{"product_id":"soul-clap-hands-and-sing-pantalone-fran-bull-c-2016","title":"Soul, Clap Hands, and Sing: Pantalone - Fran Bull, c. 2016","description":"\u003carticle 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)))]\" dir=\"auto\"\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 dir=\"auto\" 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\"\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 width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\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\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoul, Clap Hands, and Sing: Pantalone\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eFran Bull, c. 2016\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle 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)))]\" dir=\"auto\"\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 dir=\"auto\" 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\"\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 dir=\"auto\" 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\"\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\u003e\u003cstrong\u003e\u003cem\u003eSoul, Clap Hands, and Sing: Pantalone\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e by Fran Bull contains a rich intertextual allusion. The “Soul, Clap Hands, and Sing” portion of the title refers to William Butler Yeats’s poem \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSailing to Byzantium\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, while “Pantalone” refers to the stock character from \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ecommedia dell’arte\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, traditionally associated with Venice, old age, wealth, suspicion, appetite, and comic self-importance. Pantalone is often imagined as an elderly merchant figure, driven by money, status, desire, and control, yet continually made ridiculous by the theatrical world around him. In Yeats’s poem, old age becomes an opportunity to turn away from sensual life, which is destined to fade, and toward a more permanent form of being through the cultivation of the soul. Bull’s work places that elevated spiritual aspiration into dialogue with one of theater’s most worldly and grasping figures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis tension feels deeply aligned with Bull’s exhibition \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eWe’re All at A Party Called Life on Earth\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, a larger-than-life body of work that celebrated an almost Dadaist existence through caricatures drawn from circuses, amusement parks, and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ecommedia dell’arte\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Rather than treating life as a solemn march toward transcendence, Bull frames it as performance, absurdity, disguise, and spectacle. The soul may clap its hands and sing, but in Bull’s world, it does so while wearing a mask, surrounded by color, appetite, chaos, and comic exposure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece features an abstracted face of Pantalone, rendered through a dense convergence of blue, red, yellow, green, orange, black, gray, and white. The figure does not appear as a conventional portrait. Instead, Bull constructs Pantalone as a restless accumulation of marks, a mask-like presence caught between theatrical identity and painterly eruption. The long blue protruding form on the left side of the composition suggests Pantalone’s traditional hooked nose, one of the defining features of the character’s mask. It extends outward with comic exaggeration, making the face feel both recognizable and strange.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central mass of the work is crowded, active, and richly layered. Circular eye-like forms, black splatters, looping lines, and cellular bursts give the figure a charged psychological presence. Unlike the clearer facial structures in some of the other works from the series, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePantalone\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e feels especially congested, as though Bull is turning the character’s inner appetite and social anxiety into visual form. The face seems to be made from competing impulses: greed, vanity, suspicion, performance, and survival all pressing against one another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBull’s color choices intensify this sense of instability. Turquoise and blue create the dominant profile, while hot orange, red, yellow, green, and black ignite the interior of the figure. These colors do not sit calmly beside one another. They collide, bleed, and interrupt, as though Pantalone’s personality has been broken open and scattered across the paper. The result is both celebratory and uneasy. The character appears animated by life, but also overwhelmed by it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe white space surrounding the figure is essential to the work’s impact. Against this open field, Pantalone appears suspended, isolated, and theatrically lit. The paper becomes a stage, and every splatter, drip, and line becomes part of the performance. The marks radiating outward from the figure suggest motion, nervous energy, and comic unraveling. Rather than presenting Pantalone as a fixed character, Bull captures him in a state of exposure, as though the mask itself is beginning to leak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe linear passages on the right side of the composition add a particularly electric quality. Thin red, blue, orange, and black lines stretch outward like wires, nerves, or theatrical strings. They make the figure feel entangled, as though Pantalone is caught in the very systems he tries to control. This is fitting for a character so often defined by possession, bargaining, scheming, and desire. Bull transforms that social and psychological entanglement into a visual network of color and motion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBull’s handling of abstraction allows Pantalone to remain present without becoming literal. The image gives us enough to locate the mask-like face, the exaggerated nose, the animated profile, and the suggestion of theatrical costume, but it never settles into illustration. The figure stays in flux. He is part old man, part merchant, part clown, part soul, and part painted eruption. This instability mirrors the nature of Pantalone himself, a figure who moves between authority and foolishness, wealth and vulnerability, control and comic collapse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Yeats reference deepens this reading. In \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSailing to Byzantium\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the soul seeks a form that might outlast the body’s decay. Bull’s Pantalone complicates that ambition by giving us a figure deeply tied to the aging body, to appetite, to worldly attachment, and to the absurdity of social performance. He is not purified into spiritual stillness. Instead, he is transformed through art into a vivid, enduring symbol of human contradiction. The mask becomes a vessel for animation. The comic figure becomes a site of spiritual and theatrical energy. The soul does not escape the party; it performs within it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat makes the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSoul, Clap Hands, and Sing\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e series unique is how sharply it diverges from the series that came before and after it. It sits like the middle layer of a three-tiered abstract birthday cake, pressed between the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSophia\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eTar Pits\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e series, which share more recognizable motifs with one another. Here, Bull gives us something distinct, vibrant, and refreshingly theatrical: an abstract expressionist work filtered through humor, performance, literary reference, and symbolic disguise.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSoul, Clap Hands, and Sing: Pantalone\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e is ultimately a work about aging, appetite, and the strange theatricality of human desire. Bull takes one of theater’s most worldly comic figures and gives him visual intensity, spiritual resonance, and painterly vitality. Pantalone becomes more than a miserly old merchant or masked fool. He becomes a fractured performer clapping his hands and singing from the middle of life’s absurd party, a figure who reminds us that the soul is not cultivated outside of contradiction, but through it.\u003c\/span\u003e\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\u003eFran Bull\u003c\/strong\u003e \u003c\/span\u003eis an American artist whose career moves restlessly across painting, drawing, printmaking, sculpture, performance, and installation. Originally associated with the Photorealist movement of the 1970s and 1980s, Bull gradually pushed beyond realism toward a more personal and psychologically charged visual language. Her work often exists between figuration and abstraction, using the body, myth, theatricality, and distortion as tools for exploring consciousness, memory, fear, beauty, and transformation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBull studied Music and Art at Bennington College and later earned a master’s degree in Art and Art Education from New York University. Her early Photorealist work was shown through Louis K. Meisel Gallery, placing her within one of the central gallery contexts for American Photorealism. Over time, however, Bull’s practice became increasingly experimental. Her ink drawings, prints, sculptural forms, and mixed-media works reveal an artist less interested in reproducing the visible world than in exposing the unstable forces beneath it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis evolution is central to Bull’s importance. In her later work, faces fracture, bodies become theatrical vessels, and forms seem to emerge from dream, satire, ritual, and unconscious thought. Her imagery can be grotesque, humorous, spiritual, and deeply human all at once. Whether working in ink, etching, paint, or sculpture, Bull treats art as a means of passage between worlds: the seen and unseen, the ordinary and mythic, the personal and collective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBull has exhibited in the United States and Europe, with works connected to major phases of American Photorealism, expressionist abstraction, printmaking, and installation. For Visard, her work represents the power of artistic reinvention: a career not defined by a single style, but by an ongoing search for a freer, stranger, and more expansive visual truth.\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\u003eLike many women artists of her generation, \u003cstrong\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003eFran Bull’s\u003c\/span\u003e\u003c\/strong\u003e career reflects both achievement and uneven recognition within the larger art historical record. Although Bull was connected to significant artistic movements and exhibited widely across multiple decades, her work remains less visible than that of many male contemporaries who moved through similar circles of realism, abstraction, and experimental image-making.\u003c\/p\u003e\n\u003cp\u003eThis underrepresentation is especially important because Bull’s career resists easy categorization. She was not simply a Photorealist, nor solely an expressionist, printmaker, sculptor, or performance-based artist. Her practice evolved across mediums with intellectual restlessness and emotional force, making her body of work harder to flatten into a single market-friendly label. Visard recognizes Bull as an artist whose breadth, reinvention, and psychological depth deserve fuller documentation and continued attention.\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: Abstract\/Portrait\u003c\/li\u003e\n\u003cli\u003eYear: 2016\u003c\/li\u003e\n\u003cli\u003eSize: 21.0 x 29.5 in (53.34 x 74.93 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eFrame: 27.5 x 36.25\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Acrylic\/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: Framed\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\u003eHistorical framing comes directly from the artist's estate. \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\u003e2016 - 2025\u003c\/strong\u003e: Fran Bull\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2025 - 2026\u003c\/strong\u003e: Thomas Hirchak Company\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\/dgzc8rsmb0f2vdb02cg7q\/AM6dLj3CYZS6rXctjJZO3WY?rlkey=3mbd3co4jw157n8n6oze4r7te\u0026amp;st=h7n5rv73\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eFran Bull Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\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:\/\/en.wikipedia.org\/wiki\/Fran_Bull\" 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);\"\u003eFran Bull Wikipedia\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/franbull.com\/\" 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);\"\u003eFran Bull Website\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.facebook.com\/franbullart\/\" 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);\"\u003eFran Bull Facebook\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.saatchiart.com\/syzygy?srsltid=AfmBOooNyRr0CMit8R6gzoTkYA866lPLxwOBrAtxraJeecxuIecSE2sC\" 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);\"\u003eFran Bull on Saatchi Art\u003c\/span\u003e\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":46595435364513,"sku":"ART169","price":3150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART169_FranBull_SoulClapHandsandSingPantalone_Full.png?v=1782267105","url":"https:\/\/visardgallery.com\/products\/soul-clap-hands-and-sing-pantalone-fran-bull-c-2016","provider":"Visard Gallery","version":"1.0","type":"link"}