It was the art theft investigation that went nowhere.
When a landscape painted by Pierre-Auguste Renoir was stolen from the Baltimore Museum of Art on Nov. 17, 1951, there were no newspaper headlines. The report filed by the Baltimore Police Department was a model of brevity, just 90 words long, including the notation of the artwork's value: $2,500.
It's unlikely that the theft was reported to the FBI.
And current museum director Doreen Bolger and her staff were dumbfounded when they learned in recent days that a theft had occurred there in 1951.
"Everybody at the museum was flabbergasted to find out that a theft took place 61 years ago that nobody knew anything about until 2012," said Anne Mannix, the museum's director of public relations.
"We really want to find out what happened, but there are more questions than answers right now."
It's fair to say that in the past six decades, museum practices have changed.
When the Potomack Company, a Washington-area auction house, announced this month that it planned to auction off Renoir's "Paysage Bords de Seine" from 1879, the news drew worldwide interest. The back story — the painting had been purchased for $7 in a box of odds and ends at a West Virginia flea market — was irresistible.
And the mystery of what had happened to the diminutive landscape since it was bought in 1926 by Herbert L. May, then the husband of Baltimore heiress Sadie Adler May, only added to the intrigue. Potential buyers from Japan, China and Europe made plans to fly halfway around the world so they could bid on the artwork at the auction, which had been scheduled for Saturday.
The sale was canceled and the FBI launched an inquiry after Bolger found an index card noting that the painting had gone AWOL from the museum in 1951.
It's unclear who might end up owning the landscape. Possible claimants include the BMA, where the painting was located until it was stolen; the insurance company that paid out on the loss; and the Virginia woman known only as "Renoir Girl" who until this week believed she had picked up the bargain of her life.
Bolger said this week: "These things are never cut and dried."
On Friday, the Baltimore Police Department released a brief report that contained scant clues. The original report, signed by Northern District Officers Francis Fink and Lawrence Barry, stated only that the painting had disappeared between 6 p.m. Nov. 16, 1951, and 1 p.m. Nov. 17, 1951.
Fink died a few years ago, and Barry could not be reached Friday for comment.
But their report notes that there were no signs of forced entry, causing at least one expert to speculate that the thief was familiar with museum security.
"The thief wasn't necessarily an employee, though he could have been. It could have been an art expert or a visitor," said Robert K. Wittman, a former senior investigator for the FBI who founded its National Art Crime Team. Still, "Ninety percent of thefts from museums even today are inside jobs."
Even at the museum itself, the heist seems to have been treated as dismaying but not catastrophic. The crime was called in not by museum director Adelyn Breeskin, but by James Foster Jr. Mannix said Foster edited the museum's monthly magazine and gave public talks about the artworks in May's collection.
Even in its gilt frame, "Paysage Bords de Seine" was just slightly larger than a piece of letterhead. In 1951, it would have been a comparatively easy matter to slip the painting into a briefcase and walk outside unobserved.
Indeed, a Renaissance manuscript that was part of May's collection also disappeared in 1946, under similarly confounding circumstances.
"Security in 1951 was nothing like it was today," said Wittman, who now runs a Pennsylvania-based art recovery firm. "There probably wasn't anything more than a guard at a front door."