{"product_id":"will-hold-on-to-tenderness-eva-bouzard-hui-c-1998","title":"Will Hold on to Tenderness - 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)))]\" tabindex=\"-1\"\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\" tabindex=\"-1\"\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\u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e presents affection as something deliberately protected when the world feels uncertain. The embracing figures create a refuge within one another, while the two watchful faces above suggest the memories, pressures, or witnesses that make their tenderness feel both vulnerable and necessary.\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\u003eWill Hold on to Tenderness\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)))]\" tabindex=\"-1\"\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\" tabindex=\"-1\"\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 \u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e\u003c\/strong\u003e around a compact central embrace. The two principal figures occupy most of the lower and middle portions of the drawn rectangle, while the upper right contains two disembodied faces arranged in a separate, partitioned field. This division creates a conversation between physical closeness and psychological distance: the central bodies touch, while the faces above remain isolated within their own compartments.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe figure at left is broader and slightly taller. Its shoulders form a supportive structure around the smaller figure, whose head tilts inward and rests against the other’s upper body. Bouzard-Hui does not describe the embrace through anatomically complete limbs. Instead, she allows several forms to overlap at the center: hands, sleeves, a dark oval passage, and the heart-shaped collar surrounding the smaller figure. The exact mechanics of the gesture remain ambiguous, but its emotional meaning is clear. One body is holding another.\u003c\/p\u003e\n\u003cp\u003eThat ambiguity is characteristic of Bouzard-Hui’s figurative language. Her bodies frequently merge with clothing, flowers, animals, objects, and surrounding structures. She is less interested in clarifying every limb than in showing how an emotional state alters the body’s organization. Here, tenderness pulls the two figures together until their separate outlines become secondary to the shared shape of the embrace.\u003c\/p\u003e\n\u003cp\u003eThe smaller figure is framed by a heart-like form around the neck and chest. Its pointed lower edge and rounded upper lobes make it resemble both a collar and an anatomical heart opened around the body. Inside it, a dark striped form descends vertically. This heart-shaped enclosure gives tenderness a visible structure. The smaller figure does not merely receive affection; it appears physically housed within it.\u003c\/p\u003e\n\u003cp\u003eThe dark oval crossing the center is equally important. It may be a sleeve, folded arm, protective covering, or shared object held between the figures. Its dense black hatching contrasts with the otherwise delicate linework, creating a concentrated zone of weight. Bouzard-Hui places this darkness precisely where the bodies meet, suggesting that tenderness does not eliminate difficulty. The embrace forms around and across a heavier emotional presence.\u003c\/p\u003e\n\u003cp\u003eThe figures’ faces resist sentimental idealization. The larger figure looks outward with heavy eyelids, a small downturned mouth, and circular marks on the cheeks. The smaller figure appears even more inward, its eyes lowered and head supported by the other’s shoulder. Neither smiles. Bouzard-Hui therefore separates tenderness from cheerfulness. The work proposes that gentleness may be most necessary when happiness is unavailable.\u003c\/p\u003e\n\u003cp\u003eThe title intensifies this reading. \u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e\u003c\/strong\u003e is phrased as a declaration of future action. The subject is not explicitly named, which allows the phrase to operate as a collective promise: “we” will hold on, “I” will hold on, or perhaps tenderness itself will be held by the figures. The wording acknowledges that tenderness can be lost. It must be deliberately retained, protected, and renewed.\u003c\/p\u003e\n\u003cp\u003eThis distinguishes the work from conventional images of romantic affection. Bouzard-Hui does not simply show two people already secure in love. She depicts an attachment that requires intention. “Holding on” implies pressure from time, grief, conflict, or emotional hardening. Tenderness becomes something vulnerable enough to slip away.\u003c\/p\u003e\n\u003cp\u003eThe two faces in the upper right deepen this sense of psychological instability. They appear behind or within a rectangular structure divided into separate sections. Both have pink cheeks and slightly distressed expressions, but neither is attached to a visible body. They resemble portraits, memories, masks, reflections, or images framed within a window.\u003c\/p\u003e\n\u003cp\u003eTheir disembodiment places them in contrast with the central pair. Below, emotion is enacted through touch; above, emotion is reduced to isolated expressions. The divided rectangle may function like a mental screen upon which alternate selves or remembered moments appear. One face may belong to each central figure, revealing private emotional states that remain separate even while the bodies embrace.\u003c\/p\u003e\n\u003cp\u003eThe faces could also represent the couple before or after the central moment. Bouzard-Hui often resists a single chronological reading, allowing several emotional conditions to coexist within one composition. The upper faces may be witnesses to the embrace, memories being carried by the figures, or parallel versions of the same relationship in which closeness has been replaced by separation.\u003c\/p\u003e\n\u003cp\u003eTheir red cheeks create a visual rhyme with the circular marks on the central figures. Bouzard-Hui frequently uses small concentrated areas of color as emotional punctuation. Here, the pink-red marks draw attention to the face as the site where inward states surface involuntarily.\u003c\/p\u003e\n\u003cp\u003eThe thin vine rising along the left side introduces one of Bouzard-Hui’s recurring botanical motifs. Its segmented stem curves upward and terminates in a small leaflike form, while another small flower or bud appears lower down. Compared with the heavier figures, the vine is delicate and almost ornamental. Yet it persists through the composition, offering a quiet metaphor for growth.\u003c\/p\u003e\n\u003cp\u003eFlowers and plants throughout Bouzard-Hui’s practice rarely function as uncomplicated decoration. In \u003cem\u003eLifeless Love\u003c\/em\u003e, flowers continue to bloom beside a relationship that has lost emotional vitality. In \u003cem\u003eFlower Sacrifice\u003c\/em\u003e, botanical abundance becomes inseparable from surrender. In \u003cem\u003eFlower Beyond Your Grasp\u003c\/em\u003e, one figure reaches toward an elusive flower while another appears to hold one that has already died. Within this broader vocabulary, the vine in \u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e\u003c\/strong\u003e suggests that care requires continued cultivation.\u003c\/p\u003e\n\u003cp\u003eIts placement beside the embracing figures reinforces the association. Tenderness is not monumental or invulnerable; it is a small living thing that survives through attention. The vine’s upward movement also provides a counterforce to the figures’ emotional heaviness. Their heads bow and lean inward, while the plant continues to climb.\u003c\/p\u003e\n\u003cp\u003eThe handmade paper contributes significantly to the work’s intimacy. Its fibrous surface, uneven edges, and embedded irregularities make the image feel less like a formal public statement than a personal artifact. Bouzard-Hui’s fine ink lines remain vulnerable against this rough ground, occasionally breaking or fading as they cross the fibers. The material therefore participates in the theme: tenderness appears as a delicate mark maintained upon an imperfect surface.\u003c\/p\u003e\n\u003cp\u003eThe rectangular drawn border creates another layer of containment. It encloses the central scene but does not align perfectly with the paper’s irregular edge. Small lines extend or hang from the border, including a central drop beneath the lower edge. This imperfect framing gives the image the quality of a private theater, window, photograph, or psychological compartment.\u003c\/p\u003e\n\u003cp\u003eWithin that enclosure, the figures appear both protected and confined. Bouzard-Hui repeatedly explores this duality. In \u003cem\u003eShielded\u003c\/em\u003e, an enclosing form offers refuge from difficult thoughts while also separating the figures from the outer world. In \u003cem\u003eQuestioned Love\u003c\/em\u003e, an embrace can be read as both affectionate and possessive. In \u003cem\u003eLifeless Love\u003c\/em\u003e, physical proximity remains after emotional vitality has diminished.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e\u003c\/strong\u003e occupies a more hopeful position within that group, but it does not abandon ambiguity. The figures hold one another closely, yet their expressions remain troubled. The upper faces are divided. The dark form at the center introduces weight. Tenderness survives, but it does not resolve every emotional fracture.\u003c\/p\u003e\n\u003cp\u003eThis makes the work especially important within Bouzard-Hui’s larger exploration of paired figures. Her relationships are rarely presented as simple unions. Bodies merge, but individual consciousness persists. Protection can become enclosure; attachment can blur identity; intimacy can continue after feeling changes. Here, the promise to “hold on” acknowledges those risks while still affirming the value of remaining gentle.\u003c\/p\u003e\n\u003cp\u003eThe work may also be understood as a meditation on caregiving. The larger figure’s posture suggests support, while the smaller body appears tired or vulnerable. Tenderness is expressed through bearing weight rather than through overt romance. One figure allows the other to rest. Yet the relationship need not be strictly unequal. The two bodies form a mutually supporting structure, with their overlapping arms and clothing creating a shared center. The smaller figure’s closeness may also sustain the larger one. Bouzard-Hui leaves open whether tenderness moves in one direction or circulates between them.\u003c\/p\u003e\n\u003cp\u003eThe title’s wording ultimately prevents the work from becoming a passive portrait. “Will hold on” signals decision. Tenderness is not merely felt; it is practiced. Against the divided faces, weary expressions, and dark central passage, the embrace becomes an act of resistance—a refusal to let difficulty transform the figures entirely into hardness, withdrawal, or isolation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWill Hold on to Tenderness\u003c\/em\u003e \u003c\/strong\u003etherefore presents gentleness as both fragile and durable. The two central figures cannot erase the sadness visible in their faces, nor can their embrace reunite the separated images above. What they can do is remain physically and emotionally present. Bouzard-Hui’s work suggests that tenderness may not cure pain, but holding on to it preserves the possibility of connection within pain.\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 \/ Portrait\u003c\/li\u003e\n\u003cli\u003eSize: 12 x 10 in (30.48 x 25.4 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\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\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\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\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\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 \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46780419997857,"sku":"ART258","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/will-hold-on-to-tenderness-eva-bouzard-hui-c-1998","provider":"Visard Gallery","version":"1.0","type":"link"}