Bloch-Bauer, Adele (1923). "Testament vom 19.1.1923 von Adele Bloch-Bauer" (PDF). University of Geneva . Retrieved 17 April 2017.

Schwartz, Agata (2010). Gender and Modernity in Central Europe: The Austro-Hungarian Monarchy and Its Legacy. Ottawa, ON: University of Ottawa Press. ISBN 978-0-7766-0726-9. Arbitral Award – 5 Klimt paintings Maria V. Altmann and others v. Republic of Austria, 15 January 2004" (PDF). University of Geneva. 15 January 2004 . Retrieved 17 April 2017. Donovan, Diane (1 October 2012). "Donovan's Bookshelf; Book Review". MBR Bookwatch . Retrieved 27 April 2017. Months later, happening upon an art book with "Woman in Gold" on the cover, Schoenberg has an epiphany. Using a narrow rule of law and precedents in which an art restitution law was retroactively applied, Schoenberg files a claim in US court against the Austrian government contesting their claim to the painting. An appeal goes to the Supreme Court of the United States, where in the matter of Republic of Austria v. Altmann, the court rules in Altmann's favor, which results in the Austrian government attempting to persuade Altmann to retain the painting for the gallery, which she refuses. After a falling out over the issue of returning to Austria for a second time to argue the case, Altmann agrees for Schoenberg to go and argue the case in front of a panel of three arbiters in Vienna. Clegg, Elizabeth (December 2008). "Klimt and the 1908 Kunstschau". The Burlington Magazine. 150 (1269): 852–853. JSTOR 40480009.The Woman in Gold: Historical Timeline" (PDF). Neue Galerie. Archived from the original (PDF) on 11 May 2016 . Retrieved 7 April 2017. Woman in Gold is a 2015 biographical drama film directed by Simon Curtis and written by Alexi Kaye Campbell. The film stars Helen Mirren, Ryan Reynolds, Daniel Brühl, Katie Holmes, Tatiana Maslany, Max Irons, Charles Dance, Elizabeth McGovern, and Jonathan Pryce. The film strongly suggests that during the oral argument in Republic of Austria v. Altmann, Chief Justice William Rehnquist (played by Jonathan Pryce) is won over by Schoenberg and supports him. In fact, Rehnquist dissented from the court's eventual decision in Altmann's favour. After exhibition at the Kunstschau, the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, [22] in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. [48] In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month. [49]

Shapira, Elana (1 March 2009). "Adele Bloch-Bauer". Jewish Women: A Comprehensive Historical Encyclopedia. Jewish Women's Archive . Retrieved 6 April 2017. Without reference to a date of commission, Partsch considers that some initial sketches were undertaken in 1900. [24] Although Altmann was not old enough at the time to remember Klimt's visits, she grew up visiting her uncle and aunt's grand house, which was filled with pictures, tapestries, elegant furniture and a collection of fine porcelain. Adele would often hold court for musicians, artists and writers in the salon of her huge house on Elisabethstrasse near the Wiener Staatsoper (the Vienna State Opera house).In Austria, the panel hears the case, during which Schoenberg reminds them of the Nazi regime's crimes. He implores the arbitration panel to think of the meaning of the word "restitution" and to look past the artwork hanging in art galleries to see the injustice to the families who once owned such great paintings and were forcibly separated from them by the Nazis. Unexpectedly, Altmann arrives during the session, indicating to Czernin that she came to support her lawyer. After considering both sides of the dispute, the arbitration panel rules in favour of Altmann, returning her paintings. The Austrian government representative makes a last-minute proposal begging Altmann to keep the paintings in the Belvedere against a generous compensation. Altmann refuses and elects to have the painting moved to the United States with her ("They will now travel to America like I once had to as well") and takes up an offer made earlier by Ronald Lauder to acquire them for his New York gallery to display the painting on condition that it be a permanent exhibit. Wigley, Samuel (20 July 2015). "British Films at Berlin 2015". British Film Institute . Retrieved 27 April 2017. Schoenberg, E. Randol (9 June 2014). The Recovery of Nazi-Looted Art: The Bloch-Bauer Klimt Paintings (Video). University of California. Archived from the original on 2021-12-21 . Retrieved 17 April 2017. Woman in Gold' (15)". British Board of Film Classification. 20 March 2015 . Retrieved 20 March 2015. Shapira, Elana (2016). Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siècle Vienna. Lebanon, NH: Brandeis University Press. ISBN 978-1-61168-969-3.