{"product_id":"figures-in-a-divided-interior-robert-lohman-c-1980","title":"Figures in a Divided Interior - Robert Lohman, c. 1980","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\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" 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 data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" 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\" data-message-model-slug=\"gpt-5-2\"\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 data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFigures in a Divided Interior*\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eRobert Lohman, c. 1980\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\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" 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 data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" 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\" data-message-model-slug=\"gpt-5-2\"\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 data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" 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\" data-message-model-slug=\"gpt-5-2\"\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 data-start=\"1818\" data-end=\"2299\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1821\" data-end=\"1854\"\u003eFigures in a Divided Interior\u003c\/strong\u003e, Lohman combines figurative abstraction with the visual language of a domestic interior. The painting is populated by recognizable human presences, but the scene cannot be reconstructed as a conventional room occupied by clearly defined individuals. Faces, furniture, wall decoration, textiles, and framed imagery are divided into overlapping compartments, producing an environment that feels simultaneously inhabited and yet psychologically remote.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2301\" data-end=\"2785\"\u003eThe composition is organized around several distinct zones. On the left, the lattice-like wallpaper establishes the most conventionally decorative portion of the room. Its repeating diamond structure is interrupted by small ornamental knots or floral flourishes, giving the area the appearance of patterned wallpaper or a decorative screen. Against this elaborate surface stands an elongated female figure whose dark hair descends in sharp, nearly architectural sections.\u003c\/p\u003e\n\u003cp data-start=\"2787\" data-end=\"3228\"\u003eHer body is reduced to a sequence of curved and angular shapes. The face is shown in profile, but the eye, nose, lips, and hair do not align according to ordinary anatomy. Instead, Lohman stretches the profile upward, giving the figure an elegant but slightly theatrical presence. Her elongated neck and narrowed body recall his sculptural tendency to use vertical exaggeration as a means of turning the human figure into an expressive form.\u003c\/p\u003e\n\u003cp data-start=\"3230\" data-end=\"3580\"\u003eBelow her, a smaller cluster of overlapping shapes may represent folded hands, a seated companion, or another partially obscured figure. Lohman does not resolve these forms sufficiently to establish a single narrative. This ambiguity allows the left side of the composition to move between portraiture, social observation, and decorative abstraction.\u003c\/p\u003e\n\u003cp data-start=\"3582\" data-end=\"4027\"\u003eThe central section is dominated by a large rectangular frame containing another fractured face. This image-within-the-image is crucial to the work. It may represent a painting or photograph hanging on the wall, but it could also be interpreted as a mirror reflecting one of the room’s occupants. The face inside the frame is larger than the surrounding figures, making it psychologically dominant despite its separation from the physical space.\u003c\/p\u003e\n\u003cp data-start=\"4029\" data-end=\"4563\"\u003eLohman constructs this central head from looping contours and partial profiles. An eye appears beneath a sharp diagonal brow, while the nose, mouth, and cheek extend into a circular structure. A second rounded form overlaps the first, suggesting another head, a reflected face, or the simultaneous presentation of multiple viewpoints. The effect recalls Cubist fragmentation, but Lohman’s interest is emotional rather than analytical. The overlapping perspectives suggest that identity cannot be reduced to a single stable appearance.\u003c\/p\u003e\n\u003cp data-start=\"4565\" data-end=\"4941\"\u003eThe framed face also introduces a question about how images shape relationships within the room. The surrounding figures may be looking toward it, ignoring it, or existing as extensions of it. Lohman does not create a clear exchange of glances. Instead, each face seems enclosed within its own visual field. Even though the composition is crowded, the figures remain isolated.\u003c\/p\u003e\n\u003cp data-start=\"4943\" data-end=\"5340\"\u003eAt the right, a dark vertical area contains another seated or crouching figure. This individual is rendered with heavier washes than the others, causing the body to recede into shadow. The curved outline of the head and torso remains visible, but the figure’s features are difficult to distinguish from the surrounding shapes. The person seems absorbed by the chair, wall, or darkness behind them.\u003c\/p\u003e\n\u003cp data-start=\"5342\" data-end=\"5678\"\u003eThis darker figure provides a counterweight to the standing woman on the left. The left figure is pale, elongated, and exposed against pattern; the right figure is compressed and partially concealed. Together they create an emotional contrast between outward display and inward withdrawal. Neither position appears entirely comfortable.\u003c\/p\u003e\n\u003cp data-start=\"5680\" data-end=\"6017\"\u003eThe foreground introduces another rounded head seen from behind. This figure appears to face the central framed image, placing the viewer in a similar observational position. We seem to stand behind this person, looking past them into the divided room. The figure therefore acts as an intermediary between the viewer and the composition.\u003c\/p\u003e\n\u003cp data-start=\"6019\" data-end=\"6450\"\u003eIts placement also complicates the distinction between audience and participant. The rounded head could belong to someone studying the framed artwork, observing the other occupants, or simply sitting within the room. By withholding facial features, Lohman allows the viewer to project themselves into this position. We become another presence within the gathering, but remain unable to fully understand the relationships before us.\u003c\/p\u003e\n\u003cp data-start=\"6452\" data-end=\"6858\"\u003eThe work’s restricted black and gray palette unifies these competing zones. Lohman uses thin contour lines alongside dense ink washes, crosshatching, stripes, and broad passages of gray. Each texture defines a different surface or psychological space. The patterned wall feels ornamental, the central frame feels intellectual and fragmented, and the dark right-hand area feels private and enclosed.\u003c\/p\u003e\n\u003cp data-start=\"6860\" data-end=\"7282\"\u003ePattern is particularly important. Stripes, crosshatching, lattices, circles, and solid black shapes prevent the eye from settling. However, the effect is not the same as the agitated monitoring imagery found in \u003cstrong data-start=\"7072\" data-end=\"7088\"\u003eSurveillance\u003c\/strong\u003e or \u003cstrong data-start=\"7092\" data-end=\"7104\"\u003eWatchers\u003c\/strong\u003e. There are no multiplied eyes scanning the environment, antenna-like hands, or obvious suggestions of transmitted information. The unease here is quieter and more interpersonal.\u003c\/p\u003e\n\u003cp data-start=\"7284\" data-end=\"7680\"\u003eRather than describing fear of the state, \u003cstrong data-start=\"7326\" data-end=\"7359\"\u003eFigures in a Divided Interior\u003c\/strong\u003e appears to examine the difficulty of emotional connection. The occupants share a room but seem to inhabit separate mental spaces. Decorative boundaries become emotional boundaries, and the framed image becomes as present as the living figures. Lohman suggests that proximity does not necessarily produce intimacy.\u003c\/p\u003e\n\u003cp data-start=\"7682\" data-end=\"8097\"\u003eThe date of 1980 places the work within a later stage of Lohman’s career, but the drawing retains concerns visible throughout his catalog. The human figure remains his principal expressive instrument, while distortion allows him to move beyond conventional portraiture. Faces are not simply likenesses; they become structures through which memory, personality, vulnerability, and social tension can be communicated.\u003c\/p\u003e\n\u003cp data-start=\"8099\" data-end=\"8494\"\u003eThe composition also reveals Lohman’s ability to translate sculptural thinking into two dimensions. The figures are built from masses rather than modeled through gradual shading. Dark forms press forward, pale areas recede, and contours appear to carve one body from another. The room operates almost like a shallow relief in which human and decorative elements occupy the same compressed plane.\u003c\/p\u003e\n\u003cp data-start=\"8496\" data-end=\"8783\"\u003eThis sculptural compression distinguishes the work from a straightforward Cubist interior. He is assembling the room as an emotional construction. Each area possesses its own density, rhythm, and psychological temperature.\u003c\/p\u003e\n\u003cp data-start=\"9141\" data-end=\"9634\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe work represents a different type of psychological exploration from the paranoia series. Where \u003cstrong data-start=\"9249\" data-end=\"9265\"\u003eSurveillance\u003c\/strong\u003e and \u003cstrong data-start=\"9270\" data-end=\"9282\"\u003eWatchers\u003c\/strong\u003e depict consciousness distorted by external observation, this later drawing turns inward. It considers how identity is shaped by memory, décor, images, and the silent presence of other people. Lohman presents the domestic interior not as a place of uncomplicated comfort, but as a layered environment in which each individual remains partly unknowable.\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\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\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\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8106\" data-end=\"8414\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong data-start=\"8106\" data-end=\"8123\"\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e was an American artist associated with Indiana modernism, recognized as both a sculptor and painter. The National Gallery of Art identifies Lohman as an American artist, 1919–2001, and holds examples of his 1966 bronze medallic work created with the Medallic Art Company in its collection.\u003c\/p\u003e\n\u003cp data-start=\"8416\" data-end=\"8993\"\u003eLohman worked across a wide range of media, including watercolor, oil, wood, plaster, ceramics, and bronze. Biographical sources identify him as a portrait and figure sculptor as well as a painter, with formal study at the John Herron Art Institute, Cranbrook, and Yale. He assisted the noted sculptor Carl Milles at Cranbrook Academy and later served as Director of Fine Arts at Cranbrook from 1947 to 1949. Lohman also taught at Washington University in St. Louis and the Indianapolis Art League, where he remained connected to art education and regional modernist practice.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003eHis work often moves between figuration and abstraction, reflecting the eye of a sculptor and the freedom of a modernist draftsman.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e may also be understood within the broader history of underrepresented LGBT artists in the American Midwest. Documentary records connect him closely with Jerrol T. Davis of Indianapolis, who served as Secretary-Treasurer of Robert Lohman, Inc.; Davis’s obituary confirms his role in Lohman’s company, and later memorial sources identify him as Lohman’s spouse. While historical records from this period often leave same-sex relationships only partially documented, the available evidence points to a significant personal and professional partnership that adds important context to Lohman’s life and legacy.\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: Scene\u003c\/li\u003e\n\u003cli\u003eYear: 1980\u003c\/li\u003e\n\u003cli\u003eSize: 13.0 x 10.0 in (33.0 x 25.4  cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\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 data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\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\u003e1980 - Unknown\u003c\/strong\u003e: Robert Lohman\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnknown - 2026\u003c\/strong\u003e: Private Collector\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Ripley's Auctions\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\/7v6b697fdgsoyq7fv8z8r\/AOoojaiTQy2gQ6d3HFlYp5Y?rlkey=b5y5kuh8vrwt3n9h2bg93ilkj\u0026amp;st=dhusmlzy\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman 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\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search?q=Robert+Lohman\u0026amp;searchField=ArtistCulture\" 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);\"\u003eRobert Lohman Collection at the Met\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" 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);\"\u003eRobert Lohman Collection at the National Gallery of Art\u003c\/span\u003e\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":46702341521569,"sku":"ART191","price":425.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/figures-in-a-divided-interior-robert-lohman-c-1980","provider":"Visard Gallery","version":"1.0","type":"link"}