Epstein Files Reveal Possible Dealings Between Leon Black and Disgraced Dealer Douglas Latchford

Artnet News

by Sarah Cascone

February 19, 2026

AI-Generated Deep Dive Summary

A recently uncovered inventory from the Epstein files has raised questions about a potential connection between billionaire art collector Leon Black and the late British antiquities dealer Douglas Latchford. Among the documents is a spreadsheet detailing Black’s Southeast Asian art collection, which includes a $7 million bronze Shiva statue that closely matches one featured in Latchford’s 2004 book *Adoration and Glory: The Golden Age of Khmer Art*. This discovery has sparked concerns over the provenance of Black’s collection and the broader implications for the art world. Douglas Latchford, once a respected dealer in Southeast Asian antiquities, was known for his expertise but also for his controversial practices. Born to British parents in India and based in Thailand, Latchford became a prominent figure in the art world, even receiving Cambodia’s highest honor in 2008. However, his reputation crumbled after he was charged with wire fraud, smuggling, and conspiracy in 2019. The indictment revealed that Latchford had been involved in the illicit trafficking of Cambodian artifacts, often obtained during periods of civil unrest and falsified as legal exports. The spreadsheet from Epstein’s files lists 12 works valued at $27.7 million, including the Shiva statue, which Black purchased for $23.85 million. While Black’s spokesperson claims he acquired his collection through a reputable dealer and provided all relevant information to U.S. authorities years ago, questions remain about how these items entered the art market. The discovery has drawn attention from legal experts and cultural heritage advocates, who argue that such high-profile cases highlight the need for greater transparency in the provenance of antiquities. This case underscores the ongoing challenges in ensuring that ancient artifacts are acquired legally and returned to their countries of origin when looted or trafficked. As museums and collectors increasingly face scrutiny over their collections’ origins, the Black-Latchford connection serves as a cautionary tale about the ethical complexities of the art market. For readers interested in art, this story highlights the importance of provenance verification and the role of legal frameworks in protecting cultural heritage.

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Originally published on Artnet News on 2/19/2026