The thirteen-work inventory
Document
Museum and FBI lists name each object, including Vermeer's Concert and Rembrandt's seascape. The list is the case's hard core: if a picture reappears, it can be matched to a published title.
The physical evidence the public can still see is negative: frames without pictures and a catalogue of absences.
What investigators hold beyond that — tips, informant claims, later searches — has not been converted into returned art.
Exhibits
Empty frames in situ
Object
The frames left on the Dutch Room and neighbouring walls are both exhibit and policy. They document what was cut from the stretchers and keep the loss visible to every visitor.
Night-staff statements
Testimony
The watchmen's account of two men in police guise is the opening narrative. It has not been replaced by a confessed, convicted alternative in a public trial.
FBI 2013 briefing
Press
The Bureau's announcement that it had identified the thieves and a later organised-crime path is the highest official claim. It named no recovered canvas.
Later search warrants and books
Court
Affidavits around Connecticut and Massachusetts searches, plus Globe and book reconstructions, show a long lead list. Searches did not produce the thirteen works.
Reward notices
Notice
The museum's escalating reward, $10 million from 2017 for a complete good-condition return, is itself evidence of an unclosed market in information. No one has collected it in public.
How strong is the record?
What was taken95
The object list is not in serious dispute.
Who took it40
FBI 2013 confidence has not become a public conviction or a returned picture.
Where the works are20
No verified sighting has ended in a museum recovery.
Documentary thickness60
A strong loss catalogue and a thin, still-secret investigative file.
The Gardner file is rich on titles and poor on whereabouts — the definition of an unsolved art theft.
Public-record encyclopedia. Not legal advice. Not a how-to. Graphic detail is withheld. Wars belong in a separate atlas.