{"product_id":"the-offering-eva-bouzard-hui-c-1998","title":"The Offering - 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\u003eThe Offering\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e turns the act of giving into something deeply personal, where generosity can carry devotion, vulnerability, and sacrifice at once. Bouzard-Hui reminds us that what we choose to offer often reveals what we value most.\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\u003eThe Offering\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\u003eThe Offering\u003c\/em\u003e\u003c\/strong\u003e through a dramatic imbalance of scale. A comparatively small human figure occupies the upper region, while an enormous bird stretches across the composition below. Their relationship is not explained through a recognizable narrative setting. Instead, gesture, scale, and placement establish a ritual encounter in which human and animal appear bound by an act of presentation or surrender.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe upper figure stands within a tall, tapering garment. Its triangular silhouette resembles a robe or ceremonial vestment. Bouzard-Hui often permits bodies and objects to merge, and here the figure’s clothing seems to provide both anatomy and setting against the minimal composition. The person does not simply stand in space; the body has become a vertical form of concentration.\u003c\/p\u003e\n\u003cp\u003eBoth arms project forward, ending in open hands. This is the composition’s clearest narrative gesture. The palms appear are raised rather than clenched, suggesting that the figure approaches without force. The pose can be interpreted as giving, blessing, pleading, receiving, or releasing. Bouzard-Hui deliberately leaves the hands empty, so the offering cannot be reduced to a particular object.\u003c\/p\u003e\n\u003cp\u003eThat absence is central to the work. A visible gift would define the exchange, but empty hands turn the gesture into an emotional condition. The figure may be offering trust, mercy, allegiance, companionship, prayer, or the relinquishment of control. It may also be asking the bird to accept a relationship rather than a possession.\u003c\/p\u003e\n\u003cp\u003eThe title does not tell us who gives or what is given. The bird could be receiving the offering, but it could also be the offering itself. Perhaps the human figure presents the bird to an unseen power, or perhaps the act consists of releasing the bird from human possession. Bouzard-Hui preserves all of these possibilities.\u003c\/p\u003e\n\u003cp\u003eThis ambiguity relates closely to her recurring treatment of birds. Throughout her catalog, birds rarely function as simple decorative emblems of freedom. Their meaning changes according to their circumstances. In \u003cem\u003eCaught\u003c\/em\u003e, a bird becomes entangled within a trap-like environment. In \u003cem\u003eDestination Pin Point\u003c\/em\u003e, birds multiply into routes and possibilities, while one is held close. In \u003cem\u003eA Doubtful Spring\u003c\/em\u003e, the bird arrives as an uncertain signal of renewal. In \u003cem\u003eFlown \u0026amp; Fought\u003c\/em\u003e, avian forms are inseparable from struggle and endurance.\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003e\u003cem\u003eThe Offering\u003c\/em\u003e\u003c\/strong\u003e, the bird enters a more devotional or ceremonial setting. It is neither visibly trapped nor actively flying. Instead, it lies or stands across the lower field with a strange combination of stillness and latent movement. Its long body carries the memory of flight even while remaining grounded.\u003c\/p\u003e\n\u003cp\u003eThe bird’s scale transforms it into something more than an animal observed from life. It becomes a presence—almost an altar, landscape, spirit, or recipient of reverence. The human figure appears to address it from above, yet the bird’s enormous body gives it greater pictorial authority. The conventional hierarchy between person and animal is reversed.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui repeatedly resists placing humanity above the creatures in her work. In \u003cem\u003eRide on Sea Turtle\u003c\/em\u003e, a hybrid figure depends upon the turtle as a living vessel. In \u003cem\u003eLet’s Be Friends\u003c\/em\u003e, the human becomes a quiet mediator between the large cat and bird. In \u003cem\u003eHorse, Kitty, and Me\u003c\/em\u003e, animals share the emotional field rather than serving as secondary attributes. \u003cstrong\u003e\u003cem\u003eThe Offering\u003c\/em\u003e\u003c\/strong\u003e continues this relational equality by making the bird worthy of a gesture normally directed toward a deity, sovereign, or sacred image.\u003c\/p\u003e\n\u003cp\u003eThe large bird is drawn with a combination of thin contour and rubbed violet-pink texture. Its head appears at the left, while the body extends diagonally toward the lower right. Bouzard-Hui suggests feathers through broken strokes and repeated impressions rather than careful naturalistic description. The creature appears partly substantial and partly dissolving.\u003c\/p\u003e\n\u003cp\u003eThis looseness gives the bird an unstable identity. It may resemble a pigeon, dove, hen, pheasant, or wholly invented species, but none of these readings fully settles it. Bouzard-Hui is less concerned with ornithological accuracy than with the emotional function of the creature.\u003c\/p\u003e\n\u003cp\u003eA dove-like reading would strengthen associations with peace, spiritual communication, and sacrifice. A domestic bird might instead introduce ideas of dependence, care, nourishment, or vulnerability. The refusal to name the species allows the bird to carry several traditions at once.\u003c\/p\u003e\n\u003cp\u003eThe diagonal line extending between the upper figure and the bird is equally ambiguous. It may represent a cord, path, branch, structural edge, or simply a compositional device. Visually, however, it joins their spaces. The figure’s gesture and the bird’s body are not isolated incidents; they belong to one exchange.\u003c\/p\u003e\n\u003cp\u003eThis connecting line also introduces tension. If it is understood as a tether, the bird’s freedom may be compromised. The offering could then involve release from attachment. If it is read as a path or beam, it becomes the route through which human intention travels toward the animal. Bouzard-Hui repeatedly uses lines in this dual way—as both connection and possible restraint.\u003c\/p\u003e\n\u003cp\u003eThe open space surrounding the two principal forms intensifies the ritual atmosphere. There is no audience, landscape, or domestic interior to explain the event. The figures appear suspended within a private symbolic arena. This lack of setting gives the composition the character of a vision, memory, emblem, or devotional fragment.\u003c\/p\u003e\n\u003cp\u003eThe upper figure’s tall garment contributes to this effect. It resembles the simplified bodies found in religious icons, illuminated manuscripts, or ceremonial diagrams, where hierarchy is conveyed through scale and gesture rather than naturalism. Yet Bouzard-Hui avoids fixed religious symbolism. The work feels spiritual without belonging to one specific doctrine.\u003c\/p\u003e\n\u003cp\u003eThis places \u003cem\u003eThe Offering\u003c\/em\u003e in dialogue with works such as \u003cem\u003eFlower Sacrifice\u003c\/em\u003e and the \u003cem\u003eElijah\u003c\/em\u003e sequence. In \u003cem\u003eFlower Sacrifice\u003c\/em\u003e, giving becomes inseparable from bodily surrender and floral abundance. In \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e, raised arms visualize prayer directed toward a power that has not yet responded. \u003cem\u003eThe Offering\u003c\/em\u003e is quieter than either work, but it shares their interest in the vulnerable interval between gesture and answer.\u003c\/p\u003e\n\u003cp\u003eThe human figure has extended its hands, but the bird gives no clear response. That suspended moment is emotionally important. An offering is never fully controlled by the giver; once presented, it may be accepted, refused, misunderstood, or transformed. Bouzard-Hui leaves the outcome open.\u003c\/p\u003e\n\u003cp\u003eThe physical support deepens this sense of intimacy. A smoother rectangular drawing field appears layered over or embedded within a larger sheet of rough handmade paper. The outer support has irregular edges, visible fibers, and traces of blue-green pigment. It resembles a fragile fragment preserved within a larger material environment.\u003c\/p\u003e\n\u003cp\u003eThis layering can be read almost like a relic or document: an image carried, mounted, repaired, or given a protective border. The support itself therefore echoes the work’s theme. One material holds and presents another, just as the figure appears to present something to the bird.\u003c\/p\u003e\n\u003cp\u003eHandmade paper is especially suited to Bouzard-Hui’s recurring interest in offering. It carries evidence of touch, labor, pulp, pressure, and reconstitution. Unlike an anonymous manufactured sheet, it announces itself as something made. The artwork’s objecthood becomes another gift of labor.\u003c\/p\u003e\n\u003cp\u003eThe contrast between the rough outer sheet and the lighter central field also creates a threshold between ordinary matter and symbolic space. The ritual unfolds within the inset rectangle, while the handmade border surrounds it like atmosphere, memory, or protective wrapping.\u003c\/p\u003e\n\u003cp\u003eColor is used sparingly. Muted violet and pink animate the bird and upper garment, while isolated vertical strokes of green and red appear near the left side. These accents prevent the composition from becoming entirely monochrome but do not assign a fixed emotional code. The restrained palette keeps attention on gesture and structure.\u003c\/p\u003e\n\u003cp\u003eThe red-purple passages can suggest flesh, bruising, fabric, feathers, or sacrificial color. Green introduces the possibility of life and renewal but remains too limited to transform the scene into a pastoral image. Bouzard-Hui holds the work between vitality and austerity.\u003c\/p\u003e\n\u003cp\u003eWithin her larger practice, \u003cem\u003eThe Offering\u003c\/em\u003e also demonstrates how she converts relationships into physical arrangements. Love may become an embrace, doubt a divided face, fullness an overflowing vessel, or protection an enclosing shield. Here, giving becomes distance bridged by open hands.\u003c\/p\u003e\n\u003cp\u003eThe large bird’s placement below the figure may initially suggest subordination, yet its scale overturns that hierarchy. The human appears almost miniature beside it. The offering may therefore be an acknowledgment that the bird possesses a form of knowledge, freedom, or spiritual authority unavailable to the person.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui’s bird motifs often occupy precisely this position between vulnerability and transcendence. Birds can be trapped because they are fragile, but they can also travel where human bodies cannot. Offering something to the bird may mean addressing the possibility of movement itself.\u003c\/p\u003e\n\u003cp\u003eThe work can consequently be read as an act of release. The figure’s open hands do not seize the bird; they relinquish. If the bird is the offering, its freedom may be the gift. If the bird receives the offering, the gesture may express a willingness to trust what cannot be controlled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe Offering\u003c\/em\u003e\u003c\/strong\u003e is less concerned with a completed exchange than with the vulnerability of extending oneself. The figure presents empty hands. The bird remains still. A line connects them, but no narrative resolution follows.\u003c\/p\u003e\n\u003cp\u003eBouzard-Hui makes that uncertainty the substance of the work. To offer is to move something beyond the boundaries of the self without knowing what will happen next. In this sparse encounter between human and bird, giving becomes an act of faith: a gesture released into the open space between one living presence and another.\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: Figure \/ Animals\u003c\/li\u003e\n\u003cli\u003eSize: 10.5 x 12.25 in (26.67 x 31.11 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Mixed media\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":46867911442593,"sku":"ART278","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/the-offering-eva-bouzard-hui-c-1998","provider":"Visard Gallery","version":"1.0","type":"link"}