obtained French citizenship and married Gabrielle Borzeix; together they went on to have six children: Georges, Claude, Evelyne, artistes Michel Guino, a sculptor, Marie Guino-Ronchi, a painter, and Jean Borzeix, who died prematurely. Guino settled with his large family in a bigger studio in Antony, outside of Paris, next to his friend and photographer Bougourd, who was part of the joyful band of artists who lent life to Rue Daguerre. In 1928, he entered the XIth competition of the Musée Galliera, bronze section. In 1929, exhibitions at the Galerie Hector Brame of drawings and small plates for book binding, at the Salon des Indépendants and at the Salon de la Société des Artistes Français (Salons of 1930, 1931, 1932, 1933 and 1934). In 1931, he exhibited again at the Salon des Indépendants and signed a contract with the editing house Susse frères, with which he would collaborate until 1955. The Renoir-Guino sculptured work II The “enigma of the Renoir sculpture” was not solved until sixty years after its creation, at the end of a long action initiated in 1965 by Michel Guino, son of Richard Guino and himself a sculptor, who laboured to divulge his father's sculpture. After a close analysis of the pieces, of the processes which directed their creation and after the hearing of numerous artists, Richard Guino was recognized co-author in 1971 by the Third Civil Court of the Tribunal de Paris and the issue was settled by the Supreme Court of Appeal in 1973. The art historian Paul Haesaerts specified as early as 1947 in his book Renoir sculptor (Ed. Hermes, Bruxelles): “Guino was never an actor merely reading his text or a musician interpreting mechanically his score. The latter content themselves with being performers, in no way do they participate in the creative process. Guino was involved body and soul in the creative act. We can even affirm that if he hadn't been there, the sculpture of Renoir would have never seen the light. Guino was indispensable.” The action was not entered against Renoir, a twist which was conveyed in numerous texts and newspaper articles referring to the case. The goal of the lawsuit was to unveil the exceptional account of this process of creation and to bring to light the original contribution of Guino to the sculptured work, initially obscured by Vollard. A sculptor's “assistant” reproduces or enlarges an already existing model. Guino on