In a morning ceremony in New York, UIB rector Jaume Carot drew attention to a surprising discrepancy in the university’s art holdings. He noted that the campus records show no trace of four paintings donated decades ago by renowned artists, a situation that raises questions about their whereabouts since the donation occurred in 1988. The University Council has been kept informed, and a formal police complaint is expected to close the loop and determine the fate of the works created by Barceló, Mariscal, Sicilia, and Broto.
Carot confirmed that documentary evidence exists showing these artists contributed pieces to defend sa Canova, yet the available official data remains limited. The donation took place roughly 35 years ago, a period during which none of the current UIB directors held any leadership role within the university. The rector emphasized the lack of contemporary involvement by those in authority at the time, signaling that the current administration cannot be held responsible for the absence of records or the loss of the artworks.
According to Carot, at that earlier moment, a single individual was known to have been in charge of managing UIB’s artistic heritage, though the name was not disclosed. This omission has long been a point of contention as officials attempt to trace accountability for the missing works. The rector asserted that this person’s role remained undocumented, making it difficult to establish direct responsibility for the deterioration of the university’s art collection.
UIB first learned of the issue toward the end of February when the fund that oversees Majorcan artist Miquel Barceló’s works reached out to locate the original inventory from 1985. The university had not cataloged the Barceló piece within its records, prompting Barceló’s representatives to discover that a specific painting was slated for auction at a Madrid gallery in March. The work reportedly belonged to a female owner who claimed she had purchased it from a Palmia gallery for about 10,000 euros. Upon learning of the situation, the owner indicated a willingness to return the painting to the university without any compensation, a sentiment later corroborated by the rector.
The painting is expected to be brought to Mallorca next Monday, with the rector noting that all pieces donated for sa Canova’s defense had, at some point, been displayed in various Mallorca galleries. Since then, however, the trail has grown cold, and the current status of four of the six artifacts once donated to the UIB remains unknown. This evolving story underscores a broader challenge in art stewardship and archival governance, especially when large donations intersect with shifting administrative structures and long gaps in documentation. The university intends to pursue a clear resolution, ensuring that the provenance and current custody of these works are established with transparency. This updated course of action reflects a commitment to preserving cultural assets and restoring trust among donors, curators, and the public. [citation: UIB governance report, internal records]
As investigators move forward, experts note that art provenance can be a labyrinth, particularly when pieces pass through multiple hands and institutions over decades. The university’s leadership has signaled openness to collaboration with heritage professionals and legal authorities to resolve the status of the four missing works. The core issues revolve around proper inventory, secure custody, and the accurate attribution of ownership. The outcome of these inquiries will likely influence how the UIB manages donated works in the future, including measures to prevent similar gaps in record-keeping and to strengthen the processes that govern the acceptance, storage, and display of donated art. [citation: Institutional audit conclusions]
Meanwhile, those with a direct interest in sa Canova’s defense paintings — donors, custodians, and galleries — are watching the case closely. The unfolding developments may have implications for the university’s relationships with collectors and cultural partners, highlighting the ongoing need for robust artifact management practices. The university stresses its dedication to safeguarding artistic heritage and restoring the integrity of its collections, even as the hunt for the lost canvases continues. [citation: Cultural heritage management brief]