Comparable Sales
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
No public-rights comparable sales meet the current evidence criteria. RELICT does not fill the table with research-only or licensed-only facts.
The Cleveland Museum of Art · Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection
Museum
Lovers Parting, Page from a Book of Fables
c. 1590–95
Market Intelligence
Observed sale facts, comparable evidence, artist index history and modeled research remain separate.
Last known price—0 matched observed sales
Observed median—
Observed sales0
Artist index—
No rights-cleared normalized observed sale is attached to this artwork. No synthetic price history is shown.
Artist index unavailableNo completed public artist-index build exists.Artist-level context is not an artwork valuation.
Evidence ranked
Provenance
PublicNo rights-cleared provenance evidence is published.
Exhibitions
PublicSource exhibition text
Main Asian Rotation (Gallery 245); December 31, 2013 - June 30, 2014.
The Cleveland Museum of Artconfidence 100%
Related public works
Explore catalog →Catalog neighbours
A female figure standing in a landscape holding a four-stringed “khuuchir” and a lotus
Unknown artist · 1585
A prince visiting a holy man in a rocky landscape
Unknown artist · 1585
Babur meeting with Sultan Ali Mirza at the Kohik River, from a Babur-nama (Memoirs of Babur)
Unknown artist · 1585
A feast for Babur hosted by his half-brother Jahangir Mirza in Ghazni in May 1505, from a Babur-nama (Memoirs of Babur)
Basavana (Indian, active c. 1560–1600) · 1584
The Lover Leaves Wistfully in the Morning after a Passionate Tryst: Lalit Ragini, from a Ragamala
Unknown artist · 1590
Sourced Overview Evidence
The lovers have met in a remote wilderness location, away from the city shown in the distance. However, their affair has run its course, and they decide to part ways, each walking in opposite directions through an ominous landscape, where strange rock formations and an oversized serpent-slain by foxes gnawing on its innards-lend a sense of foreboding. As Mughal court painting developed into the last decades of the 16th century, artists began using increasingly muted colors and gentler shading techniques than they did in the more robust Adventures of Hamza at the left. The omission of a light source and shadows adds to a timeless, otherworldly impression to the landscape.
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 0 structured provenance events · 0 structured exhibitions.
Place Of OriginShort DescriptionExhibition HistoryCredit Line