The Met to Return 16 Statues to Cambodia and Thailand Over Trafficking Concerns

The Metropolitan Museum of Art has agreed to return 14 sculptures to Cambodia and two to Thailand, removing from its collection all Khmer-era artworks associated with an art dealer accused of selling antiquities illegally.

The Met said Friday it will temporarily display a selection of the 16 sculptures while arrangements are made for their repatriation. The works were made between the ninth and 14th centuries in the Angkorian period, the museum said. The Khmer empire ruled much of what is now Cambodia, Laos, Thailand and Vietnam from about 802 to 1431.

The sculptures are associated with art dealer Douglas Latchford, who was indicted in 2019 by the U.S. attorney’s office for the Southern District of New York, which said he orchestrated a multiyear scheme to sell looted Cambodian antiquities on the international art market. The indictment was dropped after Latchford’s death in 2020. Authorities later secured a $12 million civil forfeiture against his estate for stolen Southeast Asian antiquities they alleged Latchford had sold.

The Met said it cooperated with authorities in the U.S. and Cambodia following Latchford’s indictment and received information that made it clear the sculptures should be returned.

“The Met is pleased to enter into this agreement with the U.S. attorney’s office, and greatly values our open dialogue with Cambodia and Thailand,” said Max Hollein, the director and chief executive of the Met.

U.S. Attorney Damian Williams said in a statement Latchford was believed to have run “a vast antiquities trafficking network,” an allegation Latchford had denied. He urged cultural institutions and private collectors to remain vigilant about antiquity trafficking.

Many countries and cultures that were colonised have for decades asked institutions to return stolen artefacts. That effort has gained more traction in recent years, with many museums now openly acknowledging that some items in collections were gained through colonial exploitation and looting.

The Cambodian government in recent years has asked the Met and other museums to return artworks taken from their countries of origin under murky circumstances.

In 2013, the Met returned two 10th-century Cambodian stone statues, known as the “Kneeling Attendants,” which were also associated with Latchford. The statues were from the Koh Ker temple in the same province as the Angkor Wat temples. Officials said they believe they were stolen from the temple in the 1970s. The Met had acquired the statues from donors between 1987 and 1992, it said at the time.

One of the most high-profile repatriation efforts involves the Benin Bronzes, West African artefacts stolen more than a century ago from what is now Nigeria.

Roughly 3,000 to 5,000 artifacts were pillaged from the Kingdom of Benin by British soldiers in the late-19th century as the U.K. expanded its colonial empire in West Africa.

Many of the Benin Bronzes—a name used to cover a variety of artwork, including carved elephant tusks, brass plaques, and wooden heads—wound up in private collections and museums in Europe and the U.S. The Met returned three artifacts to Nigeria in 2021.

Italian fine wines are gaining momentum among Australian collectors and drinkers, with new data from showing a surge in interest driven by value, versatility and a new generation of producers.

Long dominated by France, the premium wine conversation is beginning to shift, with Italy increasingly positioned as a compelling alternative for both drinking and collecting.

According to Langtons, the category is benefiting from a combination of factors, including its breadth of styles, strong food affinity and more accessible price points compared to traditional European benchmarks.

“Italy has always offered fine wine fans an incredible range of wines with finesse, nuance, expression of terroir, ageability, rarity, and heritage,” said Langtons General Manager Tamara Grischy.

“There’s no doubt the Italian wine category is gaining momentum in 2026… While the French have long dominated the fine wine space in Australia, we’re seeing Italy become a strong contender as the go-to for both drinking and collecting.”

The shift is being reinforced by changing consumer preferences, with Langtons reporting increased demand for indigenous Italian varieties and lighter, food-first styles such as Nerello Mascalese from Etna and modern Chianti Classico.

This aligns with the broader rise of Mediterranean-style dining in Australia, where wines are expected to complement a wider range of dishes rather than dominate them.

Langtons buyer Zach Nelson said the category’s versatility is central to its appeal.

“Italian wines often have a distinct, savoury edge making them an ideal pairing for a variety of cuisines,” he said.

The move towards Italian wines also comes as prices for traditional French regions continue to climb, particularly in Burgundy, prompting collectors to look elsewhere for value without compromising on quality.

Italy’s key regions, including Piedmont and Etna, are increasingly seen as offering that balance, with premium wines available at comparatively accessible price points.

Nelson said value is now a defining factor for buyers in 2026.

“Value is the key driver for Australian fine wine consumers… Italian wines are offering exactly that at an impressive array of price points to suit any budget,” he said.

The category is also proving attractive for newer collectors, offering what Langtons describes as “accessible prestige” and a more open entry point compared to the exclusivity often associated with Bordeaux.

Wines such as Brunello di Montalcino and Nebbiolo-based expressions are increasingly being positioned as entry points into cellar-worthy collections, combining ageability with relative affordability.

At the same time, a new generation of Italian producers is reshaping the category, moving away from heavier, oak-driven styles towards wines that emphasise site expression and vibrancy.

“There’s definitely a ‘new guard’ of Italian winemaking… stripping away the makeup… to let the raw, vibrating energy of the site speak,” Nelson said.

Langtons is also expanding its offering in the category, including exclusive access to wines from family-owned producer Boroli, alongside a broader selection spanning Piedmont, Veneto, Sicily and Tuscany.

The company will showcase the category further at its upcoming Italian Collection Masterclass and Tasting in Sydney, featuring more than 50 wines from 23 producers across four key regions.

For collectors and drinkers alike, the message is clear: Italy may have been overlooked, but it is no longer under the radar.

The Met to Return 16 Statues to Cambodia and Thailand Over Trafficking Concerns

The Khmer-era sculptures are linked to an art dealer suspected of selling looted antiquities, authorities said

Italian wines are emerging as a serious contender for Australian collectors, offering depth, rarity and value as French benchmarks continue to climb.