UKNIP247 
A newly unveiled Banksy artwork in Peckham, south-east London, was removed less than an hour after the renowned street artist revealed it on Instagram. The piece, which depicted a silhouette of a wolf howling on a satellite dish, was part of Banksy’s latest series of animal-themed artworks scattered across different locations in London.
On Thursday afternoon, Banksy, whose identity remains a mystery despite widespread speculation, posted a photo of the wolf artwork on his Instagram account. The piece was located on the roof of a shop on Rye Lane, Peckham. However, the artwork’s presence was short-lived.
In photos captured from the scene, a person can be seen climbing a ladder to retrieve the satellite dish while another individual holds the ladder. Further images show a person, wearing denim shorts, walking away with the piece of art.
The Metropolitan Police confirmed they were called to reports of a stolen satellite dish containing the artwork at 1:52 PM on Thursday. “There have been no arrests. Inquiries continue,” a police spokesperson said.
The rapid removal of the wolf artwork follows a pattern of Banksy pieces being swiftly taken down in the Peckham area. In March, another Banksy piece in Peckham was removed just hours after it was confirmed as authentic, sparking discussions about the fate of public art and its accessibility.
The wolf silhouette is the latest in a series of animal-themed artworks unveiled by Banksy this week across London. The first piece revealed on Monday near Kew Bridge in south-west London, depicted a goat with rocks tumbling below it, positioned just above a CCTV camera.
On Tuesday, another Banksy artwork appeared in Chelsea, featuring silhouettes of two elephants with their trunks stretched toward each other on the side of a building. This was followed by a trio of monkeys seemingly swinging from underneath a bridge over Brick Lane in east London. The monkeys are speculated to reference the Japanese proverb “see no evil, hear no evil, speak no evil,” though, in Banksy’s depiction, the monkeys do not cover their eyes, ears, or mouths.
Banksy’s recent works have continued to generate significant public interest and debate. In June, a migrant boat installation created by Banksy appeared at the Glastonbury Festival, where it was crowdsurfed during performances. The artwork drew criticism from then-home secretary James Cleverly, who described it as “vile” and accused it of “trivialising” small boat crossings. Banksy responded by calling the reaction “a bit over the top.”
In December, another Banksy piece in Peckham—a traffic stop sign adorned with three aircraft resembling military drones—was also removed shortly after being confirmed as authentic.
The repeated removal of Banksy’s works raises questions about the accessibility and preservation of street art, as well as the challenges in balancing public access with the protection of such iconic pieces.
