{"product_id":"tea-pot-smiling-eva-bouzard-hui-c-1998","title":"Tea Pot (Smiling) - Eva Bouzard-Hui, c. 1998","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\u003eTea Pot (Smiling)\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e turns an ordinary domestic object into a character, giving everyday ritual a sense of humor and personality. Bouzard-Hui’s playful anthropomorphism makes the familiar feel newly alive—a reminder that delight can hide in the most commonplace things.\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\u003eTea Pot (Smiling)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eEva Bouzard-Hui, c. 1998\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 constructs \u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e\u003c\/strong\u003e around the near-total fusion of portrait and vessel. The teapot is immediately legible through its broad central body, triangular spout at left, curved handle at right, and gently arcing upper rim. Yet its interior is occupied by a large face whose features extend across the ceramic form as though the pot itself possessed consciousness.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is not simply a face painted decoratively onto dishware. Bouzard-Hui makes the vessel’s architecture perform as anatomy. The handle curls outward like an enlarged ear. The rim becomes a forehead or crown, while the lower curve of the pot establishes the jawline. Object and person cannot be visually separated without dismantling the entire composition.\u003c\/p\u003e\n\u003cp\u003eThis bodily transformation places \u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e\u003c\/strong\u003e within a substantial group of Bouzard-Hui works devoted to vessels. Cups, bowls, pitchers, vases, teapots, and bouquet-like containers recur across her catalog because they carry both domestic and psychological associations. They are functional objects designed to contain and distribute, but they also offer ready metaphors for the human body and emotional life. They represent the accumulation of the artistic mediums she moved back and forth between.\u003c\/p\u003e\n\u003cp\u003e Vessels in her work can be full or empty, intact or broken, sealed or open. It can receive nourishment, preserve something fragile, or pour its contents toward another person. Bouzard-Hui repeatedly activates these possibilities. In \u003cem\u003eTwo for Tea\u003c\/em\u003e, two human faces are absorbed into stacked cup forms, turning companionship into a precarious arrangement of vessels. In \u003cem\u003eFullness Complaints\u003c\/em\u003e, a pitcher gives rise to a compressed figure, fish, flowers, and a bird, presenting abundance as both generative and burdensome. In \u003cem\u003eRelaxing\u003c\/em\u003e, a vase is stacked above a human face, suggesting a visual equivalence between object and consciousness. \u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e\u003c\/strong\u003e distills this recurring idea into a single hybrid form. The object does not merely contain a personality; it has become one.\u003c\/p\u003e\n\u003cp\u003eThe face is broad and frontal, but Bouzard-Hui complicates its apparent unity through superimposition. Small fish, eyes, floral shapes, and fragments of line appear layered across the larger countenance. The left eye is simplified into the almond-like form for a fish, while the right eye is more elaborately constructed and contains a small floral presence. Around the nose and cheeks, clusters of curling lines resemble triangular decorative motifs.\u003c\/p\u003e\n\u003cp\u003eThis multiplication recalls Bouzard-Hui’s broader interest in identities that contain other identities. In \u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e, a secondary pink face overlaps the primary sitter, turning interior thought into another visible personality. In \u003cem\u003eQuestioned Love\u003c\/em\u003e, two figures merge so completely that emotional attachment becomes anatomical overlap. In \u003cem\u003eOh Yes—I See, I See\u003c\/em\u003e, different figures embody separate stages or modes of perception. Here, superimposed facial elements make the teapot appear populated from within.\u003c\/p\u003e\n\u003cp\u003eThe vessel can therefore be understood as a container not only of tea, but of multiple expressions, memories, and selves. The large smile offers the most immediate emotional signal and title’s parenthetical qualifier. It sounds almost like a notation distinguishing this teapot from another version or emotional state. Perhaps there is a tea pot frowning that we have not seen yet. Bouzard-Hui frequently uses titles to direct the viewer toward a feeling while allowing the image to resist full confirmation. \u003cem\u003eSmirk\u003c\/em\u003e identifies a facial gesture whose meaning remains ambiguous; \u003cem\u003eSolemn Questions?\u003c\/em\u003e questions the seriousness it names. Likewise, the smile here is recognizable but not uncomplicated.\u003c\/p\u003e\n\u003cp\u003eThe mouth curves upward and displays a row of small teeth, but the surrounding face remains uneven and layered. One eye appears more alert than the other, while the floral and directional marks produce visual distraction across the cheeks. The expression may be hospitable, amused, mischievous, or faintly strained.\u003c\/p\u003e\n\u003cp\u003eThis ambiguity suits the social associations of the teapot. Tea is connected to welcome, conversation, ritual, domestic labor, and the regulated performance of sociability. A smiling teapot appears ready to receive a guest, but it may also represent the expectation that the host remain pleasant and available. Bouzard-Hui’s cheerful vessel can therefore be read as both sincere companion and social mask.\u003c\/p\u003e\n\u003cp\u003eThe spout is unusually geometric. Its triangular form is filled with closely spaced curving lines, giving it visual interest. Rather than curving naturally from the body, it projects sharply outward like the triangular motifs that litter the face of the tea pot. This introduces a note of tension into the otherwise rounded vessel.\u003c\/p\u003e\n\u003cp\u003eA teapot’s spout is the point through which its concealed contents become available. In Bouzard-Hui’s symbolic vocabulary, it can therefore suggest speech, emotional release, artistic expression, or hospitality. The striped construction makes that act of pouring appear structured and deliberate. What lies inside the vessel does not simply spill; it is directed outward through a narrow passage.\u003c\/p\u003e\n\u003cp\u003eThe handle on the opposite side offers another form of relational access. Handles allow vessels to be grasped, carried, and shared. By making it resemble an ear, Bouzard-Hui connects holding with listening. The teapot becomes something that can both offer and receive: it pours through one side and hears through the other. In one ear out another spout.\u003c\/p\u003e\n\u003cp\u003eThe repetition of the triangular markings evoke patterning on hand-painted ceramics. Bouzard-Hui’s engagement with ceramic forms makes the motif especially resonant. Even when working on paper, she often seems to think through the logic of three-dimensional vessels: curved surfaces, rims, handles, interiors, and decorative bands. The image can be viewed almost as a ceramic design unfolded into drawing.\u003c\/p\u003e\n\u003cp\u003eThe floral forms further connect the work to decorative pottery traditions, but Bouzard-Hui gives them psychological importance. A small flower occupies the bridge of the nose, while flower-like clusters appear near the eyes. Rather than sitting around the face as external ornament, they enter the organs of perception and breath.\u003c\/p\u003e\n\u003cp\u003eFlowers throughout Bouzard-Hui’s catalog can signify affection, seasonal renewal, memory, sacrifice, or fading vitality. Their placement here suggests that the smiling vessel sees and breathes through botanical life. Hospitality, beauty, and emotional openness become part of the face’s sensory structure.\u003c\/p\u003e\n\u003cp\u003eThe large eye at right is especially significant. Its interior is situated on the handmade paper's blue-green pigment and a floral or circular form, producing the impression of another image nested within the gaze. Bouzard-Hui often treats eyes as sites where separate identities or worlds become visible. The teapot does not simply look outward; it appears to carry something within what it sees.\u003c\/p\u003e\n\u003cp\u003eThe work’s handmade paper contributes substantially to its objecthood. The irregular perimeter, fibrous texture, embedded blue and pink flecks, and areas of uneven density make the pulpy support feel like an archaeological fragment. The teapot seems to have been discovered within the material rather than placed cleanly upon it.\u003c\/p\u003e\n\u003cp\u003eThis rough surface contrasts with the cultural refinement traditionally associated with tea service. Fine porcelain implies smoothness, regularity, and controlled presentation. Bouzard-Hui instead gives us a teapot drawn upon visibly handmade, imperfect matter. The domestic object becomes intimate, vulnerable, and personal.\u003c\/p\u003e\n\u003cp\u003eThe gold-brown ink also contributes to this effect. Against the pale mottled paper, it resembles tarnished metallic decoration, fired glaze, or the faded linework of an old ceramic fragment. The limited palette allows the drawing to feel simultaneously modest and precious.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui’s treatment of dishware belongs to her larger collapse of boundaries between person and object. In her world, a body may become a shield, bouquet, pitcher, paper doll, or landscape. These transformations are not arbitrary Surrealist surprises. They permit psychological conditions to acquire physical form.\u003c\/p\u003e\n\u003cp\u003eThe teapot is particularly effective because it is associated with controlled warmth. Heat is contained inside it, protected until it can be shared. This makes it an apt metaphor for affection, creativity, and personality. A person may carry warmth inwardly and release it through ritual interaction.\u003c\/p\u003e\n\u003cp\u003eYet containment also introduces pressure. A sealed heated vessel can become dangerous; an overfilled pot spills. Bouzard-Hui explores these risks elsewhere, particularly in \u003cem\u003eFullness Complaints\u003c\/em\u003e. The relatively composed smile in \u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e\u003c\/strong\u003e suggests that this vessel is still managing its contents, but the layered faces and scattered arrows indicate that the interior may be more active than the pleasant exterior admits.\u003c\/p\u003e\n\u003cp\u003eThe work’s humor is therefore central. A smiling teapot is inherently playful, recalling animated household objects, illustrated stories, or handmade ceramics given eccentric faces. Bouzard-Hui embraces that whimsy without allowing it to become merely cute.\u003c\/p\u003e\n\u003cp\u003eThe smile draws the viewer in, but the asymmetry, superimposed features, and rough support sustain interpretive complexity. Humor becomes a form of access—a welcoming spout through which the work’s more complicated ideas can be offered.\u003c\/p\u003e\n\u003cp\u003eWithin Bouzard-Hui’s body of work, \u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e \u003c\/strong\u003ealso expands her recurring exploration of companionship. Tea is rarely prepared for purely abstract reasons; it implies a drinker, host, guest, or shared pause. Even when depicted alone, the teapot anticipates relationship. Bouzard-Hui makes that accumulated social life visible as layered physiognomy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTea Pot (smiling)\u003c\/em\u003e \u003c\/strong\u003eturns a familiar household object into a portrait of relational capacity. The vessel can be held, can listen, can pour, and can smile. It carries complexities within its being, just as domestic rituals carry weight of memory and domestic duty of the people who perform them.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui’s teapot is therefore neither still-life object nor straightforward character. It is a body shaped by use, hospitality, art, and emotional accumulation. Its smile welcomes the viewer, but the layered marks beneath that smile remind us that even the most familiar forms of warmth contain many lives, expressions, and histories within them.\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: Object\u003c\/li\u003e\n\u003cli\u003eSize: 9.0 x 5.5 in (22.86 x 13.97 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Ink\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\u003e1998 - 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":46867817300129,"sku":"ART277","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/tea-pot-smiling-eva-bouzard-hui-c-1998","provider":"Visard Gallery","version":"1.0","type":"link"}