For sale: 7-bed mansion in Atlanta with … a Rembrandt stolen 34 years ago in the Gardner heist?

The purported sighting was among about 20 tips reported to the museum over the past year from people who thought they saw one or the other of the two most recognizable stolen paintings, “The Storm” or Vermeer’s “The Concert,” in homes across the country that were staged for sale and featured in real estate listings, according to Anthony Amore, the museum’s security director.

“You know there’s a low probability that they’re our paintings,” said Amore, who ruled out each one as being an original. “People who are holding our art aren’t going to put it on the wall to be photographed for the internet.”

On the 34th anniversary of the world’s largest art heist, Amore, who has worked with the FBI on the theft investigation for 18 years, said he appreciates tips from people on the lookout for the stolen artwork. But with the majority of tips related to the two most famous paintings, officials say they’re trying to draw attention to some of the lesser known works, which might hold key clues to solving the crime, and remind people of the museum’s $10 million reward for information leading to the safe return of the artwork.

“We’re asking the public to refamiliarize themselves with all 13 stolen artworks, not just the most iconic ones,” said Kristen Setera, a spokesperson for the FBI’s Boston office in a statement. ”The FBI remains committed to following all viable leads in an effort to return these pieces to the museum.”

On March 18, 1990, at 1:24 a.m., two men posing as police officers talked their way into the museum on the Fenway by claiming they were investigating a disturbance. They then tied up the two guards on duty and spent 81 minutes inside. They pulled and slashed masterpieces from their frames, leaving shattered glass on the floor. They fled with the Vermeer; three Rembrandts, “The Storm,” “A Lady and Gentleman in Black,” and a stamp-sized self-portrait; Flinck’s “Landscape with an Obelisk”; Manet’s “Chez Tortoni”; five Degas sketches; an ancient Chinese vase; and a bronze eagle finial. The artwork is valued at more than $500 million.

To this day the baffling case remains one of the city’s most enduring mysteries, with countless theories and a dizzying array of suspects that included a Hollywood screenwriter, Irish gangsters, Corsican mobsters, notorious art thieves, and local petty criminals with Mafia ties. No one has been charged with the robbery and the statute of limitations expired decades ago. But, anyone caught knowingly possessing or transporting the stolen artwork could face prosecution.

Some of the lesser-known pieces — several sketches by Edgar Degas of jockeys on horses — have fueled a theory that the thieves were local criminals who liked to bet on horse races, according to Amore. The theory goes, Amore said, that while one of the thieves was removing the more notable works from the museum’s Dutch Room, the other “was sort of freelancing.”

Motion sensors that tracked the thieves’ footsteps show that after entering the museum, both spent 10 minutes in the Dutch room before one entered the Short Gallery and stopped at the Degas sketches after bypassing many works of greater value, Amore said during a recent interview. The thief also spent a lot of time unscrewing the finial from atop a Napoleonic flag.

“There was perhaps something about these Degas that interested them, perhaps racehorses,” Amore said during a recent interview. “You’d be hard-pressed to find criminals from that era who weren’t also patrons of Suffolk Downs.”

Amore said he believes the thief was more interested in the horses than in Degas because more valuable works by the artist in the museum were left untouched.

In 2013, Richard DesLauriers, then special agent in charge of the FBI’s Boston office, announced the bureau was confident it had identified the thieves — local criminals who have since died — but declined to name them. Authorities said they believed some of the artwork changed hands through organized crime circles while moving from Boston to Connecticut to Philadelphia, where the trail went cold around 2003.

Now that so much time has passed, DesLauriers, who is now retired, said it’s important to educate new generations about the missing artwork.

“People who might have stumbled upon the paintings or seen them might not have even been born when the paintings were stolen,” he said.

Last month, Richard Abath, the former guard who opened the door to the thieves, died after a long illness. He had steadfastly maintained he played no role in the heist, yet was under intense scrutiny over the years by federal investigators who suspect the thieves had help from someone with inside knowledge about the museum’s security.

In the first-floor gallery where the Manet was stolen, the FBI and Amore say the only steps that motion sensors detected were Abath’s, as he made his rounds before the thieves arrived.

Robert Fisher, a former assistant US attorney who oversaw the Gardner investigation from 2010 to 2016, said the deaths of many people suspected of involvement in the heist or hiding the stolen artwork is “a big loss” to the investigation. However, he said that could also lead to a break in the case.

“There may be family members or associates who know a family member or loved one was involved and didn’t feel comfortable coming forward when that person was still alive,” Fisher said.

Retired FBI agent Bob Wittman, who founded the agency’s art crime team, went undercover in 2006 to try to recover the Gardner artwork from a group of Corsican mobsters. He now runs a firm that consults on art security and recovery and said he is pursuing a tip that the finial from the Napoleonic flag was spotted in London last year.

Christopher Marinello, chief executive of Art Recovery International, said there’s a good chance the stolen Gardner artwork will be returned. He noted that artwork looted by the Nazis during World War II is still being recovered.

“We have had a lot of works emerge just because a collector has died or someone had an estate sale,” Marinello said.

Amore said he’s not surprised that Rembrandt’s “Storm” is emerging as a popular reproduction used in homes on Zillow, Redfin, and other listing sites. Prints are sold in the museum’s gift store and oil-painted replicas are widely available on the internet.

Jessica Harrington, owner of JessFinessed, a Boston-area home staging and interior design company, said the goal of staging is to use imagery and displays “that really grab the eye and look special from any other listing.”

Harrington said she tends to use more postmodern contemporary art, but a copy of a Rembrandt may appeal to some decorators because they were inspired by the painting or believe it amplifies the value of a home.

Investigators remain hopeful that the artwork will be recovered.

“We have a $10 million check we’re dying to write,” Amore said.

---

Shelley Murphy can be reached at shelley.murphy@globe.com. Follow her @shelleymurph.