The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015.
On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:
Portrait of Adele Bloch-Bauer I. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a charge of tax evasion was made against him. The assets raised from the purported sales of artwork, property and his sugar business were offset against the tax claim.
Still, the newly created Austrian restitution panel denied Ms. Altmann’s claim. It wasn’t until 2006, after the United States Supreme Court cleared the way for Ms. Altmann, then living in California, to sue the Austrian government, that an agreement was reached. Rather than pursue a lengthy and costly trial, Ms.
February 7, 2011Maria Altmann / Date of death
Neue Galerie New YorkPrivate collectionPortrait of Adele Bloch-Bauer I/Locations
“Woman in Gold,” a 2015 film starring Helen Mirren and Ryan Reynolds, is based on the true story of Maria Altmann, a Jewish woman who took on and won a years-long battle against the Austrian government to regain ownership of a Gustav Klimt painting of her aunt, Adele Bloch-Bauer.
$130 millionSo it made sense for us to sell the most valuable piece at $130 million on a private basis, and with that comparable established in the market, to offer the other four pieces at auction. ' Altmann's four Klimt paintings were sold at a record-breaking Christie's sale of Impressionist and Modern Art in November 2006.
Gustav Klimt's work has been offered at auction multiple times, with realized prices ranging from 7 USD to 87,936,000 USD, depending on the size and medium of the artwork.
Ronald S. LauderA dazzling gold-flecked 1907 portrait by Gustav Klimt has been purchased for the Neue Galerie in Manhattan by the cosmetics magnate Ronald S. Lauder for $135 million, the highest sum ever paid for a painting.
She had just married opera singer Fritz Altmann and her uncle had given her Adele's diamond earrings and a necklace as a wedding present. But the Nazis stole them from her — the stunning necklace she wore on her wedding day was sent to Nazi leader Hermann Göring as a present for his wife.
His wife began selling cashmere sweaters from a shop in Beverly Hills, and was so successful that she turned it into a fashion shop and her husband joined her in the business. Fritz died in 1994. Altmann's quiet life ended abruptly in 1998, when Czernin announced his discovery.
Portrait of Adele Bloch-Bauer IIOprah Winfrey made a pretty penny selling Gustav Klimt's Portrait of Adele Bloch-Bauer II (1912) for $150 million in 2016, reports Katya Kazakina for Bloomberg. The buyer is allegedly an unidentified Chinese collector, who pulled the trigger on the purchase over the summer.
around $240,000The price paid for The Kiss painting by the Austrian government was both record-breakingly high and an incredible bargain. When the Austrian government bought The Kiss from Klimt before he finished it, they paid a record-breaking 25,000 crowns for the painting. Today, this sum translates to around $240,000.
An arbitration panel in Vienna would ultimately award Altmann ownership of the paintings. In June 2006 cosmetics magnate Ronald Lauder purchased Portrait of Adele Bloch-Bauer I for $135 million — then the highest price ever paid for a painting — for display in Manhattan's Neue Galerie, a sale brokered by Christie's.
Who owns the Lady in Gold painting? Cosmetics tycoon Ronald Lauder bought Portrait of Adele Bloch-Bauer I from Christie's for $135 million, then the highest price ever paid for an artwork. The painting will go on display at Manhattan's Neue Galerie.
Altmann, ended up in the Supreme Court of the United States, which ruled in 2004 that Austria was not immune from such a lawsuit. After this decision, Altmann and Austria agreed to binding arbitration by a panel of three Austrian judges.
The paintings were estimated to be collectively worth at least $150 million when returned.
Although the Austrian courts later reduced this amount to $350,000, this was still too much for Altmann, and she dropped her case in the Austrian court system. In 2000, Altmann filed a lawsuit in the United States District Court for the Central District of California under the Foreign Sovereign Immunities Act (FSIA).
In November 2006, Adele Bloch-Bauer II (1912) was sold at auction at Christie's in New York fetching almost $88 million. In total, the four remaining paintings sold at auction for $192.7 million; coupled with the Lauder-bought painting the sum total was approximately $325 million.
With Austria under pressure in the 1990s to re-examine its Nazi past, the Austrian Green Party helped pass a new law in 1998 introducing greater transparency into the hitherto murky process of dealing with the issue of restitution of artworks looted during the Nazi period.
Stealing Klimt, released in 2007, features interviews with Altmann and others who were closely involved with the case from E. Randol Schoenberg to Hubertus Czernin. Adele's Wish, released in 2008 by filmmaker Terrence Turner, features interviews with Altmann, Schoenberg, and leading experts from around the world.
The paintings left Austria in March 2006 and were on display at the Los Angeles County Museum of Art until June 30, 2006. Months after the Austrian government returned Altmann's family's belongings, she consigned the Klimt paintings to the auction house Christie's to be sold on behalf of her family.
The painting measures 138 by 138 cm (54 by 54 in); it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".
For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait.
Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.
Adele Bauer [ de] was from a wealthy Jewish Vien nese family. Her father was a director of the Wiener Bankverein [ de], the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa MĂĽller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.
Portrait of Fritza Riedler (1906), exhibited and criticised alongside the Portrait of Adele Bloch-Bauer in 1907. Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906).
Preparation and execution. Preparatory sketch for the portrait, c. 1903. The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna. In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October.
In 1908 the portrait was exhibited at the Kunstschau in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as " mehr Blech als Bloch " ("more brass than Bloch").
The couple had three sons and a daughter in America, building a life together in a country that welcomed them. Yet Altmann never forgot what the Nazis stole from her family. Portrait of Adele Bloch-Bauer, painting by Gustav Klimt (1862-1918). Photo: Leemage/Corbis/Getty Images.
He sent Altmann a cashmere sweater to see if Americans might like the fine, soft wool. Altmann took the sweater to a department store in Beverly Hills, which agreed to sell them. Other stores across the country followed suit, and Altmann eventually opened her own clothing boutique.
In 1925, Adele died of meningitis at the age of 44.
He died of a broken heart.”. Of course, the Nazis seized all of Ferdinand's assets, which included his vast art collection. Portrait of Adele Bloch-Bauer I became known as Woman in Gold, as well as a symbol of all that the family had lost.
Yet the paintings hung in Vienna’s Austrian Gallery at Belvedere Palace with a placard inscribed: "Adele Bloch-Bauer 1907, bequeathed by Adele and Ferdinand Bloch-Bauer.". When Altmann arrived there, she defied the security guards to be photographed beside her Aunt Adele, saying loudly: “That painting belongs to me.”.
Altmann led a charmed childhood. Maria Viktoria Bloch-Bauer was born to Gustav Bloch-Bauer and Therese Bauer on February 18, 1916, in Vienna, Austria. Her wealthy Jewish family, including her uncle Ferdinand and aunt Adele, were close to the artists of the Vienna Secession movement, which Klimt helped establish in 1897.
For many years, Altmann had assumed that the Austrian National Gallery had taken possession of the Klimt paintings. But when she was 82, she learned from the tenacious Austrian investigative journalist Hubertus Czernin that the title to the paintings was hers, and she vowed to get them back. In 1999 she and her lawyer tried to sue the Austrian government. It had kept the paintings based on Adele’s will in which she made a “kind request,” that Ferdinand donate the paintings to the state museum after his death, which took place in 1945.
Schoenberg compared their legal efforts to a PR stunt — victory seemed impossible, but it was sure to earn Altmann’s story the attention it deserved. Really, that’s all they wanted.
That year, Altmann sold Adele’s portrait to Ronald Lauder, co-founder and president of the Neue Galerie in New York City, for a staggering $135 million, the highest price ever paid for a single painting at the time.
The artwork had been stolen from her family’s home after she escaped from Austria as a Jewish refugee of the Holocaust during World War II. Never certain she would even live to see a verdict, Altmann’s fight wasn’t about money or revenge.
Over several years, Altmann’s case went from a district court in Central California to the U.S. Supreme Court, which ultimately led to binding arbitration in Austria. It was a risky series of moves meant to push the case forward, as Schoenberg feared Altmann would die before her case was resolved.
Furthermore, Adele died before the Klimts were stolen, and Ferdinand’s will left everything to his nieces and nephews. It was up to Schoenberg to demonstrate, in part, that Adele’s dying wishes were simply a request that could not have been made with knowledge of the horrors that would befall her family. Advertisement.
Maria Altmann, at her home in Los Angeles on Jan. 9, 2004, stands before a poor reproduction of famed Austrian painter Gustav Klimt’s “The Portrait of Adele Bloch Bauer I.” (AP Photo/Nam Huh) Altmann, then living in Los Angeles, never thought she would actually gain control of her native country’s most prized artistic possession.
“You know, no one even thought we would win.”. According to Schoenberg, Altmann didn’t do anything extravagant with her share of the money.
In 2013, a Dutch panel, for example, ruled that despite evidence that a Jewish industrialist persecuted by the Nazis was forced to sell two old masters paintings under duress, the heirs’ interest in restitution “carries less weight” than the interests of the museums that currently own them.
For one, there is the mesmerizing gold-flecked painting itself, which set a record price of $135 million when it was sold in 2006.
The German newspaper Der Spiegel also took successive regimes to task in 2013 when reporters revealed that the German government, both on its own and with various museums, ignored or actively frustrated restitution for decades.
In France, fewer than 100 of the 2,000 unclaimed works of looted art that hang in the country’s museums have been returned.
That same year, the Austrian Parliament passed a law requiring museums to open up their archives for research and to return plundered property. The legislation was spurred in part by revelations about looted art published by the journalist Hubertus Czernin, portrayed in the film by Daniel BrĂĽhl.
As the new film “Woman in Gold,” starring Helen Mirren as the indefatigable Maria Altmann, acknowledges in a brief written prologue before the credits roll, more than 100,000 stolen works of art are still unaccounted for.
In 1998, 44 countries, including Austria, signed the Washington Principles on Nazi-Confiscated Art, a nonbinding agreement that called for a “just and fair solution” for Jews and other victims of Nazi persecution.
"The Klimts were always in the bedroom, but after she died, the bed was removed and there were always fresh flowers," Mrs. Altmann said.
A dazzling gold-flecked 1907 portrait by Gustav Klimt has been purchased for the Neue Galerie in Manhattan by the cosmetics magnate Ronald S. Lauder for $135 million, the highest sum ever paid for a painting.
In January an arbitration tribunal in Austria decided in favor of Mrs. Altmann and her fellow heirs, awarding them the five paintings. In addition to "Adele Bloch-Bauer I" they include a second portrait of Adele, from 1911, and three landscapes: "Beechwood" (1903), "Apple Tree I" (circa 1911) and "Houses in Unterach on Lake Atter" (1916).
The painting, which took Klimt three years to create, shows her aunt regally posed, with a mysterious gaze, sensuous red lips and her hands twisted near her face to conceal a deformed finger. He used gold throughout the richly painted background and in the glistening fabric of Adele's patterned gown.
Lauder to disclose the price, experts familiar with the negotiations, speaking on condition of anonymity, said he paid $135 million for the work.
That Mrs. Altmann and her relatives have possession of the painting is a tale of perseverance and tenacity. After the war the family tried to regain their stolen possessions, including the paintings, porcelains, palaces and the sugar company founded by Mr. Bloch-Bauer.
She has a niece and two nephews ; a cousin of her brother's second wife also survives. In a telephone interview on Friday Mrs. Altmann said she had met Mr. Lauder, a former American ambassador to Austria, some years ago and that she had visited the Neue Galerie when it first opened in November 2001.
Maria Altmann (née Maria Victoria Bloch, later Bloch-Bauer, February 18, 1916 – February 7, 2011) was an Austrian-American Jewish refugee from Austria, who fled her home country after it was annexed to the Third Reich. She is noted for her ultimately successful legal campaign to reclaim from the Government of Austria five family-owned paintings by the artist Gustav Klimt which were stolen by the …
Altmann died on February 7, 2011 at her home in the Cheviot Hills neighborhood of Los Angeles, shortly before her 95th birthday. Obituaries appeared in The New York Times, The Guardian, and many other publications internationally.
Altmann's story has been recounted in three documentary films. Stealing Klimt, released in 2007, features interviews with Altmann and others who were closely involved with the case from E. Randol Schoenberg to Hubertus Czernin. Adele's Wish, released in 2008 by filmmaker Terrence Turner, features interviews with Altmann, Schoenberg, and leading experts from around the world. The Rape of Europa, a documentary about the Nazi plunder, also included material about Altman…
• National Fund of the Republic of Austria for Victims of National Socialism
• Adele Bloch-Bauer German Wikipedia article
• Ferdinand Bloch-Bauer German Wikipedia article
• Jewess with Oranges
• "Klimt: Adele's Last Will" on YouTube
• Adele's Wish
• Ninth Circuit Court of Appeals ruling in Altmann v. Republic of Austria [forbidden link]
• Maria Altmann video testimony on USC Shoah Foundation Visual History Archive Online
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, in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic an…
The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008). The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told b…
• Art repatriation
• List of most expensive paintings
• stealingklimt.com
• Fortune article by Tyler Green about Ronald Lauder and the Neue Galerie's acquisition of the painting.
• Austrian Arbitral Award, "Maria V. Altmann and others v. Republic of Austria", 6 May 2006. (in German)