{"product_id":"watchers-robert-lohman-c-1972","title":"Watchers - Robert Lohman, c. 1972","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: 4305.33px;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr style=\"height: 2830.4px;\"\u003e\n\u003ctd style=\"width: 100%; height: 2830.4px;\"\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\u003eWatchers\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eRobert Lohman, c. 1972\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=\"1933\" data-end=\"2349\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1936\" data-end=\"1948\"\u003eWatchers\u003c\/strong\u003e, Robert Lohman develops the theme of surveillance through a dense assembly of overlapping bodies, wandering eyes, exaggerated features, and spyglass instruments. While the related work \u003cstrong data-start=\"2136\" data-end=\"2152\"\u003eSurveillance\u003c\/strong\u003e concentrates paranoia within a single hypervigilant figure, \u003cstrong data-start=\"2213\" data-end=\"2225\"\u003eWatchers\u003c\/strong\u003e expands that anxiety into a collective endeavor. Observation has become communal, reciprocal, and nearly impossible to escape.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2351\" data-end=\"2765\"\u003eThe composition resists any stable reading of the human body. Faces emerge from other faces, profiles turn in opposing directions, and limbs appear to belong to more than one figure. Lohman does not give the viewer a clear boundary between one individual and the next. This visual confusion becomes central to the work’s meaning: under a culture of suspicion, personal identity and private space begin to collapse.\u003c\/p\u003e\n\u003cp data-start=\"2767\" data-end=\"3182\"\u003eThe figure at the upper right is perhaps the most immediately recognizable watcher. Its enlarged, circular eyes resemble lenses, binoculars, or a mask-like covering. The figure does not merely possess unusually acute senses; it appears anatomically designed for monitoring.\u003c\/p\u003e\n\u003cp data-start=\"3184\" data-end=\"3577\"\u003eYet the expression is not one of calm authority. The wide eyes, compressed mouth, and rigid stare suggest alarm. Like the central character in \u003cstrong data-start=\"3327\" data-end=\"3343\"\u003eSurveillance\u003c\/strong\u003e, this figure occupies an ambiguous position between watcher and watched. It may represent an official observer, a suspicious citizen, or someone whose awareness of surveillance has produced a compulsive need to examine everyone else.\u003c\/p\u003e\n\u003cp data-start=\"3579\" data-end=\"3982\"\u003eAdditional eyes appear throughout the composition, sometimes attached to incomplete faces and sometimes embedded within larger bodily forms. Their differing directions prevent the viewer from finding a single focal point. Wherever the eye travels, another eye seems to meet it. Lohman thereby implicates the viewer in the system: looking at the drawing means participating in its network of observation.\u003c\/p\u003e\n\u003cp data-start=\"3984\" data-end=\"4459\"\u003eA long, segmented spyglass extends diagonally through the composition. Small holes appear at its lower end, accompanied by dots, highlighting the directional nature of the watcher's target. The target in question is an adult holding the hand of a child. This shows the deep paranoia of the act of watching for the sake of state security. Even the most non-threatening citizens and situations become the focus of monitoring. However, there is o clear reason why. This ambiguity of the why the watchers watch reflects the psychological nature of surveillance. \u003c\/p\u003e\n\u003cp data-start=\"3984\" data-end=\"4459\"\u003eThe figures also possess a grotesque humor characteristic of Lohman’s figurative distortions. Their bulging eyes, wandering features, and fluid bodies verge on caricature. At first, the scene may appear absurd or even playful. That humor, however, quickly becomes uncomfortable. Lohman uses exaggeration not to dismiss the subject but to show how irrational and dehumanizing a surveillance culture can become.\u003c\/p\u003e\n\u003cp data-start=\"5241\" data-end=\"5571\"\u003eHis figures are no longer autonomous people. They have been reduced to functions: eyes that watch, ears that listen, mouths that transmit, and hands that collect or redirect information. The human body merges with the machinery of observation until it becomes difficult to determine where the person ends and the apparatus begins.\u003c\/p\u003e\n\u003cp data-start=\"5573\" data-end=\"5937\"\u003eThe monochromatic treatment intensifies that dehumanization. Lohman limits the work to black line, gray wash, and exposed paper, removing the emotional warmth that color might otherwise provide. The result resembles an intelligence diagram, surveillance photograph, newspaper reproduction, psychiatric drawing, or political cartoon circulated in inexpensive print.\u003c\/p\u003e\n\u003cp data-start=\"5939\" data-end=\"6386\"\u003eThe gray washes divide the composition into broad areas while allowing figures to pass through them. At the lower left, a horizontal form establishes a shallow ground or platform, but the bodies refuse to remain securely placed upon it. They float, overlap, and dissolve into one another. Lohman gives the viewer just enough spatial information to recognize a shared environment without allowing that environment to become rational or comfortable.\u003c\/p\u003e\n\u003cp data-start=\"6388\" data-end=\"6771\"\u003eThis unstable space mirrors the mental condition represented by the work. Paranoia disrupts ordinary relationships between people and surroundings. Neutral objects begin to appear suspicious; gestures acquire hidden meanings; and other individuals may be imagined as informants, agents, or potential threats. Lohman’s formal distortions make that altered state of perception visible.\u003c\/p\u003e\n\u003cp data-start=\"6773\" data-end=\"7243\"\u003eThe September 1972 date gives \u003cstrong data-start=\"6803\" data-end=\"6815\"\u003eWatchers\u003c\/strong\u003e an especially charged historical setting. The United States was still deeply divided by the Vietnam War, and the publication of the Pentagon Papers in 1971 had revealed a long-standing divide between official government statements and internal knowledge of the conflict. Public confidence in political institutions was weakening as secrecy increasingly appeared to be a method of governance rather than an occasional necessity.\u003c\/p\u003e\n\u003cp data-start=\"7245\" data-end=\"7727\"\u003eConcerns about domestic monitoring were also becoming more concrete. FBI surveillance and disruption of activists, civil-rights organizations, antiwar groups, and political movements had begun to enter public awareness. The 1971 removal and publication of FBI documents by the Citizens’ Commission to Investigate the FBI helped reveal the breadth of these activities, reinforcing suspicions that lawful political participation could make an individual a target of state observation.\u003c\/p\u003e\n\u003cp data-start=\"7729\" data-end=\"8142\"\u003eBy the time Lohman dated \u003cstrong data-start=\"7754\" data-end=\"7766\"\u003eWatchers\u003c\/strong\u003e in September 1972, the Watergate break-in had already occurred. Five men had been arrested in June inside the Democratic National Committee headquarters with electronic listening equipment. The scandal had not yet unfolded to its full historical dimensions, but political espionage, wiretapping, and covert monitoring were already part of the event’s emerging public meaning.\u003c\/p\u003e\n\u003cp data-start=\"8144\" data-end=\"8617\"\u003eLohman does not anchor the composition to Watergate through portraits, party symbols, or recognizable architecture. Instead, he responds to a broader atmosphere in which the fear of unseen listeners and concealed information networks had become increasingly credible. The absence of specific political references prevents the work from becoming a dated editorial illustration. Its subject is the mentality produced by surveillance rather than one particular abuse of power.\u003c\/p\u003e\n\u003cp data-start=\"8619\" data-end=\"8981\"\u003eThe plural title is important. \u003cstrong data-start=\"8650\" data-end=\"8662\"\u003eWatchers\u003c\/strong\u003e does not identify a single authoritarian figure looking down upon passive citizens. Everyone appears caught within the act of observation. The figures watch the state, the state watches the figures, and individuals watch one another for signs of danger or betrayal. Surveillance becomes a closed psychological circuit.\u003c\/p\u003e\n\u003cp data-start=\"8983\" data-end=\"9439\"\u003eThis creates a subtle distinction between institutional surveillance and paranoia. Lohman does not suggest that fears of observation are necessarily imaginary; the historical context provided substantial reason for concern. Instead, he examines how credible threats can expand beyond the original act of monitoring. Once people know that surveillance is possible, they may begin modifying their speech and behavior even when no observer is visibly present.\u003c\/p\u003e\n\u003cp data-start=\"9441\" data-end=\"9813\"\u003eThe work thus addresses the internalization of authority. External control becomes self-surveillance, and citizens begin anticipating how their actions could be recorded or interpreted. Lohman conveys this condition through figures that seem incapable of relaxing their senses. Eyes remain open, ears remain alert, and bodies twist toward potential sources of information.\u003c\/p\u003e\n\u003cp data-start=\"9815\" data-end=\"10266\"\u003eWithin Lohman’s broader catalog, \u003cstrong data-start=\"9848\" data-end=\"9860\"\u003eWatchers\u003c\/strong\u003e reflects his recurring use of bodily distortion to communicate emotional and social pressure. He frequently rejected conventional anatomy in favor of bodies that stretch, divide, compress, or merge with surrounding forms. These alterations allow the figure to become more than a portrait of one person; it becomes a structure through which fear, desire, alienation, or institutional power can be examined.\u003c\/p\u003e\n\u003cp data-start=\"10268\" data-end=\"10659\"\u003eThe work also demonstrates why the black-and-white series occupies a distinctive place within that catalog. Its restricted palette and graphic immediacy give it a sharper political character than many of Lohman’s more colorful paintings or tactile sculptures. Yet the underlying method remains consistent: the human body is transformed in order to reveal forces that cannot be seen directly.\u003c\/p\u003e\n\u003cp data-start=\"10661\" data-end=\"11010\"\u003eIn \u003cstrong data-start=\"10664\" data-end=\"10676\"\u003eWatchers\u003c\/strong\u003e, that invisible force is the pressure of constant observation. Lohman gives paranoia eyes, ears, limbs, and mechanical extensions. The resulting image is crowded but emotionally isolating. Although the figures share the same space, they do not communicate through trust or intimacy. Their only relationship is one of mutual scrutiny.\u003c\/p\u003e\n\u003cp data-start=\"11012\" data-end=\"11355\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe drawing ultimately asks whether anyone can remain fully human within such a system. When every eye becomes a lens and every ear a receiver, other people cease to be companions and become sources of information. \u003cstrong data-start=\"11227\" data-end=\"11239\"\u003eWatchers\u003c\/strong\u003e captures the moment when surveillance moves beyond a government practice and becomes a way of perceiving the world.\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 style=\"height: 546.8px;\"\u003e\n\u003ctd style=\"width: 100%; height: 546.8px;\"\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 style=\"height: 71.2px;\"\u003e\n\u003ctd style=\"width: 100%; height: 71.2px;\"\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 style=\"height: 232px;\"\u003e\n\u003ctd style=\"width: 100%; height: 232px;\"\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\u003c\/li\u003e\n\u003cli\u003eYear: 1972\u003c\/li\u003e\n\u003cli\u003eSize: 7.75 x 9.5 in (19.68 x 24.13 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 style=\"height: 244px;\"\u003e\n\u003ctd style=\"width: 100%; height: 244px;\"\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 style=\"height: 214.833px;\"\u003e\n\u003ctd style=\"width: 100%; height: 214.833px;\"\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\u003e1972 - 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 style=\"height: 142.4px;\"\u003e\n\u003ctd style=\"width: 100%; height: 142.4px;\"\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":46701533528225,"sku":"ART190","price":395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART190_RobertLohman_Watchers_Full.png?v=1784167248","url":"https:\/\/visardgallery.com\/products\/watchers-robert-lohman-c-1972","provider":"Visard Gallery","version":"1.0","type":"link"}