„Belvedere Palace” (на језику: engleski). Encyclopædia Britannica Online. Приступљено 29. 6. 2012.CS1 одржавање: Непрепознат језик (веза)
„Österreichische Gallery” (на језику: engleski). Encyclopædia Britannica Online. Приступљено 29. 6. 2012.CS1 одржавање: Непрепознат језик (веза)
hyperallergic.com
Carroll, Marisa (2012-05-24). „The Painting That Launched a Thousand Lawsuits”. Hyperallergic (на језику: енглески). Архивирано из оригинала 2012-10-25. г. Приступљено 2021-04-28. „Rudolph Leopold, an Austrian ophthalmologist, had accumulated a staggering number of Schiele pieces in his lifetime — but not always honestly, as the documentary Portrait of Wally forcefully argues. The painting originally belonged to a Viennese art dealer named Lea Bondi, but in 1939 Friedrich Welz, a member of the Nazi Party, confiscated it from her private collection. By mistake, the painting was restituted to the Belvedere Museum in Austria after World War II as part of another dealer's collection. In 1954, Bondi asked Leopold, a known Schiele collector, to help her track down the painting. Instead, he bartered with the museum for it and made it his own.”
„Austria to Return Art Stolen by Nazis”. www.lootedart.com. New York Times. Архивирано из оригинала 2010-11-24. г. Приступљено 2021-04-28. „Her husband fled to Switzerland after the Nazis took over Austria. The Nazis then took the paintings and a Belvedere gallery was made the formal owner.”
„The last prisoners of war: Inside the battle to recover Nazi-stolen artwork”. MSNBC.com (на језику: енглески). Архивирано из оригинала 2020-11-24. г. Приступљено 2021-04-28. „Portrait of Amalie Zuckerkandl by Gustav Klimt Rather than return this obviously looted painting, an Austrian arbitration panel concluded that it should stay in the Belvedere. The arbitrators said they were not certain exactly how the painting left Ferdinand's home, and believed (despite a mountain of evidence concerning the Nazi liquidation of Ferdinand's entire estate) that Ferdinand might have decided to give the painting to Amalie's family. How this could have been accomplished while Ferdinand was in exile, the arbitrators did not explain.”
nytimes.com
Waxman, Sharon (2006-04-06). „A Homecoming, in Los Angeles, for Five Klimts Looted by Nazis”. The New York Times (на језику: енглески). ISSN0362-4331. Архивирано из оригинала 2016-08-10. г. Приступљено 2021-04-28. „Mr. Bloch-Bauer hung her portraits and the other Klimts in a special room in his palace as a kind of shrine to his beloved wife. But after Germany annexed Austria in March 1938, he fled without any of his belongings. The new Nazi government levied a bogus tax bill on the industrialist, and confiscated his property, placing threeof the Klimt paintings in the Austrian Gallery, and selling the rest.”
provenienzforschung.gv.at
„Morgenstern_Josef_2020-03-06 BESCHLUSS”(PDF). provenienzforschung.gv.at. Архивирано(PDF) из оригинала 2021-01-26. г. „Der Beirat sieht es demnach als erwiesen an, dass sich das Gemälde seit spätestens 1924 und – wie nunmehr durch den ausgewerteten Akt nach dem Kriegs- und Verfolgungssachschädengesetz gesichert ist – bis zumindest nach dem "Anschluss" 1938 im Eigentum von Dr. Josef Morgenstern befand, und kommt zum Ergebnis, dass der Tatbestand des § 1 Abs. 1 Z 2 Kunstrückgabegesetz erfüllt ist. Dem Bundesminister ist daher die Übereignung des Gemäldes an die Rechtsnachfolgerinnen und Rechtsnachfolger nach Dr. Josef Morgenstern zu empfehlen.”
„Morgenstern_Josef_2020-03-06 BESCHLUSS”(PDF). provenienzforschung.gv.at. Архивирано(PDF) из оригинала 2021-01-26. г. „Der Beirat sieht es demnach als erwiesen an, dass sich das Gemälde seit spätestens 1924 und – wie nunmehr durch den ausgewerteten Akt nach dem Kriegs- und Verfolgungssachschädengesetz gesichert ist – bis zumindest nach dem "Anschluss" 1938 im Eigentum von Dr. Josef Morgenstern befand, und kommt zum Ergebnis, dass der Tatbestand des § 1 Abs. 1 Z 2 Kunstrückgabegesetz erfüllt ist. Dem Bundesminister ist daher die Übereignung des Gemäldes an die Rechtsnachfolgerinnen und Rechtsnachfolger nach Dr. Josef Morgenstern zu empfehlen.”
Waxman, Sharon (2006-04-06). „A Homecoming, in Los Angeles, for Five Klimts Looted by Nazis”. The New York Times (на језику: енглески). ISSN0362-4331. Архивирано из оригинала 2016-08-10. г. Приступљено 2021-04-28. „Mr. Bloch-Bauer hung her portraits and the other Klimts in a special room in his palace as a kind of shrine to his beloved wife. But after Germany annexed Austria in March 1938, he fled without any of his belongings. The new Nazi government levied a bogus tax bill on the industrialist, and confiscated his property, placing threeof the Klimt paintings in the Austrian Gallery, and selling the rest.”
„Austria to Return Art Stolen by Nazis”. www.lootedart.com. New York Times. Архивирано из оригинала 2010-11-24. г. Приступљено 2021-04-28. „Her husband fled to Switzerland after the Nazis took over Austria. The Nazis then took the paintings and a Belvedere gallery was made the formal owner.”
„The last prisoners of war: Inside the battle to recover Nazi-stolen artwork”. MSNBC.com (на језику: енглески). Архивирано из оригинала 2020-11-24. г. Приступљено 2021-04-28. „Portrait of Amalie Zuckerkandl by Gustav Klimt Rather than return this obviously looted painting, an Austrian arbitration panel concluded that it should stay in the Belvedere. The arbitrators said they were not certain exactly how the painting left Ferdinand's home, and believed (despite a mountain of evidence concerning the Nazi liquidation of Ferdinand's entire estate) that Ferdinand might have decided to give the painting to Amalie's family. How this could have been accomplished while Ferdinand was in exile, the arbitrators did not explain.”
Carroll, Marisa (2012-05-24). „The Painting That Launched a Thousand Lawsuits”. Hyperallergic (на језику: енглески). Архивирано из оригинала 2012-10-25. г. Приступљено 2021-04-28. „Rudolph Leopold, an Austrian ophthalmologist, had accumulated a staggering number of Schiele pieces in his lifetime — but not always honestly, as the documentary Portrait of Wally forcefully argues. The painting originally belonged to a Viennese art dealer named Lea Bondi, but in 1939 Friedrich Welz, a member of the Nazi Party, confiscated it from her private collection. By mistake, the painting was restituted to the Belvedere Museum in Austria after World War II as part of another dealer's collection. In 1954, Bondi asked Leopold, a known Schiele collector, to help her track down the painting. Instead, he bartered with the museum for it and made it his own.”
Waxman, Sharon (2006-04-06). „A Homecoming, in Los Angeles, for Five Klimts Looted by Nazis”. The New York Times (на језику: енглески). ISSN0362-4331. Архивирано из оригинала 2016-08-10. г. Приступљено 2021-04-28. „Mr. Bloch-Bauer hung her portraits and the other Klimts in a special room in his palace as a kind of shrine to his beloved wife. But after Germany annexed Austria in March 1938, he fled without any of his belongings. The new Nazi government levied a bogus tax bill on the industrialist, and confiscated his property, placing threeof the Klimt paintings in the Austrian Gallery, and selling the rest.”
