11th Mar, 2026 11:00
Three Collectors: Arts of Asia & Africa assembled by G. Merzeder, S. Behrendt & P. Icher
15
A LARGE GLASS INLAID AND GILDED ALABASTER FIGURE OF THE RECLINING BUDDHA, MANDALAY PERIOD, 19TH CENTURY
This lot is from a single owner collection and is therefore offered without reserve
€7,500
€15,000
A buyer’s premium of 30.00% (including VAT) applies to the hammer price of this lot if your bid is successful.
Burma. Carved from a single piece of white alabaster, this serene depiction of the Buddha is inlaid with pink, green, and blue glass, gilding, and highlighted with black accents. The figure shows the Buddha reclining on his right side, his head resting upon his hand, with the upper body supported by a cushion. The folds of his robe cascade elegantly, resembling waves around his form. His round face bears a gentle smile, with downcast eyes and flanked by pendulous earlobes. The hair is styled into a domed chignon, framed by a delicate floral diadem. The figure rests on an oval base, bordered with a band of inlaid gold and glass.
Provenance: T.C. Art & Antique, Bangkok, Thailand. A copy of the authentication certificate from T.C. Art & Antique, dated 15 October 2010, number 1202, and confirming the dating above, accompanies the lot. Collection of Sven A. Behrendt, Salzburg, Austria, assembled from the 1960s onwards, with acquisitions made during his extensive travels worldwide. Note that Behrendt’s important non-Asian collection was sold in a single-owner sale titled “A Worldwide Grand Tour: The Sven A. Behrendt Collection" at Sotheby’s London, 2 December 2025.
Condition: Good condition with minor wear, some flaking to the gilding, expected losses to the inlays, some of which were reattached, tiny nicks, one finger of the left hand with an old repair, few fills, and natural fissures. The stone with a fine naturally grown patina.
Dimensions: Length 145 cm
Reclining Buddha images from Burma are typically categorized into two types. The first, as seen here, depicts the Buddha reclining with his right hand supporting his head, and his eyes open. The second type, known as parinibbana, portrays the Buddha at the moment of passing, with eyes closed or barely open, and the head resting on a pillow.
Buddha images carved from marble were predominantly produced in Mandalay, with two main marble quarries serving as sources: one in the Sagyin Hills to the north, and the other near Kyauk-hse, to the south of Mandalay. Marble has been used in religious sculpture in this region since at least the 17th century.
Literature comparison:
Compare a related gilded marble figure of the reclining Buddha, Burma, 1860s-1871, 71.1 cm long, in the British Museum, museum number 1913,1002.1.
Auction result comparison:
Type: Related
Auction: Christie’s, Paris, 8 June 2010, lot 427
Price: EUR 23,125 or approximately EUR 35,000 adjusted for inflation at the time of writing
Description: A lacquered bronze figure of the reclining Buddha Shakyamuni, Mandalay style, late 18th to early 19th century
Expert remark: Compare the similar subject. Note the different material and smaller size (75 cm).
Burma. Carved from a single piece of white alabaster, this serene depiction of the Buddha is inlaid with pink, green, and blue glass, gilding, and highlighted with black accents. The figure shows the Buddha reclining on his right side, his head resting upon his hand, with the upper body supported by a cushion. The folds of his robe cascade elegantly, resembling waves around his form. His round face bears a gentle smile, with downcast eyes and flanked by pendulous earlobes. The hair is styled into a domed chignon, framed by a delicate floral diadem. The figure rests on an oval base, bordered with a band of inlaid gold and glass.
Provenance: T.C. Art & Antique, Bangkok, Thailand. A copy of the authentication certificate from T.C. Art & Antique, dated 15 October 2010, number 1202, and confirming the dating above, accompanies the lot. Collection of Sven A. Behrendt, Salzburg, Austria, assembled from the 1960s onwards, with acquisitions made during his extensive travels worldwide. Note that Behrendt’s important non-Asian collection was sold in a single-owner sale titled “A Worldwide Grand Tour: The Sven A. Behrendt Collection" at Sotheby’s London, 2 December 2025.
Condition: Good condition with minor wear, some flaking to the gilding, expected losses to the inlays, some of which were reattached, tiny nicks, one finger of the left hand with an old repair, few fills, and natural fissures. The stone with a fine naturally grown patina.
Dimensions: Length 145 cm
Reclining Buddha images from Burma are typically categorized into two types. The first, as seen here, depicts the Buddha reclining with his right hand supporting his head, and his eyes open. The second type, known as parinibbana, portrays the Buddha at the moment of passing, with eyes closed or barely open, and the head resting on a pillow.
Buddha images carved from marble were predominantly produced in Mandalay, with two main marble quarries serving as sources: one in the Sagyin Hills to the north, and the other near Kyauk-hse, to the south of Mandalay. Marble has been used in religious sculpture in this region since at least the 17th century.
Literature comparison:
Compare a related gilded marble figure of the reclining Buddha, Burma, 1860s-1871, 71.1 cm long, in the British Museum, museum number 1913,1002.1.
Auction result comparison:
Type: Related
Auction: Christie’s, Paris, 8 June 2010, lot 427
Price: EUR 23,125 or approximately EUR 35,000 adjusted for inflation at the time of writing
Description: A lacquered bronze figure of the reclining Buddha Shakyamuni, Mandalay style, late 18th to early 19th century
Expert remark: Compare the similar subject. Note the different material and smaller size (75 cm).
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Auction: Three Collectors: Arts of Asia & Africa assembled by G. Merzeder, S. Behrendt & P. Icher, 11th Mar, 2026
This auction presents selections from three outstanding collections assembled by three unique collectors — each highly distinguished in their own way, while unified in their love of art and travel as well as their heartfelt curiosity, awe, and respect for the remote and diverse cultures they encountered. This foreword serves as a place to briefly tell each of their stories, which are deeply imbued into the objects they acquired. Learn more.
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