The Metropolitan Museum of Art announced today that it is physically returning to the care of Cambodia 14 sculptures that the Museum deaccessioned last year. The repatriation follows the launch of The Met’s Cultural Property Initiative, which includes undertaking a focused review of works in the collection as well as the hiring of Lucian Simmons in a newly-created Head of Provenance position and additional provenance researchers. The 14 works, along with two sculptures already returned to the Kingdom of Thailand, were deaccessioned in December 2023 in connection with the Southern District of New York’s investigation of dealer Douglas Latchford. The Museum is continuing to review its collection of Khmer art and remains in constructive dialogue with Cambodia.
“The Met is committed to the responsible collecting of art and the shared stewardship of the world’s cultural heritage,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “We have made significant investments in accelerating the proactive and collaborative research of our collection, and we are dedicated to acting promptly when new information arises—as demonstrated by this group of sculptures. This is a milestone moment in our ongoing work, and we are honored to collaborate with Cambodia on this return. The Met greatly values our open dialogue with Cambodia, and we will continue to actively engage with colleagues there to arrive at constructive resolutions that further ongoing efforts and advance the world’s understanding and appreciation of Khmer art and culture.”
The works of art being transferred were made between the 9th and 14th centuries in the Angkorian period and reflect the Hindu and Buddhist religious systems prevailing at that time. A number of the sculptures—including the bronze masterpiece The Bodhisattva Avalokiteshvara Seated in Royal Ease (late 10th–early 11th century), and the monumental stone Head of Buddha (7th century)—remained on view in the Museum’s galleries for Southeast Asian art, presented as the repatriated heritage of Cambodia, while arrangements were being made for their return.
At the time that the Thai and Cambodian works were deaccessioned, Mr. Phnombootra Chandrajoti, Director-General of Thailand’s Fine Arts Department commented, “We are very pleased that the Met has reached out to us and proactively proposed the return of these two objects to Thailand. This act serves as a model for ethical collecting practices and strengthens the bonds of cultural respect and collaboration between Thailand and the Met. We view this return as a significant milestone in our ongoing efforts to repatriate cultural treasures, and we hope it inspires further partnerships as we work together to foster the exchange of knowledge and to ensure the return of cultural artifacts where appropriate to their countries of origin. In Thailand, the committee for repatriation, chaired by the Cultural Minister, is actively engaged in research initiatives to identify and track down additional objects that may have been illegally removed from the country in the past, further paving the way for a future where cultural heritage is preserved and valued in its rightful place.”
Additionally, the Cambodian Ministry of Culture and Fine Arts said, “We appreciate this first step in the right direction. We look forward to further returns and acknowledgments of the truth regarding our lost national treasures.”
The Met has partnered in the past with both Cambodia and Thailand. In April 2024, The Met and the Kingdom of Thailand signed a Memorandum of Understanding (MOU) formalizing a shared commitment to collaborate on exchanges of art, expertise, and the display and study of Thai art. Additional collaborations include the major international exhibition Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century curated by The Met in 2014, which featured major loans from the national museums of Cambodia and Thailand. The Met has also worked with Cambodia on prior repatriations: In 2013, The Met voluntarily returned to Cambodia two objects known as the “Koh Ker Kneeling Attendants,” which were also associated with Mr. Latchford. This move was described as “historic” by Cambodian officials and paved the way for other repatriations to that country and cemented the Museum’s strong and productive partnership with its cultural leaders.
