of his youngest son Claude, took into his head to “find him a pair of hands”. Now Maillol was an accomplished artist, he could only do "Maillol" so... he presented Guino. Vollard, enthusiastic, arranged for him to meet with Renoir in 1913 and hired him at his own expense. An adventure began then between the young sculptor and the old painter, qualified as "miraculous" because of the communion of spirit and sensitivity which developed between the two artists. This collaboration lasted until 1918, in Essoyes first then at the “Collettes”, Renoir's villa in Cagnes-sur-Mer in Provence. This resulted in the creation of an ensemble of pieces considered at the zenith of modern sculpture: the Small Venus, the Venus victrix, the Judgement of Pâris, and the Large Washer Woman. When Renoir died in 1919, the sculptures were publicised and exploited as his alone by Vollard then by Renou. Sculptor, ceramist, sketcher artist and painter Guino, whom his libertarian sense kept away from any spirit of claiming, pursued his personal work. After his five years of collaboration with Renoir, intimately wounded by this denial of his creative share which commercial reasons motivated, attempted to reinvent himself, to change his style, exploring new techniques, in parallel to his sculptured work. He signed a contract with the Galerie Hebrard in Paris, which devoted three large personal exhibitions to him in 1919, 1922 and 1923. Interested in decorative arts, he realized numerous glazed ceramics and a few pieces of furniture. A long collaboration began in 1922 with the factory of Sèvres which for more than ten years rendered editions of his models in stoneware and bisque. In 1923, he participated in the spring exhibition of Barcelona, exhibited paintings and drawings at the Galerie Devauchez and some pieces at the Musée Galliera, at the Salon des Tuileries and at the Salon de la des Artistes Décorateurs. In 1924 he exhibited at the Musée des Arts Décoratifs which acquired Woman with Tambourine. His drawings were exhibited at the Maison Barbedienne, his sculptures at the Salon de la Societé des Artistes Décorateurs. He signed a contract with the editing house Colin which for ten years would edit bronzes from his models. In 1925, Guino attended the International Exhibition of Decorative Arts of Paris where he obtained honorary diplomas for metal and ceramics. He also participated in the exhibition of contemporary French Art in Japan. That same year, he