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 · Leonard C. Hanna Jr. Fund
Museum
Poems and Pictures of the Eight Views of Xiao-Xiang
1605–12
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
PublicProvenance event
Mōri family, Yamaguchi, Japan
?–2020
(London Gallery, Ltd., Tokyo, Japan, sold to the Cleveland Museum of Art)
2020–
The Cleveland Museum of Art, Cleveland, OH
Source provenance text
Mōri family, Yamaguchi, Japan (London Gallery, Ltd., Tokyo, Japan, sold to the Cleveland Museum of Art) The Cleveland Museum of Art, Cleveland, OH
The Cleveland Museum of Artconfidence 100%
Exhibitions
PublicSource exhibition text
China’s Southern Paradise: Treasures from the Lower Yangzi Delta. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10, 2023-January 7, 2024). Unkoku Tōgan: botsugo yonhyakunen [雲谷等顔: 没後四〇〇年 = Unkoku Togan: 400th memorial retrospective]. Yamaguchi Prefectural Museum, Yamaguchi-shi, Japan (November 1-December 9, 2018).
The Cleveland Museum of Artconfidence 100%
Sourced Overview Evidence
Unkoku Tōgan brushed these scenes using the splashed-ink technique associated in Japan with the Chinese monk Yujian Ruofen (active late 1200s). Xiao-Xiang refers to the region in present-day Hunan province, where the Xiang River and its tributaries converge. Each of the eight views evokes a time of day or season. The earliest surviving series of Xiao-Xiang paintings is by Wang Hong (active mid-1100s), but textual evidence tells us the theme appears earlier. It was later adopted in Japan and Korea, as seen here. The poems were inscribed by Inkei Gentetsu, the third abbot of the Rinzai Zen temple Tōshunji, Japan
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 3 structured provenance events · 1 structured exhibitions.
Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line