A brazen overnight theft at the FOMO Fine Art Gallery in Pringle Bay, South Africa, has devastated the art community after thieves made off with seven valuable sculptures worth more than R1 million (approximately $55,000 USD). The stolen works, created by celebrated South African artists Anton Smit and Janko de Beer, represent not only significant financial loss but also irreplaceable cultural treasures that have left the gallery owners and broader art community reeling.
The carefully planned heist took place during the night of Tuesday, August 5, or in the early hours of Wednesday, August 6. Janko de Beer, co-owner of the gallery and accomplished visual artist and sculptor, discovered the theft when he returned to the gallery around 9 a.m. on Wednesday morning. "I was at the gallery until early Tuesday evening and returned at around 9 a.m. on Wednesday morning, when I immediately noticed that several sculptures were missing and one of our security cameras had been broken," de Beer explained.
The sophisticated nature of the crime became apparent as investigators examined the scene. De Beer noted that the camera positioned at the entrance to Pringle Bay, located at the main intersection, was also not functioning, though it remains unclear whether this was damaged during the incident or was already out of order. "This does not appear to have been an opportunistic crime," de Beer emphasized. "The sculptures are large and somewhat heavy, so the thieves would have needed a suitable vehicle, the right equipment, and enough people to move them. All indications suggest it was a planned and targeted theft."
According to de Beer, the stolen collection consists of seven sculptures in total: six works by renowned artist Anton Smit and one piece by de Beer himself, with a combined estimated value of just over R1 million. However, the gallery owner stressed that the emotional and cultural impact far exceeds the monetary loss. "These works are unique and instantly recognizable to those familiar with South African sculpture, making them difficult to sell openly without raising suspicion," he said. "This theft is not only a personal blow to the gallery and the artists involved but also to the broader South African art community."
The Kleinmond South African Police Service (SAPS) has launched an active investigation into the theft, though concrete leads remain elusive. "The Kleinmond SAPS have been extremely proactive and supportive, but at this stage we are not aware of any solid leads," de Beer reported. Despite the damaged security equipment and lack of immediate suspects, police continue their efforts to track down the perpetrators and recover the stolen artworks.
Recovery efforts began immediately following the discovery of the theft, with the gallery mobilizing both digital and traditional networks to spread awareness. "We immediately posted details and photographs of the stolen works on social media, which have been shared widely," de Beer explained. "Our network of collectors, reputable auction houses, and fellow galleries has also been alerted, and we are grateful for the solidarity and support." The distinctive nature of the stolen pieces may work in favor of recovery efforts, as de Beer noted: "Because of the distinctiveness of these works, it will be challenging for the thieves to sell them without someone recognizing them."
The gallery has issued an urgent appeal to the public, collectors, and art dealers to remain vigilant for any attempts to resell or transport sculptures matching the descriptions of the stolen pieces. While no monetary reward has been offered at this time, the focus remains on mobilizing the art community and general public to assist in the recovery process. De Beer urged anyone who encounters the stolen works to act swiftly, stating, "Please contact Kleinmond SAPS immediately, or get in touch directly with FOMO Fine Arts. Quick action is vital in recovering these works and holding those responsible to account."
The impact of the theft extends beyond financial considerations, striking at the heart of the artistic community's values and mission. De Beer reflected on the profound personal toll, explaining, "The impact is both financial and deeply personal. For the artists, these sculptures represent months of creative effort, skill, and inspiration, and their theft is profoundly discouraging." He added that the gallery's sculpture garden had been a source of pride and community joy: "Our sculpture garden is something we are proud of. It brings joy to our community and to visitors, and we have always believed that showcasing art outdoors was worth the inherent risks. Until now, we never felt this kind of targeted theft was a likely threat."
Despite the devastating loss and the disheartening nature of the crime, the gallery remains committed to its mission of making art accessible to the public. "While the incident is disheartening, it will not stop us from doing what we love," de Beer declared. "We have already strengthened our security measures and remain committed to making art accessible to the public." The theft serves as a stark reminder of the vulnerabilities faced by galleries and cultural institutions that choose to display valuable artworks in accessible outdoor settings, while also highlighting the resilience and solidarity of the art community in the face of such challenges.
