81 Minutes. 13 Works of Art. $10 million reward. 

These three figures have plagued the art world since the night of March 18, 1990 when Boston’s Isabella Stewart Gardner Museum was ransacked by two men posing as police officers. 

The world’s greatest unsolved art heist remains the focus of Last Seen*, a new podcast presented by WBUR and The Boston Globe. The 10-part investigative podcast will premiere on September 17, hosted by WBUR senior producer Kelly Horan and reporter Jack Rodolico, with major contributions from Stephen Kurkjian, a Pulitzer Prize-winning former Globe reporter and editor and author of the 2015 book “Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist.” The team will rely on “first-ever interviews, unprecedented access and over a year of investigative reporting.”

Released on the heels of Empty Frames, another podcast examining the Gardner Heist, the most recent trailer for the program queries “How can you find the truth?” “As the hosts venture to Philadelphia, Florida, Ireland, and Italy to examine various suspects and scenarios,” we have the chance to sift through all of the evidence available to the public. 

Will we ever find the truth? Or, after 28 years and despite the offer of a $10 million reward, are the Gardner frames destined to remain empty?

By:  Aubrey Catrone, Provenance Researcher

*To subscribe to the podcast on Apple: 

https://itunes.apple.com/us/podcast/id1413228088

The empty frames still hang on the walls of the Isabella Stewart Gardner Museum.  A reminder of the March 18, 1990 theft, where, in 81 minutes, thieves posing as police officers tied up two security guards and made off with 13 works of art. 

The artworks have not been recovered, despite the healthy reward of $10 million dollars originally set to expire at midnight December 31, 2017.

The following are the thirteen stolen works of art which are still missing:

This week, Steve Kidder, President of the Isabella Stewart Gardner Museum board of trustees, announced that the board has approved an indefinite extension  to the $10 million dollar reward for information leading to the recovery of all 13 works in good condition.

Despite a $5 million USD reward for information leading to the return of $500 million in artwork by Rembrandt, Degas, Manet, Vermeer, and more, the Isabella Stewart Gardner Museum heist has been unsolved for 25 years.   

In 2012 the FBI searched the Manchester, Connecticut home of notorious gangster Robert “Bobby the Cook” Gentile who the FBI has accused of being linked to the 13 stolen paintings.

Yesterday, May 2, 2016, the federal law enforcement agency went back in force for a second look.  Using metal detectors, rakes and shovels, the team of twelve agents set up a tent and tarp and scoured the terrain surrounding the residence on Frances Drive.  Gentile's son and wife Patricia were both present at the house throughout the search.  

In May 2013, Gentile, an alleged “made man” connected with the Philadelphia Mafia, was sentenced to 30 months in prison for illegally selling prescription drugs to an FBI informant and for possessing guns, silencers and ammunition. With a criminal history stretching back to the 1950s, he was freed from prison in 2014 on supervised release only to be arrested again in April 2015. 

He is currently being held without bail on federal weapons charges and is scheduled to stand trial in federal court in Hartford, Connecticut in July. 

Despite yesterday’s search, America's biggest-ever art heist remains unsolved. 

The 13 missing artworks are:  

a bronze eagle finial for a for a Napoleonic flagstaff

a Chinese Beaker or Ku

Degas, Cortege aux Environs de Florence

Degas, Three Mounted Jockeys

Degas, Program for an artistic soiree (1)

Degas, Program for an artistic soiree (1)

Degas, La Sortie de Pesage

Flinck, Landscape with Obelisk

Manet, Chez Tortoni

Rembrandt, A Lady and Gentleman in Black

Rembrandt, The Storm on the Sea of Galilee

Rembrandt, Self-Portrait

Vermeer, The Concert

Shortly before its 8 pm closing time, on Thursday November 19, 2015 three darkly-dressed masked thieves entered the Verona Civic Museum of Castelvecchio near Verona in northern Italy.  Using a methodology reminiscent of that used during the Isabella Stewart Gardner Museum heist, the culprits tied up and gagged a museum cashier and the sole private security guard on duty using adhesive tape shortly after the museum's employees had left for the evening.

One accomplice stayed with the cashier, holding her at gunpoint while the other two, one of whom was also armed, escorted the watchmen through the museum's exhibition rooms.  In total, the thieves made off with seventeen Italian and foreign artworks including rare pieces by Peter Paul Rubens, Bellini, Pisanello, Mategna, the Venetian artist Tintoretto and his son.  

“La Madonna della Quaglia” by Antonio Pisano also known as Pisanello tempera su tavola, cm 54×32

Mayor Flavio Tosi has referred to the museum's robbery as a “theft to order” crime, a label that, absent further elaboration, has fallen out of favor among art crime investigators as it feeds the public's imagination and more often than not, results in over-generalised misperceptions about who commits art crime and for what underlying motive.

Conjuring up images of cat burglars that look and act like sexy Hollywood starlets, cinematic “theft to order” protagonists are typically technologically savvy art thieves who burgle museums by easily outsmarting complex alarm systems.  If the protagonist is female, she is usually sexily clad but the common denominator among all film art thieves is that they are usually never caught and go on to live happily ever after, having made bundles off the sale of the paintings.

The truth is, demystifying offender characteristics and the motives of art thieves from media hype is difficult.  There is no single set of common physical or mental characteristics or motives which would make profiling the art criminal easier.

In Thursday’s theft the Castelvecchio museum's alarm system was not even activated as the thieves timed their arrival to coincide with the museum’s closing hour, entering just before the nightly alarms were to to be turned on.  Timed to perfection, the culprits successfully made off with artwork Italian authorities are estimating as worth between 10 and 15 million euros. The city’s mayor also stated that authorities hadn’t ruled out the possibility that the paintings could have been stolen to fund “jihadisti”.

Some of the paintings, mostly those painted on wooden panels, were taken off the walls and carried away as is.  Others artworks were removed from their frames, with the canvases then being rolled-up for ease of carrying. Thirteen of the stolen paintings are considered to be masterpieces while the other four are reportedly of lessor value.

Authorities have described the stolen artworks as:

“Ritratto di Girolamo Pompei” by Giovanni Benini
olio su tela, cm 85×63, inv. 45793-1B4017 – Estimated Value: €5.000
“Ritratto di Giovane Monaco Benedettino” by Giovanni Francesco Caroto
olio su tela, cm 43×33, inv. 1407-1B0142 – Estimated Value: €200,000
“Ritratto di Giovane con Disegno Infantile” by Giovanni Francesco Caroto,
olio su tavola, cm 37×29, inv. 5519-1B0130 – Estimated Value: €2,000,000
“San Girolamo Penitente” by Jacopo Bellini
tempera su tavola, cm 95×65, inv. 876-1B0306 – Estimated Value: €2,000,000
“Paesaggio” by Hans de Jode
olio su tela, cm 70×99, inv. 6275-1B0685 – Estimated Value: €200.000
“Porto di mare” by Hans de Jode
olio su tela, cm 70×99, inv. 6273-1B0680– Estimated Value: €200.00
“Sacra Famiglia Con Una Santa” by Andrea Mantegna,
tempera su tela, cm 76×55,5 inv. 855-1B0087 – Estimated Value €4,000,000
“La Madonna della Quaglia” by Antonio Pisano also known as Pisanello,
tempera su tavola, cm 54×32, inv. 164-1B0090 – Estimated Value €4,000,000
“Dama delle licnidi” by Peter Paul Rubens
olio su tela, cm 76×60, inv. 1779-1B0166 – Estimated Value €1,500,000
“Ritratto di Marco Pasqualigo” by Domenico Tintoretto
olio su tela, cm 48×40, inv.6707-1B0158 – Estimated Value €500,000
“Ritratto di Ammiraglio Veneziano” by the school of Domenico Tintoretto
olio su tela, cm 110×89, inv. 1602-1B0710 – Estimated Value €100,000
“Banchetto di Baltassar” by Jacopo Tintoretto
 olio su tavola, cm 26,5×79, inv. 264-1B0229 – Estimated Value €100,000
“Giudizio di Salomone” by Jacopo Tintoretto,
olio su tavola, cm 26,5×79,5, inv. 266-1B0230 – Estimated Value €100,000
“Madonna Allattante” by Jacopo Tintoretto
olio su tela, cm 89×76, inv. 1285-1B1623– Estimated Value € 500,000
“Sansone” by Jacopo Tintoretto,
olio su tavola, cm 26,5×79, inv. 265-1B0228 – Estimated Value €100,000
“Trasporto dell’Arca dell’Alleanza” by Jacopo Tintoretto,
olio su tavola, cm 28×80, inv. 263-1B0227 – Estimated Value €100,000
“Ritratto Maschile” possibly by Jacopo Tintoretto
olio su tela, cm 54×44, inv. 44381-1B4013 – Estimated Value €150,000
4 other artworks by artists such as Hans de Jode and Giovanni Benini

In addition to the artwork stolen, the bandits also damaged a table by Giulio Licinio.

The culprits left the scene of the crime using the museum custodian's own car, likely switching vehicles at some distance from the museum.  Authorities are reviewing footage from the 48 museum CCTV cameras installed in and around the museum for possible clues as to their identities.

Photos of the 17 artworks taken are posted to this blog post.

Andrea Mantegna, Sacra Famiglia Con Una Santa tempera su tela, cm 76×55,5

“Ritratto Maschile” possibly by Jacopo Tintoretto olio su tela, cm 54×44

“Ritratto di Marco Pasqualigo” by Domenico Tintoretto olio su tela, cm 48×40

“Ritratto di Girolamo Pompei” by Giovanni Benini olio su tela, cm 85×63

“Paesaggio” by Hans de Jode olio su tela, cm 70×99

“Porto di mare” by Hans de Jode olio su tela, cm 70×99

“Ritratto di Girolamo Pompei” by Giovanni Benini olio su tela, cm 85×63

“Banchetto di Baltassar” by Jacopo Tintoretto olio su tavola, cm 26,5×79

“Giudizio di Salomone” by Jacopo Tintoretto olio su tavola, cm 26,5×79,5

“Trasporto dell’Arca dell’Alleanza” by Jacopo Tintoretto olio su tavola, cm 28×80

“Sansone” by Jacopo Tintoretto olio su tavola, cm 26,5×79

“Madonna Allattante” by Jacopo Tintoretto olio su tela, cm 89×76

“Ritratto di Ammiraglio Veneziano” by the school of Domenico Tintoretto olio su tela, cm 110×89

“Ritratto di Giovane con Disegno Infantile” by Giovanni Francesco Caroto olio su tavola, cm 37×29

“Ritratto di Giovane Monaco Benedettino” by Giovanni Francesco Caroto olio su tela, cm 43×33

“Dama delle Licnidi” by Peter Paul Rubens olio su tela, cm 76×60

Art Taylor for The Washington Post includes this in his review of Kurkjian's "Master Thieves":

Kurkjian clearly knows how to work his beat — he won three Pulitzer Prizes while at the Boston Globe. For this book, he interviewed low-level criminals long suspected of the crime and he reached out to mob bosses for answers. And most impressive, he delivers the story of Louis Royce, who discovered the museum’s security lapses while sneaking into the galleries during his troubled teen years. Royce claims that he passed that information along to his criminal connections and that someone picked up his tip and carried out the heist. 

Placing the theft in historical context, Kurkjian charts the evolution of Boston’s gang wars in the 1980s and details how criminals have used stolen art to bargain plea deals. He also looks at the Gardner’s security issues, everything from troubles with the museum’s board to personnel lapses, and he examines failures in the FBI’s treatment of art crimes, building stark comparisons to more-successful European approaches. Notorious gangster Whitey Bulger’s story lurks along the edges of the narrative, and Kurkjian argues that Bulger’s capture in 2011 and the hunt for the Boston Marathon bombers in 2013 provide models for how crowdsourcing might be used to locate the missing Gardner masterpieces. Kurkjian has gathered so much information that explaining the smallest bit of it leads to a spate of cross-references, qualifications and digressions.

William McKeen for the Boston Globe reviews "Master Thieves" here.

And here are previous posts on the ARCA Blog related to Kurkjian's reporting on the still unsolved Boston art theft: "Tip to Authorities ..."; Kurkjian's interview with security guard; and the FBI's awareness campaign.

Kurkjian's book is available in print and can be electronically downloaded on iBooks.

In his first TV interview, FBI Special Agent Geoff Kelly, the Bureau's leading investigator on the Gardner Case, tells FOX 25's Bob Ward the trail for the missing Gardner artwork has not grown cold. Kelly said the Bureau has confirmed sightings, from sources the Bureau deems credible, of the Gardner artwork in the years after it was stolen. He also identified three persons of interest in the Gardner case, all with ties to organized crime: Carmello Merlino, Robert Guarente, and Robert Gentile. Kelly said in the late 1990's, two FBI informants told the Bureau that Merlino was preparing to return Rembrandt's Storm on the Sea of Galilee, in an effort to collect the reward. However, Merlino and his crew were soon arrested in an aborted armored car heist and the painting was never returned. Kelly believes Guarente somehow passed control of the stolen Gardner artwork to Gentile, a Manchester, Conn. man. Kelly believes Gentile has ties to organized crime in Philadelphia, PA and that Gentile helped bring some or all of the stolen Gardner artwork to Philadelphia where it was last seen in 2000, offered for sale. In 2012 Gentile's home and property in Manchester, Conn. were extensively searched but no sign of the stolen Gardner artwork was located. However, Kelly said authorities recovered police paraphernalia, including "clothing, articles of clothing with police and FBI insignias on it, handcuffs, a scanner, two way radios, and Tasers" and these are not common items. Gentile, through his lawyer, denied having any connection to the Gardner art heist or with moving the artwork after the fact. Both Merlino and Guarente are now dead. If you have any information about the Gardner Museum artwork, call the FBI at 1-800-CALL-FBI. There is a $5 million reward in this case. 

Read more (and see the video which includes an appearance by Anthony Amore, security director of the Gardner museum): http://www.myfoxboston.com/story/25583520/fbi-has-confirmed-sightings-of-gardner-artwork-after-heist#ixzz32SaaZt9e

"The FBI told me that they had information from several sources that I was an actual participant in the robbery," Turner recalled. "What was said was 'Give us the paintings right now, and you can go home."

'body shop grew into an underworld flea market for looted goods. "If there was something you wanted stolen, that was the place. You could go there and just put in an order, and they would have crews running all sorts of places, South Shore Malls, downtown, everywhere," retired state police officer Eddie Whelan told me.

Boser wrote on pages 105-107 that:

Merlino was picked up on a drug charge in 1992, and through an intermediary, he offered to return the paintings for a reduced prison sentence. He told prosecutors that the masterpieces were "very big and international," that the deal has to be kept quiet or he would be killed. But Merlino never offered any hard evidence of the lost art ... [but] it was clear that Merlino did not have direct access to the art, that he was attempting to secure the masterpieces from someone else.

Boser wrote on page 201:

Perhaps mob associate Robert Guarente was the mastermind? He was a friend of Turner's, a frequent visitor to Merlino's body shop, and had connections to Myles Connor. But Guarente died in 2004 without any sign of the paintings. The FBI confidential informant reports also imply that Turner himself had the loot. That seems impossible. Turner would have almost certainly given up the canvases to get out of his thirty-eight year prison sentence. 

In August, following an eight-week trial, jurors found Bulger participated in 11 murders while operating a sprawling criminal enterprise from the 1970s through the 1990s that trafficked in cocaine and marijuana; extorted drug dealers, businessmen, and bookmakers; and corrupted FBI agents and other law enforcement officials. He was convicted of 31 counts of racketeering, extortion, money laundering, and weapons possession. 

In a sentencing memorandum filed last week, prosecutors said Bulger “has no redeeming qualities” and faces a mandatory term under federal sentencing guidelines of life in prison, followed by another life sentence for possessing machine guns and another five-year term for possessing handguns.

For the past seven years, Amore has also served as the museum’s chief investigator into the 1990 theft of 13 priceless works of art from the museum. 

Author of “Stealing Rembrandts: The Untold Stories of Notorious Art Heists” with investigative reporter Tom Mashberg, Amore discussed some of the most infamous art heists of the 20th century, involving works valued $1 billion in total. 

Chief among the heists involved one at the at the Isabella Stewart Gardner Museum, which alone resulted in the loss of $500 million worth in paintings, etching and other works that have yet to be recovered. 

In that case, two men posing as Boston police officers were buzzed into the museum on March 18, 1990, after saying they were responding to a disturbance. They handcuffed the two night guards who were on duty and took them into the basement, where they were secured to pipes and their hands, feet and heads were duct taped. 

Amore described how the thieves made off with priceless works like Rembrandt’s Storm on the Sea of Galilee, A Lady and Gentleman in Black and a Self Portrait, Vermeer’s The Concert and Edouard Manet’s Chez Tortoni, according to the museum’s website. 

Not all art thieves, however, were so clever. Amore also regaled the audience with stories of robbers with more bravado than brains — among them Myles Connor, a notorious Boston art thief who unwittingly tried to sell works by Andrew Wyeth and NC Wyeth to an undercover FBI agent. He and several accomplices stole the paintings — along with several other famous paintings — from the Woolworth Estate in Monmouth, Maine, in the early 1970s. 

“When you steal these highly recognizable paintings, there’s no market for them. There’s no one out there who’s going to buy a painting that everyone knows is stolen. Especially when, even if you’re paying pennies on the dollar, you’re paying millions of dollars. It doesn’t take a genius to figure out that people don’t spend lots of money on things they can never show anyone. 

“Myles found that out, he couldn’t find a buyer for these Wyeth paintings,” Amore said. “He looked and looked and looked and couldn’t find one. Then all of a sudden, he gets lucky and he comes across a guy named Bernie Murphy who wants to buy these paintings from him.” 

Murphy arranged to meet Connor in the parking lot of a Cape Cod IGA store to discuss a deal. 

“Myles is elated,” Amore said. “They go, they park next to each other, Myles opens his trunk and shows him the Wyeth paintings.” Unfortunately for Connor, the supposed buyer reaches into his pocket and pulls out his FBI badge.

Degas' After the Bath c 1883

Shapiro does several clever things. She uses real artists and real connoisseurs like Gardner in the telling of the book. All the forgers Claire learns from are real, as are the techniques they used. She mixes in chapters of Isabella Gardner’s letters to her niece detailing her adventures with Degas — these are juicy fiction. She offers “A Note on the Research” at the end of the book to make clear what is history and what is fiction.

The painting techniques that Claire uses for both her forgery and her own work are consistent with current practices, as are the descriptions of the struggles of a young artists. The forgers and dealers she discovers through her Internet research were/are actual people, including John Myratt, Ely Sakhai, and Han van Meegeren, and the specifics of their crimes, methods, inventions, and punishments are also accurate. 

The details of the 1990 robbery of Gardner Museum are factual -- it remains the largest unsolved art heist in history -- with the exception of the inclusion of Degas' fifth After the Bath, which neither was stolen nor exists, although it is a composite based on his other four After the Bath works.

Here's an article overlooked by the ARCA Blog last year: In the Boston Globe, a former Undersecretary for Home Security, Juliette Kayyem, wrote in March 2012 of the "Gardner's narrative of resiliency" on the new addition to the institution:

In 1990, two thieves dressed as Boston police officers told the museum night guards on duty that they were responding to a call. The thieves passed the sole security door. There was just one alarm button at the time; only motion detectors traced their movements. There were no cameras. A mere 81 minutes later, they were in possession of the masterpieces worth, today, half a billion dollars. The investigation is ongoing. 

The new building could have been a fortress. But that would have made the theft the focal point of how we would perceive the museum. Instead, the colorless glass entry, the brick walls, even the enclosed corridor that passes from the new building through a grove of trees into Gardner’s historic courtyard serve as practical access controls. There are no doors for the public to the original Gardner mansion. A thief would now have to walk through a transparent glass tunnel, into the new building, and out a security door for the easiest exit. Though counterintuitive, its openness makes it more secure. 

While the museum is watched by hundreds of cameras, the new structure is designed to relieve some of the stress from Gardner’s old home by shifting the burdens of exit and entry to the much more modern and secure building. “There is simply no place in the museum where a thief can just grab art and get outside,’’ Anthony Amore, the head of museum security and author of “Stealing Rembrandts,’’ said.

Rick Abath, one of the nightwatch men on duty March 18 when two men stole 13 paintings from the Isabella Stewart Gardner Museum in Boston, gave his first television interview to Randi Kaye for her story "81 Minutes Inside: The Greatest Art Heist In History" which aired on Anderson Cooper 360 CNN on March 22.

Rick Abath, who had working at the museum for about a year, began his night shift at 11.30 p.m. He explained that guards took turns walking through the museum and manning the security desk next to the employee entrance. On the night of the theft, Abath's "usual partner had called in sick" "so they paired him with a daytime gallery guard".

Ms. Kaye narrates:

Abath takes the first round which takes longer than usual. The fire alarm goes off for no apparent reason -- so does another alarm on the fourth floor. Then the other gallery guard does the round. It is 1.24 a.m. and Rick is alone at the guard desk. Two men dressed as Boston police officers buzz the side entrance and tell Abath that they are there because there's been a disturbance on the property.

Anthony Amore, Director of Security for the Isabella Stewart Gardner, explains to Ms. Kaye that it was against museum policy for the nightwatchman to let anyone into the museum.

While Abath concedes that this may have been the written policy, Abath says that the "culture" was to let museum employees in at night "at least once a month", including the director of the museum. "So it wasn't unusual for Rick to hear that buzzer go off," Ms. Kaye narrates.

The panic button on the guard's desk was not easy to reach. "It was the same kind of panic button at a bank or something," Rick Abath said. "It was up on the underside of the desk. But it was a fairly long desk and the computer that you had to be at to do your job was all the way to your left and it was all the way to the right so it just wasn't within arms reach."

Tonight Anderson Cooper 360 features a documentary, "81 minutes: Inside the Greatest Art Heist in History" at 10 p.m. ET (US). The show claims an exclusive television interview with Richard Abath, the night watchman who admits he was the guard on duty who "buzzed in" the two thieves disguised as police officers.

The segment also includes Anthony Amore, Security Director of the ISGM, walking journalist Randi Kaye through the known events of the 1990 theft in the early morning hours of March 18.

Ulrich Boser, author of The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft (HarperCollins Publishers, 2008), in The New York Times March 21 in "Learning from the Gardner Theft", comments on the long investigation into the paintings stolen from the Isabella Stewart Gardner Museum in 1990:

Boston Globe: Photo by Steven Senne/AP at FBI conference

The Boston Globe reports that a 2010 tip to authorities led to the identity of the two men who robbed the Isabella Stewart Gardner Museum in 1990, according to today's article "Tips pour in on Gardner Museum art theft" by Milton J. Valencia, Shelley Murphy, and Stephen Kurkjian.

The FBI and the Isabella Stewart Gardner Museum ­received a flood of tips from around the country Tuesday, as new details emerged about the turning point in the investigation of the notorious Gardner Museum heist 23 years ago. 

The latest, exhaustive phase in the inquiry is based on a tip that a caller made to authorities in 2010, according to Anthony Amore, the Gardner Museum’s head of security and chief investigator. 

He said Tuesday that the tip was so fruitful — leading to the announcement that investigators know the identities of the thieves and could trace the art from Boston to Connecticut and Philadelphia — that the FBI has since rededicated significant resources to investigating the heist. 

“That tip, plus thousands of man-hours, led to where we are today,” Amore said.

The latest focus has been on Robert Gentile, a 75-year-old ailing Mafia figure with ties to organized crime in Philadelphia and Boston. His Connecticut home was searched last year in relation to the heist. He was charged with drug dealing and possession of an illegal firearm in what his lawyer called a tactic by the FBI to pressure him to disclose information about the heist. 

Gentile, who pleaded guilty and is slated to be sentenced in May, faces a lengthy prison term. His lawyer, Ryan McGuigan, has maintained that Gentile knows nothing about the heist or the whereabouts of the artwork. 

But investigators seem to have trained their focus on Gentile in the recent phase of the investigation. 

A person with knowledge of the FBI investigation, who asked to remain anonymous ­because of the sensitivity of the inquiry, confirmed Tuesday that investigators found a list of the art stolen from the Gardner, and the estimated value of the works, during the search of Gentile’s home. The discovery of the list was first ­reported by The Hartford ­Courant. 

Gentile also had close ties to organized crime figures in Philadelphia and in Boston, including the late Robert Guarente, who has been tied to almost every­one mentioned as a person of interest in the heist. 

Guarente, for instance, was close with the late Carmello Merlino, who ran an auto body shop in Dorchester and who, according to FBI reports, once tried to negotiate the return of the artworks. No deal ever came to fruition, and Merlino was later convicted in a scheme to rob an armored car depot in Easton. He said that he was set up by informants and that the FBI was pressuring him for ­information regarding the Gardner heist. Merlino died in prison in 2005 at age 71. 

Two other men were also convicted in the armored car depot scheme and received lengthy prison sentences, though they have denied knowledge of the heist or the ­location of the artwork. ­Stephen Rossetti, 54, who is Guarente’s nephew, is slated to be released in 2044, and David Turner, 45, is set to be released in 2025. 

Guarente died in 2004 at age 65. His wife has told authorities in recent years that she saw him give Gentile at least one painting some time around 2003, around the time authorities say some of the art was offered for sale in Philadelphia. The wife, however, did not describe the painting as one of the works taken from the Gardner.

FBI: An empty frame in the Dutch Room of the ISGM

by Catherine Sezgin, ARCA Blog Editor

"As I have said many times in the past, this investigation is an excuse in finding 13 needles in a haystack by making the haystack smaller. The information we provided at the press conference shows that we continue this work, and that the haystack is smaller than ever."

The Isabella Stewart Gardner Museum and the U. S. Attorney's Office in Massachusetts continue to work on this investigation with the FBI.

You may find more information here on the FBI's website.

And here's a link to an article in Harvard Magazine featuring Anthony Amore.