“Objects in museums have to come from somewhere. The stories of how they came to be in those collections often involve laws being broken, unethical behaviour, and extreme violence.” — Matthew Campbell
Imagine a gay Jeffrey Epstein who set up shop in Thailand. Only rather than peddling young girls, he traded in bodybuilders and priceless antiquities. That’s the story of the British émigré Douglas Latchford, the subject of Matthew Campbell’s new book The Man Who Stole the Gods. It’s the true story of a man who was born in the last days of the British Raj, made his fortune in Bangkok, became the world’s leading dealer of Khmer antiquities, and was indicted for criminal conspiracy in 2019.
Campbell’s tale is simultaneously a crime story, a history of Cambodia, and a parable about the relationship between Western wealth and the world’s cultural heritage. The Khmer Empire, which dominated Southeast Asia from the ninth to the fifteenth centuries, produced one of the finest civilisations of the medieval world. Angkor in the twelfth century had 750,000 people — making it ten times the size of London. After the genocidal Khmer Rouge regime, every Khmer site in Cambodia was systematically looted. The pieces went to the Metropolitan Museum, to Christie’s, to private American collectors. Latchford was the central conduit. The Jeffrey Epstein enabler.
Like Epstein, Latchford got away with it for years. Unlike Epstein, he died a free man, even chalking up a 2020 New York Times obituary as a Khmer antiquities expert.
Five Takeaways
• Douglas Latchford: The British Jeffrey Epstein of Asian Art: Born in the last days of the British Raj, educated in the UK, Latchford made his fortune in Bangkok and became the world’s leading dealer of Southeast Asian antiquities — selling pieces for millions of dollars to the Metropolitan Museum, Christie’s, and wealthy American collectors. He presented himself as an expert and connoisseur. He gave to universities and lent to exhibitions. He received a glowing obituary in the New York Times in August 2020. The dark side: he was, Campbell shows, the central organiser of a decades-long criminal conspiracy to loot Cambodia’s cultural heritage. He was indicted in 2019 but died before he could be extradited.
• The Khmer Empire: 750,000 People When London Had 40,000: The Khmer Empire dominated Southeast Asia from the ninth to the fifteenth centuries, ruling directly or indirectly over what is now Thailand, Vietnam, Laos, and parts of Malaysia. Its capital, Angkor, had 750,000 people in the twelfth century — when London had 40,000 at the absolute outside. The Khmer built extraordinary temple cities — Angkor Wat is only the most famous — and produced remarkable stone and bronze sculpture. Every single Khmer site in Cambodia was systematically looted. The pieces all went somewhere. A great many came to the West.
• The Vietnam War, Nixon, Kissinger, and the Conditions for Genocide: The Vietnam War is central to Campbell’s story. The Ho Chi Minh Trail ran partly through Cambodia, making Cambodia of great interest to Nixon and Kissinger. Beginning in 1968, large-scale American bombing of Cambodia — ostensibly aimed at destroying a supposed communist headquarters that, Campbell notes, never actually existed — helped destabilise the country and created the conditions in which the Khmer Rouge could emerge. The Khmer Rouge ideology: Pol Pot believed civilisation needed not to be reformed but erased. A blank slate. Rebuild from zero.
• The Museum World’s Complicity: The Sackler Parallel: The Metropolitan Museum of Art features prominently in Campbell’s account. Objects in museums have to come from somewhere — the works in the Met did not originate in New York. How they came to be in those collections often involved laws being broken, unethical behaviour, and extreme violence. Campbell draws a parallel with Patrick Radden Keefe’s account of the Sacklers: the more investigative journalists look at the wealthy donors and private collectors associated with major cultural institutions, the more troubling the stories that emerge. The museum world has a serious provenance problem.
• The Happy Ending: Repatriation and the National Museum in Phnom Penh: Latchford was indicted in 2019 for criminal conspiracy. He died in 2020, in a monastery in Northern Thailand, before he could be extradited. He never went to trial. But the recovery effort — a remarkable collaboration between Cambodia and the US Department of Justice — tracked down hundreds of stolen objects through meticulous detective work. The pieces have been returned to Cambodia. The National Museum in Phnom Penh now has so many repatriated objects that it is running out of room and may need to build a new wing. As Campbell says: that’s a good problem to have.
About the Guest
Matthew Campbell is an award-winning investigative journalist at Bloomberg Businessweek. He is the author of The Man Who Stole the Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Portfolio/Penguin Random House, June 2, 2026) and co-author, with Kit Chellel, of Dead in the Water (a Book of the Year in The Economist, Financial Times, and The Times; called a ‘masterpiece’ by the New York Times). A 2025 Jonathan Logan Family Foundation Fellow at New America, Campbell has reported from more than 25 countries. He lives in Singapore.
References:
• The Man Who Stole the Gods: A True Story of War, Obsession, and a Global Art Conspiracy by Matthew Campbell (Portfolio/Penguin Random House, June 2, 2026).
• Dead in the Water by Matthew Campbell and Kit Chellel (2022) — the preceding book, referenced at the opening.
• Patrick Radden Keefe, Empire of Pain — referenced as a parallel account of museum world complicity.
• The Metropolitan Museum of Art, New York — a central institution in the Latchford network.
• Cambodia’s National Museum, Phnom Penh — the destination of the repatriated objects.
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