Exhibition History:
The Art Institute of Chicago, "A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection" (August 2 – October 26, 1997).
The Art Institute of Chicago, Alsdorf Galleries of Indian, Southeast Asian, Himalayan and Islamic Art, December 2008 to present.

Published:
Pratapaditya Pal with contributions by Stephen Little, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art (The Art Institute of Chicago, 1997), p. 280: 36 and color plate p. 38.
Stephen Little, “Southeast Asian Sculptures from the James and Marilynn Alsdorf Collection,” Orientations 28, 7 (July/August 1997), p. 58: fig. 3.
The Art Institute of Chicago Annual Report, 2008-2009 (posted on AIC web site), p. 19
Robert L. Brown, "An Aesthetic Encounter: Khmer Art from Thailand, Cambodia and Vietnam" in Orientations 42, No. 3, (April 2011), pp. 50-56.

Provenance:
Purchased by Mr. and Mrs. James W. Alsdorf, Chicago, Illinois, from Yvonne Moreau-Gobard of Amsterdam, Netherlands, in the 1970’s. Mrs. Alsdorf promised the work to the Art Institute of Chicago in 2002 and gave it to the Art Institute of Chicago in 2008.

Additional Information Statement:
The donor reports that she and her husband acquired this object in the 1970’s from the dealer Yvonne Moreau-Gobard of Amsterdam, Netherlands. This information is consistent with the donor’s documented collecting activities. Attempts to determine when and from whom Ms. Moreau-Gobard acquired the object were unsuccessful. The work was exhibited in 1997 and has been publicly displayed since 2008, and it has been published multiple times. This is one of the centerpieces of the Art Institute of Chicago's collection of Khmer art, not only because it is a fine example in the Baphuon style (named after the Baphuon temple at Angkor) but also because it is one of the Southeast Asian collection’s most complete free-standing sculptures in stone.