Cambodia Welcomes Home 74 Khmer Treasures from Latchford Collection

Cambodia has secured the return of 74 significant Khmer cultural artefacts once held by the family of disgraced British art dealer Douglas Latchford, marking one of the country’s largest single repatriations of looted antiquities in recent years.

Several of the returned pieces were unveiled to the public on February 27 at the National Museum of Cambodia, offering visitors a rare glimpse of artworks that had long been separated from their homeland.

In a statement issued the same day, Cambodia’s Ministry of Culture and Fine Arts described the return as a milestone achievement under a 2020 agreement reached with the Latchford family. The accord laid the groundwork for the gradual repatriation of Khmer artefacts connected to the dealer’s collection, following earlier returns in 2021 and 2023.

From Pre-Angkor to Imperial Zenith

The ministry said the 74 objects span centuries of Khmer history, from the pre-Angkorian era to the height of the Angkorian Empire. The collection includes finely carved sandstone sculptures, bronze works and ritual objects that reflect the spiritual and artistic sophistication of one of Southeast Asia’s most influential civilisations.

Among the most remarkable pieces are two early ninth-century sandstone sculptures dating to the formative years of the Angkorian period, during the reign of Jayavarman II. The king is widely regarded as the founder of the Angkorian Empire, having declared independence from foreign rule and established a new political and religious order.

The sculptures — a male and female divine pair — are often referred to as the “divine couple.” According to the ministry, they are believed to have originated from Phnom Kulen, a sacred mountain plateau that played a central role in the early Angkorian state. The female figure, in particular, is considered a rare masterpiece of the Kulen style, known for its refined proportions and spiritual symbolism.

Masterpieces from Koh Ker

The repatriated collection also features a sandstone head of Brahma and a statue of a yaksha, or protective spirit, believed to have come from the temple complex of Koh Ker, which briefly served as the capital of the Khmer Empire in the 10th century.

The head of Brahma — once attached to a full-body statue enshrined in a major temple — exemplifies the cosmological vision and technical mastery associated with the Koh Ker style. Strong lines, balanced proportions and intricate detailing reflect the artistic ambition of the period.

Another notable work is a bronze sculpture in the Bakheng style, representing a key phase in the early development of Khmer iconography. Art historians view this period as critical in shaping the visual language that would later define Angkor’s monumental temple complexes.

More Than Artworks

In its statement, the ministry stressed that the 74 artefacts are more than museum pieces. They are “living testimonies to the wisdom, creativity and spiritual life of Khmer civilisation.”

For decades, many such treasures were removed from Cambodia during periods of war and political instability, when looting and illicit trafficking flourished. The global art market’s appetite for Southeast Asian antiquities fuelled the dispersal of countless sculptures and sacred objects into private collections abroad.

Douglas Latchford, once a prominent figure in the trade of Khmer antiquities, was accused by US authorities of orchestrating a network that trafficked looted artefacts out of Cambodia. Although he denied wrongdoing, the case intensified international scrutiny of the illicit antiquities market and strengthened calls for restitution.

The latest repatriation underscores Cambodia’s sustained efforts to reclaim cultural property removed under questionable circumstances. Officials say each successful return carries symbolic weight, contributing to the restoration of national dignity and cultural identity.

International Cooperation

Cambodia also reaffirmed its commitment to working in good faith with private collectors, cultural institutions and governments worldwide to facilitate the return of Khmer heritage.

The ministry acknowledged support from UK authorities, including the Metropolitan Police Service’s Art and Antiques Unit, the Heritage Crime Task Force, the OSCE Border Security and Management Unit, and the British Embassy in Phnom Penh. Cambodian investigators and the ministry’s Archaeology and Research Team were also recognised for their roles in tracing and documenting the objects.

Legal advisors Bradley J. Gordon of Edenbridge Asia, Steven Heimberg of Stalwart Law Group, and Malina Antoniadis of NOSTOS Strategies were credited with helping navigate the legal process that enabled the artefacts’ return.

Financial support for transportation costs was provided by Chip Mong Group, Canadia Bank, and Cambodian artists Ngoun Chan Devith and Tep Boprek.

A National Priority

With the recovery of these 74 artefacts, Cambodia strengthens its position in the global campaign against the illicit trade in antiquities. The government has increasingly prioritised the identification, documentation and repatriation of cultural property scattered across international markets.

Officials say the work is far from complete. But each returned sculpture, each restored fragment of history, represents a step toward healing historical wounds inflicted during decades of conflict and upheaval.

As visitors gather at the National Museum in Phnom Penh to view the newly returned treasures, the message from Cambodian authorities is clear: the recovery of the nation’s cultural heritage remains not only a legal effort, but a moral and spiritual mission.