounding them gives them a notational quality, almost like musical marks placed across a score. Their spacing could be read as a brief melodic phrase traveling above the choral group. This subtle resemblance strengthens the relationship between Bouzard-Hui’s image and Mendelssohn’s musical structure.\u003c\/p\u003e\n\u003cp\u003eThe inscription does more than provide a literary source; it changes the emotional scale of the work. Without it, the raised arms might indicate celebration, dancing, or greeting. With the text, those same gestures become urgent appeals. Bouzard-Hui frequently uses titles and handwritten phrases to direct emotional interpretation without closing down visual ambiguity. The words establish the crisis, while the image preserves multiple possible responses.\u003c\/p\u003e\n\u003cp\u003eThe notation “pp. 14” is particularly intriguing. It could refer to page 14 of a score, text, notebook, or visual sequence. It may also represent Bouzard-Hui’s internal organization of a larger project. The title \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e makes the possibility of a series especially plausible, although the surviving notation alone does not establish its exact structure.\u003c\/p\u003e\n\u003cp\u003eIf the work belonged to an unrealized or dispersed sequence, it would fit Bouzard-Hui’s tendency to develop motifs across related sheets rather than contain an entire idea within one image. Birds, flowers, vessels, paired figures, paper-doll forms, luck, doubt, and spiritual appeal recur and change meaning across her practice. A series responding to \u003cem\u003eElijah\u003c\/em\u003e would allow biblical narrative, musical structure, and her private symbolic vocabulary to interact over multiple works.\u003c\/p\u003e\n\u003cp\u003eThe possibility of a series also changes how the composition’s unresolved atmosphere is understood. \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e may represent an opening condition rather than a complete narrative: drought, waiting, and appeal before any answer arrives. The lack of resolution would then be structurally appropriate. This is the first cry, not the conclusion.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui’s use of open paper reinforces the sense of waiting. Despite the strong orange border and blue washes, large portions remain unpainted. These open areas can read as light, emptiness, silence, or the spiritual distance across which the figures direct their pleas. The blankness is not peaceful; it is the space in which no answer has yet appeared.\u003c\/p\u003e\n\u003cp\u003eAt the same time, the composition is not entirely despairing. Birds remain airborne, the bouquet persists, and yellow enters the blue atmosphere. Bouzard-Hui holds the image at the threshold between abandonment and intervention. That threshold is central to the emotional force of both the Elijah narrative and the work itself.\u003c\/p\u003e\n\u003cp\u003eWithin Bouzard-Hui’s broader practice, \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e expands her recurring concern with forces beyond individual control. Luck, weather, love, mortality, artistic inspiration, and divine assistance all occupy uncertain territory in her imagery. Her figures often wait, reach, hold, question, or endure rather than command outcomes.\u003c\/p\u003e\n\u003cp\u003eThe work therefore functions as more than an illustration of Mendelssohn’s libretto. Bouzard-Hui absorbs the text into her own symbolic language. The chorus becomes a group of elongated figures; the drought becomes an orange and blue atmospheric struggle; the threatened natural world becomes a yellow bouquet; and spiritual longing takes flight through birds.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHelp Lord No. 1\u003c\/em\u003e ultimately visualizes the bodily condition of unanswered prayer. The figures stretch toward the heavens, but nothing clearly descends to meet them. Nature still blooms in one concentrated cluster, birds continue to cross the sky, and changing color suggests that transformation remains possible. Bouzard-Hui leaves the scene within that painful interval—after the plea has been voiced, but before anyone can know whether help will come.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eEva Bouzard-Hui \u003c\/strong\u003e\u003c\/span\u003e(1936–2023) was an American artist, ceramicist, poet, educator, and community advocate whose career spanned more than six decades. Working across painting, drawing, ceramics, collage, photography, handmade paper, book arts, and poetry, she developed an intimate visual language centered on relationships, memory, vulnerability, spirituality, and emotional transformation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBorn in Columbia, South Carolina, and raised in the small town of North, Bouzard-Hui earned a B.A. in Art Education from the University of South Carolina in 1957. She later moved to New York, receiving an M.A. in Art Education from Teachers College, Columbia University, in 1961 and an Ed.D. in College Teaching from its Arts and Art Education Department in 1993. Her continuing studies included ceramics at Greenwich House Pottery, book arts in New York, Chinese brush painting, and traditional Chinese mounting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIn 1961, Bouzard-Hui began a more than thirty-year career in the Caldwell–West Caldwell public schools of New Jersey. She taught at the middle- and high-school levels and eventually chaired the Art Department and ceramics program at James Caldwell High School. She also held teaching appointments at Middlesex County College, Essex County College, Teachers College, and Georgian Court College. For Bouzard-Hui, education was not separate from studio practice; teaching, experimentation, and encouraging others to discover their own creative language remained central to her life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui met and later married the Chinese-born American ceramicist Ka Kwong Hui, whose work and knowledge of Chinese ceramic traditions contributed to their shared artistic environment. Her own engagement with China expanded through a Geraldine R. Dodge Foundation grant to study at the ceramic factories of Jingdezhen. She later lectured and demonstrated at schools and ceramic institutions in China and Hong Kong while also exhibiting as a visiting artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHer exhibition career began with a solo presentation at Columbia University in 1961 and continued into the 2010s. Her work was shown at the New Jersey State Museum, Teachers College, the Paterson Museum, Georgian Court College, Phoenix Gallery and the Interchurch Center in New York, Agora Gallery, Studio Montclair, and numerous regional galleries and cultural institutions. Works by Bouzard-Hui are documented in institutional, educational, presidential, and private collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough ceramics remained foundational to her practice, Bouzard-Hui resisted identification with a single medium. Her works on paper combine ink, watercolor, graphite, colored pencil, collage, handmade paper, and handwritten language. Figures, hearts, animals, flowers, vessels, chairs, and domestic objects frequently become carriers of emotion. Titles and inscriptions function as extensions of the imagery, transforming individual works into visual poems, questions, private jokes, prayers, or fragments of correspondence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis relationship between art and communication is especially evident in her artist-designated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Sealed Art”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e series. These works were enclosed, folded, wrapped, or sealed so that opening them became part of the artistic experience. The revealed image and handwritten message often resemble a personal greeting card, turning the artwork into an exchange between artist and recipient.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui also used art as a form of service. She taught through CARE in Biafra, facilitated race-relations programs, worked with shelter residents, led poetry groups at the Essex County Jail Annex, and provided art instruction to incarcerated individuals at East Jersey State Prison. Her career reflects a sustained belief that creative work could provide dignity, connection, humor, and emotional freedom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross her many media, Bouzard-Hui treated the handmade object as a vessel for human experience. Her work asks how tenderness and imagination might endure pain, separation, and uncertainty—and how an artwork might carry those feelings from one person to another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eDespite a career spanning more than six decades, \u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eEva Bouzard-Hui\u003c\/strong\u003e\u003c\/span\u003e remains largely absent from broader accounts of postwar American art. Her relative obscurity does not reflect a lack of training, exhibition history, or sustained artistic production. Rather, it illustrates how artists working outside dominant commercial centers—and especially women whose careers combined studio practice, teaching, craft, and community service—have often been overlooked by the market and art-historical record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui worked across ceramics, painting, drawing, collage, photography, poetry, handmade paper, and book arts. This movement between media enriched her practice but also placed her outside the easily defined categories through which artists are frequently promoted and collected. Ceramics and art education, both central to her career, have historically received less institutional attention than painting and sculpture produced for the commercial gallery system. Her extensive work in schools, shelters, prisons, and community programs further positioned art as a social and educational practice rather than solely as a market commodity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough Bouzard-Hui exhibited regularly in New York, New Jersey, and institutional settings, much of her career developed through cooperative galleries, colleges, libraries, community organizations, and regional cultural networks. These venues allowed her to maintain an independent and experimental practice, but they rarely produced the sustained critical documentation or secondary-market visibility that establishes long-term recognition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHer surviving work reveals an artist of remarkable emotional and material range. Bouzard-Hui addressed love, grief, faith, confinement, humor, memory, and human connection through imagery that could be whimsical, unsettling, tender, or deeply introspective. Her intimate works on paper and artist-designated “Sealed Art” also challenge conventional assumptions about artistic importance by locating meaning in small scale, handwritten language, private exchange, and personal discovery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecovering Bouzard-Hui’s work contributes to a broader reassessment of women artists, artist-educators, ceramicists, and regionally active creators whose achievements have remained fragmented across archives, private collections, and personal histories. Her practice demonstrates that significance is not determined solely by market recognition, but by the originality, persistence, and humanity of the work itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Cityscape \/ Animal\u003c\/li\u003e\n\u003cli\u003eSize: 7 x 5.5 in (17.78 x 13.97 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1990 - 2023\u003c\/strong\u003e: Eva Bouzard-Hui\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2023 - 2026\u003c\/strong\u003e: Auctions at Showplace\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery \u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/jgnv7n5545dbl2tr51opt\/AO3JOcF-ZrgEHHcgzKXRSmU?rlkey=b6di40rzbcg13glc5dztwg00f\u0026amp;st=ti5mvuli\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\" style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artsy.net\/artist\/eva-bouzard-hui\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_Artsy\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003ca href=\"https:\/\/maplewood.worldwebs.com\/calendar\/detail\/eva-bouzard-hui-presents-prints-from-prison-art-73\" style=\"color: rgb(81, 185, 217);\" rel=\"noopener\" target=\"_blank\"\u003eEva Bouzard-Hui_Maplewood Online\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/patch.com\/new-jersey\/caldwells\/bouzard-hui-honored-as-older-americans-heritage-month-winner\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_Older Americans Heritage Month Winner\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.themarksproject.org\/marks\/bouzard-hui\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_The Marks Project\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46822632915105,"sku":"ART269","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/help-lord-no-1-eva-bouzard-hui-c-1990s","provider":"Visard Gallery","version":"1.0","type":"link"}