CATALOGUE OF THE PERMANENT EXHIBITION CATALOGUE

Entrance room | Dining-room (Periodic Liszt exhibitions) | Study-bedroom | Drawing-room

Impressum Mária Eckhardt: Introduction Dezső Legány: Liszt's homes in Budapest (1984) János Kárpáti: Ferenc Liszt's pianos in the Liszt Ferenc Memorial Museum in Budapest (1986) CATALOGUE Bibliography List of abbreviations

Entrance Room 1.** PLAQUE BESIDE THE ENTRANCE OF LISZT'S FLAT IN PEST Composite heavy metal, gilt base, characters oxidized black. Inscriptions in Hungarian and German. Estate of Ferenc Liszt. 30 by 57 cm. - LM B. 40. 2. LISZT AT THE PIANO Oil painting by countess Eliza Nemes, née Baroness Ransonnet-Villez (1843-1899). Budapest, 1879. Deposited in 1986, and donated to the museum in 1992 by the Zeuper-Bogyó family. 150 by 200 cm. - LM O. 11. Frame: MFA. A caricature in Borsszem Jankó depicts Liszt sitting for a multitude of ladies painting his portrait (see Bory: La vie de François Liszt par l'image, 1936, p. 213; Burger: Franz Liszt, 1986, No. 555). From 17 March 1879 on, Liszt regularly sat as a model for the wife of Count Nándor Nemes, the talented French baroness Elise (Eliza) Ransonnet-Villez. The portrait was reputedly intended for the hall in the new building of the Academy of Music in Sugár street. Countess Nemes was also one of the ladies who decorated the furniture in Liszt's drawing-room, but her embroidered arm-chair has not survived (see Legány: Liszt Ferenc Magyarországon 1874-1886, 1986, pp. 115, 243, 258). 3. STAND WITH ROUND TOP AND PAINTED BOUQUET OF FLOWERS Beech or elm-wood, turned, painted. Hungarian or Austrian, second part of the 19th century. Height: 81.5 cm, diam.: 43 cm. - LM B. 9. ON THE ABOVE: 4.** LISZT'S CARD-TRAY FROM THE HALL OF HIS FLAT IN PEST Alabaster, having a foot. Hungarian or Austrian, c. 1860/70. With letter certifying authenticity by Vilma Varga, student of Liszt. Donated by Rudolf Brandt. Height: 20 cm, diam. of tray: 23.5 cm. - LM Er. 49. Though not a regular student at the Academy of Music, Vilma Varga (1865-1950) studied with Liszt in the academic years 1884/85 and 1885/86. IN THE ABOVE: 5. NAME-CARDS FROM LISZT'S CIRCLE a) Richard Burmeister (1860-1944), German pianist, Liszt's pupil at the Academy of Music in 1883/84. 7 by 11.2 cm. - LM Ep. 1280. b) Henrik Gobbi (1842-1920), Hungarian pianist and composer, fellow teacher of Liszt at the Academy of Music from 1878 onwards. (For his portrait, see Cat. No. 89.) 6.1 by 10.2 cm. - LM Ep. 1270. c) Lajos Haynald (1816-1891), Archbishop of Kalocsa, friend of Liszt, chairman of the Budapest Liszt Association. 6.4 by 10.8 cm. - LM Ep. 1273. d) Sofie (Sophie) Menter (1846-1918), German pianist, Liszt's favourite female pupil. (For her photo, see Cat. No. 43.) 6.4 by 13.3 cm. - LM Ep. 1276. e) János (Hans) Richter (1843-1916), conductor of Hungarian origin, friend of Liszt and Wagner; conducted "Christus" at the 1873 jubilee concert as well as Wagner first performances at Bayreuth. 4.6 by 8 cm. - LM Ep. 1271. f) Count Géza Zichy (1849-1924), pianist, composer, writer, protégé and friend of Liszt, chairman of the National Conservatoire. (For his portrait, see Cat. No. 36.) 5 by 8.8 cm. - LM Ep. 1278. 6. PORTRAIT OF LISZT Engraving showing Liszt's full-length figure at the piano. By József Rippl-Rónai (1861-1927) after an oil painting from 1886 by Mihály Munkácsy (1844-1900). Signed lower right: "Emlékül Kedves Anyámnak Rippl Józsi. Páris 1888" ["For my dear mother as a token of remembrance, Józsi Rippl. Paris 1888"]. 46 by 35.3 cm. - LM Gr. 50. 7. PORTRAIT OF LISZT Bas-relief, plaster of Paris, tondo. By Ernst Friedrich August Rietschel (1804-1861), made in 1854. Copy from 1859. Inscribed left: "FRANZ LISZT". Estate of Eduard von Liszt Jr. Diam.: 48 cm. - LM Pl. 15. 8. PORTRAIT OF THE AGED LISZT, MASK IN GLASS CASE FRAMED IN WOOD Plaster of Paris. Study for a bronze portrait (HNG 56.593-N.) by Alajos Stróbl (1856-1926). Height: c. 35 cm, height of case: 56 cm, length: 37 cm, width: 21 cm. - LM Pl. 18. 9. COSIMA VON BÜLOW, DAUGHTER OF LISZT Bas-relief, plaster of Paris, tondo. By Elisabeth Ney (1830-1907), made in 1859. Circular inscription: "COSIMA VON BÜLOW GEB: LISZT". Estate of Eduard von Liszt Jr. Diam.: 48 cm. - LM Pl. 11. From 1857 Cosima Liszt was married to Liszt's pupil Hans von Bülow. After their divorce, she married Richard Wagner in 1870. 10. PORTRAIT OF LISZT Engraving, half-length representation dressed as an abbé. By Konrad Meindl (1883-?) Under the picture, on the left side: drawing of a miniature death mask. On the right side, dedication in pencil: "Dem genialen Interpreten des "Heil. Franciscus" / Professor Stefan Thoman / zum freundlichen Andenken / Konrad Meindl / Budapest 1911." ["To the brilliant interpreter of "St. Francis" / Professor Stefan Thoman / as a friendly keepsake / Konrad Meindl / Budapest 1911."] Portrait: 43.5 by 33.3 cm. Page size: 58.5 by 43.3 cm. - LM Gr. 47. István Thomán (1862-1940) was one of Liszt's best Hungarian pupils at the Budapest Academy of Music (1883-86) and his successor as the professor of the piano faculty (1887-1907). His piano pupils included Béla Bartók and Erno (Ernst von) Dohnányi. 11. PORTRAIT OF COUNTESS MARIE D'AGOULT Engraving, portrait in profile by Émile-Pierre Metzmacher (1815-1890) after an oil painting by Henri Lehmann (1814-1882). Signed below, on the left: "Peint par H. Lehmann - Rome 1839", on the right: "Dessiné et gravé par Metzmacher, 1849." Publishers: L'Artiste, Paris; Goupil, Vibert & Cie, Paris - New York; Gambart, Londres. On the passepartout, in the right bottom corner, dedication in ink: "Marie d'Agoult / ? M. le Comte Ladislas Teleki / Paris 1 juillet 1850". 38.4 by 30 cm, passepartout: 56 by 45.5 cm. - LM Gr. 83. Countess Marie d'Agoult, née Flavigny (1805-1876) was Liszt's first companion and mother of his three children: Blandine (1835-1862), Cosima (1837-1930) and Daniel (1839-1859) Liszt. After their rupture in 1844, she became a writer under the pseudonym Daniel Stern. In addition to Nélida, her notorious roman ? clef, one of her best-known works is Histoire de la revolution de 1848 (2 volumes, Paris 1850-51) which may explain the dedication to Count László Teleki (1811-1861), Minister of the Hungarian revolutionary government in Paris from September 1848, and after the collapse of the struggle for independence, a long time in exile there. Shortly after his return to Hungary, in his disappointment regarding political developments, he committed suicide. Liszt immortalized him in his set of piano pieces Hungarian Historical Portraits. 12. LISZT LITHOGRAPHS BY JOSEPH KRIEHUBER (1800-1876) a) Half-length representation of seated figure, 1838. Printed by Joh. Höfelich. At the bottom: facsimile of signature and Saphir's poem An Liszt's Bild. 29.5 by 22.6 cm. - LM Gr. 10. b) Half-length representation of seated figure, 1838. Printed by Joh. Höfelich. Body turned left, head in left profile, left hand on arm of chair. At the bottom: facsimile of signature, coat-of-arms with double-headed eagle and publisher's imprint (Tobias Haslinger, Wien). 43.3 by 31.7 cm. - LM Gr. 20. c) Half-length representation of standing figure, 1839. Printed by Joh. Höfelich. In braided coat, with arms crossed. At the bottom: facsimile of Hungarian signature "Liszt Ferencz", coat-of-arms with double-headed eagle and imprint: "Bécsben, Haslinger Tóbiás cs. k. udvari 's kiváltságosított muvészet és hangászat árosnál. Graben, N° 618." ["Vienna, Tobias Haslinger, art and music dealer by appointment to the Royal Imperial Court. Graben, No. 618."] 38 by 22 cm. - LM Gr. 24. d) Full-length representation of standing figure, 1840. Printed by Joh. Höfelich. In Hungarian-style coat. Coloured. At the bottom: four lines from Byron's poem To Thomas Moore ("Here's a sigh to those who love me, / And a smile to those who hate; / And, whatever sky's above me / Here is a heart for every fate") in a facsimile of Liszt's handwriting, with signature. 53.3 by 37.5 cm. - LM Gr. 17. Untinted copy: LM Gr. 1. e) Liszt with his artist friends ("Une matinée chez Liszt"), 1846. Liszt at the piano, surrounded by Kriehuber and Ernst, seated, and Berlioz and Czerny, standing. Untitled copy, with names of the persons represented. 39.1 by 50.3 cm. - LM Gr. 2. Heinrich Wilhelm Ernst (1814-1865), Czech virtuoso violinist, played together with Liszt in several concerts. - Hector Berlioz (1803-1869), French composer, friend of Liszt from 1830 onwards. - Carl Czerny (1791-1857), Austrian pianist and composer, pupil of Beethoven and teacher of Liszt. f) Half-length picture, 1846. Body turned right, left hand supporting chin, right hand on music scores. At the bottom: facsimile of signature and publisher's imprint (C. A. Spina, Wien). Undated copy. 61.5 by 45.3 cm. - LM Gr. 3. g) Half length representation of standing figure, 1846. Printed by J. Höfelich. In coat with velvet collar, white waistcoat, with bow-tie. At the bottom: facsimile of signature. 44.9 by 34.2 cm. - LM Gr. 5. h) Bust, 1856. Printed by Jos. Stoufs. Body turned right. At the bottom: facsimile of signature and publisher's imprint (L. T. Neumann, Wien). 42.5 by 30 cm. - LM Gr. 8.

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Dining Room (This room houses temporary Liszt exhibitions. The objects on permanent display are:) 13.* PIANO MADE BY CHICKERING, BOSTON, OP. 30.540 FROM LISZT'S ESTATE, 1867. Concert grand with English action, a range of 7 1/3 octaves (AAA-c5), straight strung and two pedals. Cast-iron frame. Polished palisander case with carved ornamentation and legs with carved foliated ornamentation. Signed on keyboard lid: "Chickering. BOSTON." Awarded gold medal at the 1867 Paris World Fair; donated to Liszt by Chickering, Christmas, 1867. Moved from Rome to the country house of the Augusz family in Szekszárd, and after Liszt's death donated to the Academy of Music in April, 1887, by Mrs. Antal Augusz. Length: 254 cm, width: 147 cm, height: 9.8 cm. - LM H. 6. For a detailed description and history, see study by János Kárpáti on pp. 25-32. 14. ** CURTAIN FROM LISZT'S FLAT IN SUGÁR ÚT Beige and greenish-brown reps with embroidered and appliqué ornaments and tassels. In the shape of an upturned "U". Above, in the middle: the initials "FE" surrounded with laurel branches tied in a bunch. Presented to Liszt by Emma Földváry. Used originally as a door-frame curtain in the Sugár street flat. Height: 210 cm, width: 190 cm. - LM B. 17. A member of a distinguished family in Pest County, Emma (Emília) Földváry's salon was often visited by Liszt. 15. PORTRAIT OF LISZT Watercolour, quarter-length, unsigned. Made by Árpád Szendy (1863-1922) after a drawing by George Henschel (1850-1934). Cartoon-like representation in left profile, with pince-nez. 31.9 by 26.5 cm. - LM Gr. 38. Árpád Szendy was a pupil of Liszt in 1883/84 at the Budapest Academy of Music, and received the Liszt scholarship. Later he studied with the Liszt pupils Bernhard Stavenhagen and Hans von Bülow. As a piano teacher at the Academy between 1891 and 1921, Szendy was (in addition to his colleague István Thomán) an important link in transmitting the Liszt tradition. His piano teaching publications were widely used. Many of his pupils became excellent teachers (Margit Varró, Erno Fodor, Sándor Reschofsky).

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Study-Bedroom (First a description is given of that section of the room of which a contemporary reproduction survives. See p. 22.) 16.** COMPOSING DESK WITH PIANO FROM LISZT'S FLAT IN PEST Desk: walnut, inlaid with walnut root. Lower section with two doors, upper section with three drawers. Instead of a middle drawer there is a small pull-out piano with three-octave keyboard. Made and donated to Liszt by Ludwig Bösendorfer (Vienna) at the end of 1876 or the beginning of 1877. On the right-hand door, above: copper plate engraved in imitation handwriting: "Bösendorfer". Desk top can be lifted from back. Top lined with purple felt. Height: 82.5 cm, length: 148.5 cm, width: 75 cm. - LM H. 1. Excerpt from Liszt's letter of thanks: "Abermals beschenken Sie mich mit einem prächtigen Kunstobject welches mein Schreib-, Schlaf- und Speise Gemach illustrirt. Den Besuchern zeige ich mit Vorliebe dieses Kunstobjekt […] woran der mir so liebe Nahme L. Bösendorfer nächstens eingraviert werden soll." ["You have again presented me with a splendid work of art which adorns my working room, bedroom and dining room. I like to show my visitors this art object […] which will soon carry an engraving of the name L. Bösendorfer which is so dear to me."] (Budapest, 30 January, 1877; Legány: Franz Liszt. Unbekannte Presse und Briefe aus Wien, No. 195.) Inscription in the 1886/87 yearbook of the Academy of Music, among objects received from the Liszt estate: "one desk complete with keyboard for composition" (Az Országos Magyar Királyi Zeneakadémia évkönyve, 1887, p. 65). ON THE DESK: 17.* BRANCHED CANDLESTICK WITH SHADE Gilt metal. Vienna, c. 1870. In the middle of the shade, the initials "EL" painted on framed imitation bone-plate. Ferenc Liszt's present to his Viennese uncle, Eduard von Liszt Sr. (1817-1879), counsellor-at-law. Estate of Eduard von Liszt Jr. Height: 52 cm. - LM B. 5. Ferenc (Franz) Liszt's grandfather, Georg Adam List [Liszt] (1755-1844), schoolmaster, cantor and clerk, had 25 children from three marriages. Adam Liszt, Franz Liszt's father, was the second child of the first marriage, and Eduard Sr. the last of the third. Thus Franz was older than his uncle whom he called his "oncle-cousin". Of his numerous relations, Liszt kept close and regular contact only with Eduard and his family, to whom he also transferred his knightly rank (see Eduard Ritter von Liszt: Franz Liszt. Abstammung, Familie, Begebenheiten, 1937). 18. PHOTOGRAPH OF HANS VON BÜLOW 1863. Bülow, standing, is leaning against a music-stand on which the score of Liszt's symphonic poem Die Ideale is seen. Reproduced from a copy dedicated to Eduard von Liszt Sr. in the Burgenländisches Landesmuseum, Eisenstadt. 23 by 14 cm. - LM F. 218. Excerpt from Liszt's letter to his former student and son-in-law, the eminent German pianist, composer and conductor, Baron Hans von Bülow (1830-1894): "Votre portrait des 'Ideale' (1863) avec l'inscription: 'nec vincere desistam' est devant moi. Soyons victorieux: 1es blessures du sort servent d'éperonnement; les obstacles deviennent moyens." ["Your portrait with the 'Ideale' (1863) and the inscription 'nec vincere desistam' is in front of me. Let us be victorious: the wounds given by fate shall serve to spur us on; the obstacles shall become means."] (Budapest, 20 January 1877, Br. L.-Bü., No. 196.) Liszt felt a fatherly love for Hans von Bülow even after his daughter Cosima left Bülow and married Wagner. The whereabouts of the copy of the photograph dedicated to Liszt is unknown. 19. PHOTOGRAPH OF LISZT, NÁNDOR TÁBORSZKY AND LINA SCHMALHAUSEN Taken by Károly Koller, Budapest, February-April 1885. Liszt and Schmalhausen seated at a small table laden with bottles and glasses, Táborszky standing between them, his right arm resting on the back of Liszt's chair. Autograph dedication on back: "Meinem lieben Freund F Taborsky herzlich ergebenst F. Liszt. 13ten April, 85 - Budapest." 16.9 by 11.2 cm. - LM F. 17. Nándor (Ferdinand) Táborszky (1831-1888) was an art dealer and partner of the Táborszky and Parsch music publishing company. Several compositions by the old Liszt were published by this firm. The German pianist Lina (Louise) Schmalhausen (1864-1928) was Liszt's pupil from 1879 on in Weimar, and later at the Budapest Academy of Music, too. By the 1880's, she became his confident and a sort of house-keeper in his Budapest flat. She is represented on the contemporary picture that survives from the study-bedroom (cat. 20, reproduced on p. 22). Her diary of Liszt's last days and death in Bayreuth is a revealing biographical document (see Walker: The death of Franz Liszt, 2002). 20. LISZT IN THE STUDY-BEDROOM OF HIS SUGÁR STREET FLAT WITH LINA SCHMALHAUSEN Photographic reproduction of an engraving by A. Weinwurm, made after an original photo by Gyula Széchy (now lost). The engraving was published in the March 1886 issue of the Hungarian journal Magyar Salon; photographic reproductions of it were also circulating. The exhibited photo was made after a copy in the Klassik Stiftung Weimar, Goethe- and Schiller-Archives (GSA 59/220,7), bearing on the reverse Lina Schmalhausen's original dedication to Frau von Schwartz and the following inscription: "Letzte Aufnahme Franz Liszt's in seinem Arbeitszimmer zu Budapest (10. März 1886.) Vor seinem Arbeitspult: die 'Heilige Elisabeth' (das Rosenwunder, Geschenk v. Fr. von Schwartz)" ["Franz Liszt's last photo, in his study in Budapest (10 March 1886.) In front of his workdesk: 'Saint Elizabeth', (the Miracle of Roses), gift from Mrs. von Schwartz"]. This statue did not survive in Liszt's estate. 10.8 by 14.5 cm. - LM F. 230. 21.* LISZT: "VERLÄNGERUNG" TO THE PIANO PIECE "SALVE POLONIA" Facsimile of the original manuscript. (Published in 1884.) 24.5 by 31 cm. - LM Ms. mus. L. 13. Liszt worked for more than a quarter of a century on his oratorio The Legend of Saint Stanislas. Only some numbers (including the Interlude "Salve Polonia") were completed, performed and printed in different arrangements. 22.** LISZT'S LETTER TO JÁNOS NEPOMUK DUNKL, BUDAPEST, 27 JANUARY 1881 Facsimile of the original manuscript. First letter in the collection of the Academy of Music, written from the flat in Sugár street where Liszt moved on 20 January 1881. Bifolio, writing: 1recto. 17.8 by 11.1 cm. - LM Ep. L. 146. "Geehrter Freund, Da Bartay's Conservatoriums Production morgen schon 6 Uhr beginnt, möchte ich ihnen den weiten Besuch, Radial Strasse ersparen. Treffen wir uns also: Redouten Saal […]" ["My dear friend, since Bartay's conservatoire production begins tomorrow at six o'clock, I want to spare you the distant visit to Sugár street. Therefore let us meet in the hall of the Redoute […]"] 23. CHARLES VERLAT'S LETTER TO FERENC LISZT, ANVERS, 29 JANUARY 1881 Facsimile of the original manuscript (NSzL Manuscript Collection). 2 fols., 20.3 by 13.2 cm. - LM Ep.foto 1. One of the first letters Liszt received after he had moved to the flat in Sugár street, was written by the Belgian painter Michel Marie Charles Verlat (1824-1890). 24.** BOOKS FROM FERENC LISZT'S ESTATE a) Julius Schuberth: Kleines musicalisches Conversations-Lexikon. 8. Auflage, Leipzig-New York-Philadelphia: 1871. XXI, 452 pp., 17.5 cm. - LM LK. 218. b) La Mara: Musikalische Studienköpfe. 3. Bd.: Jüngstvergangenheit und Gegenwart. 5. Auflage, Leipzig: 1883. 338, [2] pp., 18 cm. - LM LK. 104. 25.** INK STAND FROM FERENC LISZT'S ESTATE Bronze, with brass facing, foliate and fruit ornamentation, two handles. Stamp of the estate on paper pasted on bottom. With document certifying delivery from estate. Height: 1.5 cm. - LM Er. 69. Certificate in handwriting on name-card of solicitor Dr. Mór Stiller (Budapest V., Sas-utcza 14): "küldi Rózsa úrnak az ígért emléket Liszt hagyatékából" ["am sending the promised object from Liszt's estate to Mr. Rózsa"]. 26. NIBS AND PENS RELATING TO LISZT (?) a) Beech stem with cut steel nib. Length: 18.5 cm. - LM Er. 12. b) Pen of brown polished wood. Inscribed: "Liszt - 23. IV. 75. Rubinstein". Length: 16.4 cm. - HNM 105/1912.3. 27.* TUNING-FORKS FROM FERENC LISZT'S PROPERTY a) "A" tuning-fork, unsigned. Length: 13.4 cm. - LM Er. 66. b) "C" tuning-fork, signed: "Continental J. Brinsmead et Sons London". Blue steel. Length: 10.6 cm. - LM Er. 68. Both tuning-forks were bought in 1916 by Jeno Hubay from Márton Keltscher who had acquired them as Liszt memorabilia when the Music-lovers' Association was dissolved. Keltscher's letter of certification is dated 13 January, 1916. Deposited by Jeno Hubay in 1925, donated by his grandchildren in 1974. - Liszt frequently attended concerts by the choir and orchestra of the Pest Music-lovers' Association, and was guest of honour at their meetings. The Association, headed by Mihály Mosonyi and Hans Richter among others, performed several works by Liszt and also participated in the 1873 jubilee performance of Christus (see Cat. No. 150). 28.* LORGNETTE FROM LISZT'S PROPERTY Horn rim and handle. Incision on handle: initial "L". Width: 2.5 cm, opened: 22 cm. - HNM 105/1912.1. 29. PAPER-WEIGHT FROM FERENC LISZT'S PROPERTY (?) Recumbent lion, cast brass. Length: 17.5 cm. - LM Er. 62. Provenance unknown; according to Prahács's catalogue and museum inventory card, once belonged to Liszt. 30. ARMCHAIR Leather upholstery. Second half of the 19th century. Height: 97 cm, width: 72 cm, length: 70 cm. - LM B. 24. 31. SMALL TABLE Walnut, with twisted legs and large drawer; on side front and top: inlay ornamentation. First half of the 19th century. Height: 80 cm, width: 52 cm, length: 98.5 cm. - HNM 59.1587. ON THE ABOVE: music-papers from the 19th century and: 32. REPLICA OF FERENC LISZT'S RIGHT HAND, 1884 Bronze, on rectangular grey marble base. By Alajos Stróbl (1857-1926). Signed on wrist: "STROBL"'. On the marble base: "Liszt Ferencz keze"' ["Ferencz Liszt's hand"]. Length: 19.6cm, width: 12.5cm. Base length: 24 cm, width: 13.8cm, height: 2cm. - LM Pl. 17. 33. PROGRAMME OF THE LISZT SOIRÉE IN PARIS ON 23 MARCH 1886 With drawing of Liszt by Mihály Munkácsy (1844-1900). Print (Maison Rapide), in adjustable frame. With Munkácsy's initials and facsimile signature. 22 by 18 cm. - LM Gr. 41. In 1886 Munkácsy received Liszt as his guest both at his house in Paris and his country house at Colpach (Luxemburg), and held soirées in his honour. On the occasion of Liszt's Paris visit Munkácsy made a large oil painting of him (HNG; for the etching made after this, see No. 6). The portrait on the programme of the soirée is entirely different. 34. INK STAND FROM FERENC LISZT'S PROPERTY (?) Colourless glass, cubiform, with cut edges. Height: 4.5 cm, width: 5 cm, length: 5 cm. - LM Er. 4. Data of provenance uncertain; according to the museum inventory card formerly belonged to Liszt. Probably from the Gobbi family's Liszt collection. 35. PENHOLDER AND NIB Wood lacquered white, inscribed: "1875 IV List". Signed on silvered neck: "Blanzy Fouré et Cie". With cut steel nib. Length: 22.8 cm. - LM Er. 5. ON THE WALL ABOVE THE DESK AND SMALL TABLE: 36. PORTRAIT OF COUNT GÉZA ZICHY Three-quarter-length lithograph. Printed by H. Gerhardt, Vienna, published by Soma Vereby. Photo-reproduction of item HNM Hist. Gall. 6253. 52 by 38 cm. - LM Repr. 462. Excerpt from the description of Liszt's flat in the 3 August, 1886 issue of Budapester Tagblatt: "Ueberdies befinden sich hier noch einige kleinere Bilder, darunter ein sehr schönes, in Kreide ausgeführtes Porträt des Grafen Géza Zichy." ["Also, there are some small-size pictures here, among them a fine crayon portrait of Count Géza Zichy."] Since this portrait could not be located, it has been replaced by the present lithograph. - For Zichy, see Cat. No. 5/f. He was one of the closest friends of the ageing Liszt. They performed together in concerts, in 1879 in Kolozsvár (Klausenburg) and 1881 in Pozsony (Pressburg). Liszt was a frequent guest at the Zichy mansion in Buda (Országház street No. 5) and in 1884 he stayed in the Zichy country house in Tetétlen. Zichy, a famous one-handed piano virtuoso, dedicated his Etudes pour la main gauche seule [Etudes for the left hand only] to Liszt, who in turn made a brilliant transcription for two hands of Zichy's Valse d'Ad?le, written originally for the left hand only. 37. PORTRAIT OF COUNT ALBERT APPONYI Woodcut by Zsigmond Pollák (1837-1912) after the drawing by Ferenc Haske (1833-1934), from the 19 May 1878 issue of Vasárnapi Újság. Photo-reproduction of item HNM Hist. Gall. 58.49. 18 by 14.3 cm. - LM Repr. 53. Count Albert Apponyi (1846-1933) was a devoted admirer of Liszt and Wagner. As a member of Parliament, he was instrumental in promoting the cause of the Academy of Music. Liszt wrote of him as follows: "Albert Apponyi est la perle des jeunes de l'aristocratie d'ici - tr?s sérieux, non ennuyeux, plein d'instruction, de talent et d'agrément." ["Apponyi is the pearl of the young aristocrats here - very serious, not boring, educated, talented and agreeable."] (To Carolyne Sayn-Wittgenstein, Pest, 8 March 1874. Br. VII, No. 51.) 38.** CEILING DECORATION DESIGN WITH SCENES FROM DANTE'S "DIVINA COMMEDIA" FROM LISZT'S ESTATE Bronze-patinated galvanoplastic replica of a metal relief by an unknown master. Conception: a sketched drawing made for the Villa Massima (Rome) by Peter Cornelius (1783-1867) in 1817, lithographic version: "Umrisse zu Dantes Paradies von Peter von Cornelius", Leipzig: 1830. Hollow elliptic form. The composition depicts Dante's Paradise as a mystical rose. In the central oval field: the Holy Trinity and the Virgin, with St. Bernard on the left and Dante on the right. Outer border: rim decorated with stars and various heavenly bodies; above them: on clouds, groups of participants who figure in the Paradise of Dante's Divina Commedia, arranged according to the constellation defined by Dante. Divided into four sections, each by a seraph; each section further divided into two parts containing multi-figural compositions: saints, patriarchs, sovereigns, etc.). On a wooden base of standing rectangular form and covered in purple velvet; underneath a copper plate with the inscription "LISZT FERENCZ HAGYATÉKA" ["Estate of Ferenc Liszt"]. Under the plate, square paper with stamp of the estate and autograph inscription (faded): "Hohenlohe kardinális ajándéka (1867)" ["Gift from Cardinal Hohenlohe (1867)"]. Relief: 29.5 by 32 cm. Wooden base: 38 by 50 cm. - LM Er. 39. It was from the hands of Cardinal Gustav von Hohenlohe-Schillingsfürst (1823-1896), brother-in-law of Princess Carolyne Sayn-Wittgenstein's daughter, that Liszt received minor orders in 1865 (see Cat. No. 49.) A friend of Liszt, the cardinal made it possible for him to live in the Villa d'Este at Tivoli near Rome, where he could work undisturbed. Dante's Divina Commedia inspired two major works by Liszt, the "Dante Sonata" (Apr?s une lecture de Dante, Fantasia quasi Sonata, the last item of the piano cycle Années de pélerinage, Deuxi?me Année: Italie) and the "Dante Symphony" (Eine Symphonie zu Dante's Divina Commedia). The idea of commissioning the replica for Liszt might have been connected with a performance of the "Dante Symphony" on the occasion of the opening of the "Dante Gallery" in Rome on 26th February, 1866. See Kovács, Imre: „The Galvanoplastic Replica...", 2006. 39.* PHOTOGRAPH OF FERENC LISZT Quarter-length photo taken by Joseph Albert, Munich, September 1867. Autograph signature and date: "F. Liszt, Octobre 67 Munich." Dedication on left: "Thomán István úrnak, a nagy mester érdemes tanítványának, szíves emlékül Mihalovich." ["To Mr. István Thomán, noted pupil of the great maestro, in kind remembrance, from Mihalovich"]. Donated by Mrs. Félix Szinyei Merse from István Thomán's estate. 85 by 60 cm. - LM F. 1. Ödön (Edmund) Mihalovich (1842-1929), Hungarian composer, studied in Munich in 1866-7 under Peter Cornelius (1824-1874), where he made friends with Liszt, Wagner and von Bülow during his stay there. He gave several concerts with Liszt, and belonged to the circle of his closest friends in Pest. He also corresponded with Liszt's daughter, Cosima. Between 1887 and 1919 he was director of the Academy of Music, and from 1919 became its president for life. - In both size and its oval form, this Liszt photograph resembles the one shown in the drawing in Magyar Salon. The latter, however, is not a portrait of Liszt but of a man who, in spite of his distinctly visible features, has not yet been identified. 40.** SUNSET IN ROME SEEN FROM MONTE PINCIO. FROM LISZT'S FLAT IN PEST Oil painting by Karl Lindemann-Frommel (1819-1891). On the back, stamp of estate. Property of Dr. Emy Seregély and exhibited as a deposit 1986-1989, it was donated to the museum according to her will by her heirs in November 1989. 10 by 27 cm. - LM O. 10. The painting was already in Liszt's possession when he lived in the flat in Hal square, where it was hung in the dining-room, as described by Arno J. Mayer in the Neue Illustrierte Zeitung (Vol. 2, 1886, No. 47): "Ferner hing dort ein nicht allzugrosses Oelgemälde, die Engelsburg in Rom in abendlicher Beleuchtung vorstellend. Der Himmel dieses Gemäldes ist mehr gelb als blau oder roth gehalten, und der Meister stellte mir dieses 'Kunstwerk' als seine 'Eierspeise' vor." ["There also hung a not too large oil painting, representing the Castel S. Angelo in Rome in the evening light. The sky in this painting is yellow, rather than blue or red, and the master referred to this 'work of art' as his 'egg dish'."] - From the drawing in Magyar Salon it can be established that the painting was probably hung in the flat in Sugár street on the wall between the desk and the spiral-legged table in the study-bedroom. 41.** WALL PENDULUM CLOCK FROM LISZT'S FLAT IN SUGÁR ÚT Walnut, carved and in part turned. On the white enamelled face, Roman numerals, unsigned. Pendulum case glazed on sides. Purchased in 1934 from Mrs. Leó Dévay. Height: 96 cm, length: 28 cm, width: 12 cm. - LM B. 1. 42. SÁNDOR TELEKI AS AN ITINERANT JOURNEYMAN (ON THE ISLAND OF JERSEY) Drawing by József Borsos, litograph by J. Rauh. Photo-reproduction from item HNM Hist. Gall 54.889, which has an autograph dedication by Teleki to Gyula Gáll from 1882. 52 by 38 cm. - LM Repr. 50. Excerpt from a description of Liszt's apartment in the 3rd August 1886 issue of Budapester Tagblatt: "Eine kleine humoristische Zeichnung des Grafen Alexander Teleki verdient ebenfalls Erwähnung." ["A small, humorous drawing of Count Alexander Teleki is also worthy of mention."] Count Sándor Teleki (1821-1892) met Liszt when the latter visited Hungary in 1839-40. They became close friends in Berlin in 1842. They visited Silesia and Russia together in 1843. Another important journey together took place at the end of the year 1846 when they visited Kolozsvár/Klausenburg (Teleki had a famous gipsy violinist brought there for Liszt) and Bucharest. Because of his participation in the 1848-49 Revolution and War of Independence, Teleki lived in exile until 1867, visiting, among other places, the Island of Jersey where he made friends with Victor Hugo. - In 1877, Teleki published an article about his 1846 stay in Kolozsvár with Liszt, remembering the Koltói csárdás Liszt heared there from the gipsy violinist (a melody he used in his 14th Hungarian Rhapsody). Liszt planned several times to visit Teleki's residence in Koltó which, however, he never realized. The picture on Széchy's drawing of Liszt's study-bedroom in Magyar Salon (see p. 22) is identical with the exhibited lithograph, though this copy, as attested by the autograph dedication, did not belong to Liszt. 43. PHOTOGRAPH OF SOFIE (SOPHIE) MENTER Original photograph by J. Löwy, Vienna. It shows the pianist leaning with her left hand on a Greek column and looking to the left. On the back, written in pencil: "Menter Zsófia. Liszt kedvenc tanítványa. 1848-1918." [Sophie Menter. Liszt's favourite pupil 1848-1918.] In contemporary oval frame. 16.1 by 11.2 cm, frame: 39 by 35 cm. - LM F. 22. According to the already mentioned description in Budapester Tagblatt, a large oil portrait of Menter ("ein grosses Porträt der ebenso schönen wie genialen Sophie Menter") was originally hung on the wall of the drawing-room, the whereabouts of which are unknown. 44. BED Hungarian, c. 1870-80. Length: 206 cm, width: 100 cm. - LM B. 26. 45.** CARPET FROM FERENC LISZT'S ESTATE Purple cloth, embroidered in beige cotton thread (lyre and tulips); with woven wool and cotton border. Trapezoid. Parallel sides: 162 and 194 cm, height: 111 cm. - LM B. 15. According to Prahács's 1968 catalogue it belonged to Liszt's estate; its provenance is unknown, as is its one-time function. In Liszt's flat, above the bed, there hung a carpet embroidered by Princess Carolyne Sayn-Wittgenstein; the bedspread was also her work. Their present whereabouts are unknown. 46. PORTRAIT OF COSIMA LISZT-BÜLOW (?) Oil painting by Alajos Györgyi-Giergl (1821-1863); oval-shaped bust. Signed right: Györgyi 862.(?). From the Hertelendy estate. 81 by 68 cm. - Zalaegerszeg Museum 76.1.34. How and where the painting was done is not known. According to the tradition in the painter's family, the sitter for the portrait was Liszt's daughter Cosima. However, she was only 25 in 1862 (although severely ill at the time) and looks much older on the picture; indeed, the model may have been her mother, Marie d'Agoult, but no data concerning Giergl's connection with either mother or daughter is known. On the other hand, it is known that Giergl painted a portrait of Liszt in Pest in September, 1856 (see Br.IV, Nos. 238 and 239), but the latter is not recorded in the Liszt iconography. It is either lost or has perished. 47. NIGHT-TABLE Walnut veneer on pine. Budapest, c. 1874. Height: 110 cm, length: 47 cm, width: 35 cm. - LM B. 22. 48. ** BEDSIDE LAMP FROM LISZT'S FLAT IN PEST Lamp stem in the shape of a Greek column. Base in imitation marble; lower section of column and Corinthian capital brass; on brass base, two figures of female dancers, between them an amphora and candelabrum. Originally with green shade and four candles; later converted into an electric lamp. Candleholder and shade lost. - From Henrik Gobbi's estate. Height: 34 cm; base: 10.5 by 10.5 cm. - Exhibited as a deposit 1986-1988; donated to the museum by István Gobbi in December 1999. ON THE WALL ABOVE THE BED AND NIGHT-TABLE: 49.* ECCLESIASTICAL CERTIFICATE ISSUED TO LISZT ON HIS RECEIVING THE FOUR MINOR ORDERS, ROME, 2 AUGUST 1865 Lithographic form, stylized border ornament, with the cardinal's coat-of-arms in the middle and printed text beside it: "CONSTANTINUS […] EPISCOPUS PORTUENSIS ET S. RUFINAE […] SSMI D. N. PAPAE VICARIUS GENERALIS […]". Text of certificate in part printed, in part handwritten: "Quiversis et singulis, ad quos praesentes litterae pervenerint, testamur: Illmum ac Rmum P.D. Gustavum de Hohenlohe Archiepum Edessen. Tibure in privato sacello die 30 Julii Dom. VIII post Pentec. ann. 1865 dilectum Nobis in Christo D. Franciscum Liszt origine Jaurinen. nuper vero in romanum Clerum cooptatum praevio examine […] cum caeremoniis et solemnitatibus necessariis et opportunis juxta S. R. E. ritum ad quatuor minores ordines servatis servandis de licentia in Domino promovisse. […] die 2 Mensis Augusti Anni 1865 […] 32.8 by 43.8 cm. - LM AD 9. Liszt received the four minor orders on 30 July 1865 in the private chapel of Cardinal Hohenlohe. According to the document he originated from Gyor (Raab), since Doborján (Raiding) belonged to the diocese of Gyor. 50.* PORTRAIT OF FERENC LISZT DRESSED AS AN ABBÉ FROM HIS ESTATE Three-quarter length lithograph by Alfred Lemoine after Erwin [Hanfstaengl's] photo (Paris, March 1866), printed by Bertauts, Paris. Inscribed: "L'ABBÉ LISZT (au Vatican - Rome 1866)." With facsimile of signature and stamp of estate. 28.4 by 20.2 cm. - LM Gr. 33. From the time he took orders until his death, Liszt wore an abbé's habit. 51.** PRIE-DIEU FROM FERENC LISZT'S FLAT IN SUGÁR ÚT Designed by Sándor Fellner, Budapest, c. 1880. Carved oak with purple velvet upholstery. From the pedestal, a kneeler can be pulled out; on backplate in carved frame: the initials FL; under the pulpit set at an angle, a prayer-book holder. - Gift for Liszt's flat in Sugár street by Mrs. Kálmán Vörös, née Paulina Várkonyi. Purchased in 1936. Height: 112 cm, length: 68 cm, width: 45.5 cm, - LM B. 11. ATTACHED TO PRIE-DIEU: 52.** CRUCIFIX FROM FERENC LISZT'S ESTATE On the black wooden cross is an earlier carved ivory body of Christ and the inscription INRI. Donated by Mrs. Félix Szinyei Merse from István Thomán's collection. Length: 39.3 cm, width: 20 cm. - LM Er. 65. According to Thomán, Liszt took the crucifix with him on his trips (see Mátéka: "Az Andrássy-úti régi zeneakadémia…", 1940, p. 136); however, another "travelling crucifix" has survived in the Thomán estate which is now in the Weimar Liszt Museum. Southern German work from the early 18th century (Prahács: Liszt Ferenc Zenemuvészeti Foiskola, Liszt Ferenc Emlékmúzeum, 1968, item No. 129). According to Prahács, Liszt received it as a present from Princess Carolyne Sayn-Wittgenstein. However, it may be identical with the crucifix which Liszt bequeathed to Marie Hohenlohe, née Princess Sayn-Wittgenstein, in his will of 1860: "Le crucifix en ivoire - 'cinque cento' qui m'a été donné par mon bienveillant protecteur, le Prince de Hohenzollern-Hechingen" ["The ivory crucifix - 'cinque cento', which was given to me by my benevolent protector Prince Hohenzollern-Hechingen"] (Br. V, No. 27). See Lucke-Kaminiarz: "Liszts Weimarer Reisekruzifix"; Eckhardt: "Liszts Budapester Reisekruzifix", 2007. 53.** FERENC LISZT'S PRAYER-BOOK Paroissien romain complet noté d'apr?s le chant grégorien. Notation moderne. Paris, 1860, Adrien le Clere. With stamp of the estate. Donated by Gyula Kapossy. (VIII), 924 pp., 16 cm. - LM LK. 174. 54.** FERENC LISZT'S ROSARY With four decades (incomplete). On metal chain, smooth turned beads with a faceted paternoster bead after each decade. At the end: double-faced bone carving (Christ and skull or death's head), metal corpus and brass medal with representation of the Virgin and inscription in French. Handwritten letter certifying authenticity: "This 'Good Death' rosary belonged to Ferenc Liszt, he kept it in his pocket constantly. I hereby certify this: Vilma Varga, pupil of Ferenc Liszt. Budapest, 24 July 1940." Donated by Rudolf Brandt. Length: 32 cm. - LM Er. 55. Missing parts of this rosary have been found in the Erard piano which had been used by Liszt in the Villa d'Este in Tivoli (today in private possession). ON THE WALL: 55.** RELIGIOUS OBJECTS FROM LISZT'S POSSESSION Collected by Vilma Varga, a pupil of Liszt. a) Embroidery of the Sacred Heart of Jesus. Duvetine worked in silk and metal thread. Handwritten letter in Hungarian, certifying authenticity: ["This is to certify that this embroidery of the Sacred Heart of Jesus was stitched on to the lining of Ferenc Liszt's overcoat. Vilma Varga, pupil of Ferenc Liszt. Budapest, 24 July 1940."]. Donated by Rudolf Brandt. Height: 7.5 cm. - LM Er. 53. b) Photograph of a shrine of the Virgin (Mariazell), with devotional picture above the church. Oval-shaped, pasted on irregularly cut card. With handwritten Hungarian certificate: ["This little picture used to stand by his bed; its frame is now lost. Vilma Varga."] Height: 5.5 cm, width: 4.7 cm. - LM Er. 70. c) "Dilectus meus mihi, et ego illi!" Religious poem in German, leaflet of four pages. Published by Buchdruckerei der Kath. Actiongesellschaft, Pressburg. On top of p. 1, in handwriting: ["This I received from the prayer-book of my teacher Ferenc Liszt and give to my Gyubika [?], Aunt Vilma".] 11.2 by 7.4 cm. - LM Any. 62. d) "Einige Worte für das Herz." Religious poem on 2-page leaflet. From the series "'Blüthen für's fromme Herz". Printed by Fr. Pustet, Regensburg. At the top of p. 1, Hungarian text in handwriting: ["Presented to his pupil, Vilma Varga, by Ferenc Liszt in 1885".] 12 by 7.6 cm. - LM Any. 61. 56.** HEAD OF CHRIST ("ABGAR" DEVOTIONAL PICTURE) FROM FERENC LISZT'S FLAT IN SUGÁR ÚT Oil on pine. Copy by unknown painter (early 17th century) of the original in S. Silvestro in Capite monastery, Rome. Head in frontal view, surrounded by rays. Inscription on upper part: "SPECIOSVS FORMA PRAE FILIIS HOMINVM + DIFFVSA EST GRATIA IN LABIIS TVIS + VNXITTE DE[VS] TV[VS] OLEO LETITIAE PRAE CO[N]SORTIB[VS] TVIS RESPICE IN FACIEM CHRISTI TVI" ["You are more beautiful than the sons of man, grace has diffused on your lips, your God has set you above your companions by anointing you with the oil of joy, behold your Christ's face"]. On both sides of head, letter symbols of Jesus and Mary; circular inscription : "IMAGO CHRISTI SALVATORIS AD IMITATIONEM + EIVS QVAM MISIT ABAGARO QVAE + ROMAE HABETVR IN MONASTERIO S. SILVESTRI" ["An image of Christ, our Saviour, a copy of the one he sent to Abagarus, which is preserved in the monastery of St. Silvester in Rome"]. Note in ink on back: "Reuerendae et dilectae Christo Mat[ri] Abbatissae Conventus Posoniens[is] Ordini[s] S. Clarae, Annae Mariae ? Lichtenberg recordationis ergo" ["To Anna Maria Lichtenberg, honourable Mother Superior of the convent of the Pozsony Poor Clares, beloved by Christ, as a token of remembrance"]. According to oral communication from Vilma Varga, the picture was hung by the prie-dieu in Liszt's flat in Pest. Donated by Rudolf Brandt. 45.2 by 28.5 cm. - LM O. 4. It is known from several sources that above Liszt's prie-dieu there was a picture of the Virgin (Ábrányi writes in Magyar Salon: "On the side, his prayer-stool, with religious badges, prayer-book and a picture of the Blessed Virgin"; in the description in the 3 August 1886 issue of Budapester Tagblatt: "Eine Tizian'sche Madonna (Kopie), die über dem Betschemel hängt". Still, Vilma Varga's information cannot be doubted - there may have been several pictures on the wall, which were perhaps replaced. See Kovács, Imre: "Liszt's devotional image", 2003. 57.** GLASS CABINET WITH DOUBLE DOORS (BOOK-CASE) FROM LISZT'S FLAT IN SUGÁR STREET Walnut veneer and carved ornamentation. Hungarian or Austrian, c.1860-70. Doors divided into two sections; the upper ones with glass. In cornice: carved floral and fruit ornamentation. Purchased in 1934 from Mrs. Leó Dévay. Height: 202 cm, length: 132 cm, width: 61cm. - LM B. 18/1. INSIDE: 58.** LISZT'S COLLECTION OF BOOKS IN BUDAPEST 278 titles, 311 volumes. Some bear notes by Liszt. For a detailed description in a separate, bilingual publication see Eckhardt: Liszt Ferenc hagyatéka a budapesti Zenemuvészeti Foiskolán. I. Könyvek. / Franz Liszt's estate at the Budapest Academy of Music. I. Books, 1986. ON THE WALL, TO THE RIGHT: 59. CAROLYNE SAYN-WITTGENSTEIN, LISZT'S SECOND LIFE COMPANION Photograph by Le Lieure (Rome) from the 1870s, reproduction by Louis Held (Weimar). 21.7 by 16.7 cm. - LM F. 174/7. Princess Carolyne Jeanne Elisabeth von Sayn-Wittgenstein, née Iwanowska (1819-1887) met Liszt in February 1847 in Kiew, and followed him to Weimar in April 1848; they intended to marry. After many years' struggle, in 1861 she obtained from the pope the annulment of her forced first marriage, but intrigues thwarted the planned marriage with Liszt. She settled in Rome, and they remained long-life friends. 60.* TABLE-SHAPED GLASS PIANO FROM FERENC LISZT'S ESTATE Four octaves (c1-c5), piano action, with tuned glass plates. In mahogany case, with turned-work parts. Made by Bachmann, Tours & Angers. Without opus number; before 1872. Liszt sent it from Rome to Antal Augusz's country house in Szekszárd, calling it a "harmonica en verre" (see the study by János Kárpáti on p. 25-32). Sent to the Academy by Mrs. Antal Augusz in April, 1887. Height: 70 cm, length: 87 cm, width: 60 cm. - LM H. 4. BEHIND IT ON THE WALL: 61. GEORG ADAM LIST (LISZT), GRANDFATHER OF FERENC LISZT Oil painting by Joseph Lemmermayer, 1841. Half-length picture of seated figure, signed lower right: "Lemermayer 841". Estate of Eduard von Liszt Jr. 80.5 by 64.5 cm. - LM O. 2. Their youngest child, Eduard (see No. 17 of the catalogue) had a portrait painted both of Georg Adam Liszt and his third wife. The companion piece to this painting is in the Burgenländisches Landesmuseum, Eisenstadt. 62. ADAM LISZT (1776-1827), FATHER OF FERENC LISZT Photo-reproduction of a gouache made by unknown painter. Half-length representation of figure seated at a small piano, turning left and facing viewer. In upper left corner a gold watch hangs on the wall. On back of picture in unknown hand: "Franz Liszt's Vater und Lehrmeister am Spineth worauf lernte. Raiding 1819" ["Franz Liszt's father and teacher on the harpsichord on which he learned. Raiding 1819"]. Original: HNM Hist. Gall. 1907.112. 37 by 29 cm. - LM Repr. 111. 63. ANNA MARIA LAGER (1788-1866), WIFE OF ADAM LISZT, MOTHER OF FERENC LISZT Reproduced from an original, unsigned photograph, showing her in her old age. Original: Bildarchiv der Österreichischen Nationalbibliothek, Vienna. 31 by 23 cm. - LM F. 219. 64. THE HOUSE IN WHICH LISZT WAS BORN IN RAIDING Lithograph by Johann Stadler (1804-1859) after a drawing by E. Grünes, printed by J. Rauh. Inscription above picture: "Beilage zum Österreichischen Morgenblatt / Redigirt von J. N. Vogl.", under the picture: "LISTS GEBURTSHAUS ZU REIDING [sic] / in Ungarn". In contemporary frame. Estate of Eduard von Liszt Jr. 22 by 25.5 cm. - LM Gr. 46. Liszt's birthplace, Raiding (Doborján) formerly belonged to the County of Sopron, Western Hungary; since 1920, it has been in Burgenland, Austria. The house in which he was born is today a museum. 65. BLANDINE, COSIMA AND DANIEL, CHILDREN OF FERENC LISZT AND MARIE D'AGOULT Photo-reproduction of the oval miniature painted by Countess Amélie de Lacép?de (1796-1860) in 1843 (original: Richard Wagner Museum, Bayreuth). The children are seated in an armchair, Daniel with a book in his lap, Blandine on the left and Cosima on the right. Signed lower right. 13 by 9.3 cm. - LM Repr. 52. 66. LISZT'S VIENNESE RELATIVES Photographs in one frame. From the estate of Eduard von Liszt Jr. a) Eduard von Liszt Sr. (1817-1879), Ferenc Liszt's "oncle-cousin". Reproduced from unsigned photograph. 11.7 by 8.8 cm. - LM F. 191/2. b) Henriette von Liszt née Wolf (1825-1920), second wife of Eduard von Liszt Sr. Reproduction from photograph by Winzenz Weissmann (Vienna). 11.2 by 8.8 cm. - LM F. 192/1. e) Dr. Franz von Liszt (1851-1919), son of Eduard Liszt and his first wife Karoline Liszt née Pickhart (1827-1854). Original photograph by Lafranchini (Vienna). 10.7 by 6.7 cm. - LM F. 181. d) Marie von Liszt (1853-1919), daughter of Eduard and Karoline von Liszt. Original photograph by Lafranchini (Vienna), c. 1872. 10.6 by 6.4 cm. - LM F. 182. e) Hedwig von Liszt (1866-1941), daughter of Eduard and Henriette von Liszt. Original photograph by Dr. Székely (Vienna). 10.5 by 6.5 cm. - LM F. 183. f) Eduard von Liszt Jr. (1869-1961), son of Eduard and Henriette von Liszt. Original photograph from Atelier Adele, Vienna. 10.7 by 6.5 cm. - LM F. 185. 67. RICHARD WAGNER (1813-1883) Original photograph, unsigned. Oval. Bequest of Ödön Mihalovich. 39.5 by 28.5 cm. - LM F. 6. ON THE WALL BY THE DOOR, TO THE RIGHT: 68. DOUBLE-DOORED GLASS CABINET Hungarian, 19th century. Height: 185 cm, length: 126 cm, width: 49 cm. - MAA, no inv. no. INSIDE: 69.** HAND-BELL FROM FERENC LISZT'S PROPERTY Silver-coated copper. Handle in the shape of female bust in classicist revival style. From the estate of István Thomán. Donated by Mrs. Félix Szinyei Merse. Diam.: 7 cm, height: 9 cm. - LM Er. 47. 70.* CUTLERY USED BY FERENC LISZT WHEN VISITING VILMA VARGA'S HOME IN RÁKOSPALOTA Estate of Vilma Varga, donated by Rudolf Brandt. a) Sugar-tongs, Austrian or Hungarian, c. 1870. Silver, with incised decoration and maker's mark "St". Length: 15.6 cm. - LM Er. 50. b) Knife, Austrian or Hungarian, c. 1850. Steel blade with silver handle. Length: 24.1 cm. - LM Er. 51. c) Fork, Austrian or Hungarian, c. 1850. Three-pronged, iron, handle similar to that of above. Length: 21,2 cm. - LM Er. 52. Liszt twice visited the home of the illustrious veterinary professor Dr. Ferenc Varga and his daughter; on 8 March 1885 he even played the piano there (see "Liszt Ferenc Rákospalotán" [Ferenc Liszt in Rákospalota], Budapesti Hirlap, 10 March 1885). The house (now: Budapest IV. /Újpest/, Vécsey Károly street 120) was marked by a memorial plaque in 2007. 71. PLATE FROM THE NOHANT TABLE SET OF GEORGE SAND French faience, with painted colourful flowers and wine-red geometrical rim. Signed on the back: "LINNEE / U. & Cie / SARREGUEMINES" [Paul Utzschneider & Paul Geiger from Sarreguemines at the Moselle]. Presented to the museum in 1997 by Christiane Sand through mediation of Mme Márta Klein. Diameter: 24 cm. - LM Er. 92. In 1837, Liszt and Marie d'Agoult stayed for a time at the Château de Nohant, the manor-house of their friend, the French writer George Sand (1804-1876). About the table set, see Sand, Christiane: A la table de George Sand, 1997. 72. STEMMED GLASS BOWL Hungarian, 19th century [?]. Blue glass with burnt painted ornaments, on metal base. Donated anonymously in 1966. Connection with Liszt not clarified. Height: 14 cm, diam.: 22.5 cm. - LM B. 14. 73.* TWO CIGARS FROM FERENC LISZT'S PROPERTY In paper-lined glass holder. Estate of Vilma Varga. Height: 16.3 cm. - LM Er. 3. 74.* EARTHENWARE VESSELS FROM LISZT'S PROPERTY Two pieces from excavations. Liszt presented them to Vilma Varga who in turn gave them to Rudolf Brandt. Donated by Brandt to the Academy of Music. Height: 8.5 and 7.3 cm. - LM Er. 56 and 57. 75.* DRIED FLOWERS GIVEN BY LISZT TO VILMA VARGA Dried flowers stitched with yellow thread onto white slip of paper, with handwritten lines in ink: "Blumen, die mir Franz Liszt schenkte. Vilma Varga." ["Flowers presented to me by Franz Liszt. Vilma Varga."] Paper: 8,4x10,5 cm. - LM Er. 54. 76.* TWO CANDLESTICKS FROM THE HOME OF EDUARD VON LISZT SR. IN VIENNA Silver, with tiny bead ornamentation; baluster-shaped body on round base, with calycular upper part. Estate of Eduard von Liszt Jr. Height: 17 cm, base diam.: 10.5 cm. - LM Er. 46/1-2. From 1869 onwards, when in Vienna, Liszt stayed in Eduard von Liszt's home, the Schottenhof. It was here that he used these candlesticks. 77.* SNUFF-BOX FROM FERENC LISZT'S PROPERTY Pressed and carved horn. Mock tortoise-shell lid engraved on inside with the initials "FL". Deposited by Jeno Hubay, donated by his heirs. A certificate of authenticity from Ferenc Farkas is on record, but the document itself is lost. Length: 5.5 cm, width: 2.8 cm, height: 1.8 cm. - LM Er. 10. 78.* LOCKS OF FERENC LISZT'S HAIR from various periods of his life. a) Lock of hair from Liszt at age 15, in later gilt frame. Donated by Vilma Varga. Certificate in Hungarian pasted on back: ["This is to certify that this lock of fair hair is Ferencz Liszt's hair at the age of 15. Vilma Varga, Ferencz Liszt's last surviving pupi1. Budapest, 7 September 1949"]. 9.3 by 11.5 cm. - LM Er. 14. For other Liszt memorabilia collected by Vilma Varga, see Cat. Nos. 4, 55 and 56. b) Lock of hair from Liszt's old age, in black and gilt frame. Gift from 1952, papers of origin lost. 10.2 by 14 cm. - LM Er. 63. c) Lock of hair from Liszt at age 74, in silver setting (1863), originally probably for baptismal medal or picture. Today it holds a greyish lock and a paper band under glass plate with handwritten note: "Liszt Ferencz haja 1885 okt." ["Ferenc Liszt's hair, October 1885"]. Bequest of István Thomán, donated by Mrs. Félix Szinyei Merse. Height: 8.5 cm, width: 7.5 cm. - LM Er. 13. The lock was picked up at the barber's shop in Innsbruck by Thomán on 22 October 1885 when he travelled in Liszt's company (see Vándor: "Liszt utolsó élo tanítványa", 1935). d) Bouquet from Liszt's hair, made by Baroness Anna von Walser-Wendesheim. Greyish hairs wound on wire frame; stamina of flowers made from metallic glass beads; the stems tied up with ribbon twisted from hairs. Mounted on white silk: in black metal frame with bead-and-dart ornamentation, with glass. Estate of Eduard von Liszt Jr. 20 by 16.5 cm. - LM Er. 61. 79.* ABBÉ'S HAT FROM FERENC LISZT'S ESTATE Black rabbit fur, with black silk braids and double tassels. Inside, black leather band with embossed gilt print: "Giovanni Wulzer, Roma, Via della Maddalena, 22." Deposited by Jeno Hubay, donated by his heirs. The hatbox is lost. Diam.: 45 cm. - LM Er. 41. 80.* DEATH-MASK OF FERENC LISZT First plaster copy after the original cast of Weissbrod, taken on 1 August 1886 in Bayreuth. Pressed stamp on the right side: "WEISSBROD / ** / SCHNAPPAUF". Presented to the Hungarian Liszt Society in 1936 by dr. Hans Schnappauf (together with Cat. Nos. 81-83), in the early 1950's deposited in and later donated to the museum. Length: 26 cm, width: 18,5 cm, height: 12 cm. - LM Pl. 4. Liszt died from pneunomia after several days of terrible suffering on 31 July 1886 in Bayreuth. The barber-surgeon Bernhard Schnappauf (1840-1904), general factotum of the Wagner family, was with him during the last day and was also present at the moment of death at 11.15 p.m.; he changed the clothes to preparing the body for the catafalque and left a written report, according to which the death-mask was taken on 1st August at 1 p.m. by the sculptor Weissbrod, by Peter Kästner and himself. The donation was made by Schnappauf's son on the 50th anniversary of Liszt's death in memory of his father. See Hamburger: "Ismeretlen dokumentum Liszt Ferenc haláláról", 2005; Eckhardt: "Mégis megvan Liszt Ferenc 'halottas inge'", 2005; Walker: The death of Franz Liszt, 2002. 81.* THE LAST SHIRT WORN BY FERENC LISZT White linen, machine-stitched. Pleated in back, front opened to waist. Without collar. Formerly in glass case together with Liszt's handkerchief (see Cat. No. 82), with text certifying authenticity inscribed on metal plate in the one corner. The case is now lost. Provenance: see Cat. No. 80. Width at shoulders: 50 cm, length of back: 90 cm. - LM Er. 17. 82.* THE LAST HANDKERCHIEF USED BY FERENC LISZT White cambric, with woven ribboned hem ornament; in one corner, the initials FL with five-branched crown, embroidered in white. Estate of Ferenc Liszt (see also Cat. No. 81.). Provenance: see Cat. No. 80. 47 by 52 cm. - LM Er. 16. 83.* LOCK OF FERENC LISZT'S HAIR AND DRIED GREEN LEAVES IN FRAME Lock of hair: grey, taken from Liszt's head after he died. - Dried green leaves, from one of Liszt's funeral wreaths. Frame covered by cherry-red leather, inside lined with cherry-red silk, with glass. Provenance: see Cat. No. 80. 18.5 by 14 cm. - LM Er. 15 At the time of the donation, the frame also contained an oval photograph of Liszt (Julien Ganz, Zürich, July 1882) which was later separated (LM F. 84). 84.* FERENC LISZT'S GLOVES Black cotton thread, with three ornamental lines on top, black elastic at wrist. Two identical (right-handed) gloves. Estate of Eduard von Liszt Jr. Length: 24 and 21 cm, respectively. - LM Er. 42/1-2. 85. WALKING-STICK Cylindrical wood lacquered in black, tapering toward end; tip joined to metal ring and handle made of turned bone. Provenance and Liszt connection unclarified. Length: 83 cm. - LM Er. 43. ON THE WALL BY THE CABINET: 86. THREE GIPSIES Lithograph by Alois Schönn (1826-1897), tinted. Inscribed underneath: "DIE DREI ZIGEUNER (nach Lenau's gleichnamigem Gedichte.) Von dem oesterreichischen Kunst-Vereine zu Wien 1859." Signed: "Gemahlet u. lith. v. A. Schönn - Eigenthum des oesterreichischen Kunstverein's-Druck v. Reiffenstein & Rösch in Wien." 71 by 55.2 cm. - LM Gr. 48. Lenau's poem "Die drei Zigeuner", which inspired the lithograph, was set to music by Liszt for voice and piano or orchestra in 1860 and later also transcribed for violin and piano. 87. PORTRAIT OF MÁTYÁS ENGESZER WITH BUST OF FERENC LISZT Three-quarter-length standing representation. Photo-reproduction of a lithograph by György Suhajdy (active in the second part of the l9th century). In Hungarian-style costume, Engeszer is leaning with his left hand on a parapet on which stands a bust of Liszt (by Zumbusch, see Cat. No. 105). No date (1870s). Original: HNM Hist. Gall. 7861. 43.6 by 31.4 cm. - LM Repr. 55. The composer and conductor Mátyás Engeszer (Engesser) (1812-1885), choir-master at the Pest Inner City parish church and teacher at the National Conservatory founded, together with his wife the singer Katalin Marsch, the Budapest Liszt Association in December 1870, which at first was a women's choir, then later a mixed choir, active until the early 1880s. They premi?red and kept in their repertory a great number of works by Liszt who often attended their rehearsals, and sometimes conducted or accompanied them at the piano. He dedicated to them his choral work Hymne de l'enfant ? son réveil. 88. PORTRAIT OF MIHÁLY MOSONYI Three-quarter-length representation of seated figure, lithograph by Henrik Weber (1818-1866). Under picture in two lines, 9 bars from the opera "Szép Ilonka" and Mosonyi's signature in facsimile. At the bottom: publisher's imprint, "Rózsavölgyi és Társa sajátja Pesten" ["Property of Rózsavölgyi and Co., Pest"]. 32 by 23.9 cm. - LM Gr. 15. Liszt held the Hungarian composer and writer on music Mihály Mosonyi (orig. Brand, 1815 - 1870) in great esteem. He composed a piano fantasia on motifs from the opera Szép Ilonka, and Mosonyi figures as the only composer in Liszt's set of pieces Hungarian Historical Portraits. 89. PORTRAIT OF HENRIK GOBBI Half-length representation, oil painting by János Valentiny (1842-1902). Signed in the upper left corner: "Kutyafuttában festette / Gobbi muvész barátjának / emlékül / Valentiny" ["Hurriedly painted / for his artist friend Gobbi / as a token of remembrance / Valentiny"]. In original gilt wooden frame. Donated from the family estate to the museum in 1999 by István Gobbi. 29.5 by 22 cm, with frame: 40 by 33.5 cm, - LM O. 14. The Hungarian composer and pianist, Henrik Gobbi (1842-1920) was Liszt's protégé and a fellow-professor at the Budapest Academy of Music from 1878 on. He composed a "Liszt Cantata" for the master's 50th artistic jubilee (1873). He was one of the three persons attesting the authenticity of Liszt's Bösendorfer piano after the master's death (see Cat. No. 107 and the study by Kárpáti, p. 25-32). 90. PORTRAIT OF FERENC (FRANZ) DOPPLER Three-quarter-length picture of standing figure, lithograph by Ágost Canzi (1808-1866). Doppler is leaning with his right arm on a piano on which there is a score with titles of his operas. Signed lower left: "Canzi Ágost Pest 1853", lower right: "GEDR. B.J.RAUH IN WIEN". In lower left corner dedication in Doppler's hand: "Zur freundlichen Erinnerung / an Ihren Freund Fr. Doppler. / Pesth d: 24' Octob. / 854." 35.3 by 26.3 cm. - LM Gr. 14. Together with Mosonyi, the flautist, composer and conductor Ferenc (Franz) Doppler (1821-1883) enjoyed Liszt's friendship and esteem. In a letter to the intendant Frigyes Podmaniczky dated 14 April 1882 (Br. II. No. 342, in Hungarian: Zeneközlöny, 1 June 1882) Liszt recommended that statues of both be placed on the outside of the new opera house in Budapest. 91. TRANSYLVANIAN GIPSY BAND IN 1847 Embroidered wall picture. Made by Mária Lázár in 1847 at Gyergyószentmiklós. Gobelin stitch in golden frame. Donated by the Liszt scholar Dr. Béla Mátéka from the family estate. 26 by 33 cm. - LM E. 10. Note by Mátéka in Hungarian on the back: ["Transylvanian gipsy band (Eastern Transylvania, Gyergyó and Csík County) around the time when Liszt composed his 1st Hungarian Rhapsody"]; in addition, data concerning provenance. 92. LOUNGE-CHAIR Walnut, seat and back cane-work. Hungarian, late 19th century. Height: 74 cm, length: 120 cm, width: 60 cm. - MAA 53.3937.1. "The furniture of the room is complete with a lounge-chair, a resting-place for the maestro." (Ábrányi: "Liszt Ferenczrol", 1886.) ON THE WALL BETWEEN THE WINDOWS: 93. BUST OF LUDWIG VAN BEETHOVEN A later copy of a bust made by Hugo Hagen (1818-1871). Plaster, bust placed on round and square base, hollowed out on the reverse side, tabula without inscription. Gilt by recent owner. Signed on the back in Persian script, date: 1909 (or 1900). Height: 65 cm. - LM Pl. 139. From Henrik Gobbi's collection, donated to the museum by István Gobbi in a contract executed after his death in 2007. In his list, the bust was erroneously assigned to Kaspar Clemens von Zumbusch. 94.* GLASS CABINET WITH DOUBLE DOORS (BOOK-CASE) FROM LISZT'S FLAT IN SUGÁR STREET Companion piece to cat. No. 57. INSIDE: 95.* LISZT'S COLLECTION OF SCORES IN BUDAPEST On display are those in de luxe binding, the rest are in store. The whole collection of scores contains 2509 titles, many of them containing inscriptions by Liszt and dedications to him. For a detailed description in a separate, bilingual publication see: Eckhardt: Liszt Ferenc hagyatéka a budapesti Zenemuvészeti Foiskolán. II. Zenemuvek. / Franz Liszt's Estate at the Budapest Academy of Music. II. Music, 1993. IN THE MIDDLE OF THE ROOM: 96. DINING-TABLE Hungarian, c. 1800. Walnut with maple inlay. Length: 123 cm, width: 97 cm, height: 81 cm. - MAA 67.786.1. ON THE TOP: 97.** ALBUM OF ENGRAVINGS DEPICTING THE 14 STATIONS OF THE CROSS ("VIA CRUCIS") Copper engravings by Francesco Bartoccini (b. 1816), after drawings by Friedrich Overbeck (1789-1869). Biblical text under each picture. Bound in red leather. Gift from Carolyne Sayn-Wittgenstein to Liszt. Estate of Ferenc Liszt. 45 by 33 cm. - LM Gr. 72/1-14. Excerpt from Liszt's letter to Princess Carolyne Sayn-Wittgenstein, dated 12 December 1876: "Je garde votre Via Crucis, dans le sens indiqué ? un album, donné par Mr. Dudevant a son fils Maurice, fils de Mme George Sand: '? condition de le garnir de beaux dessins'. Cette fois, ce sera peut-etre de la mauvaise musique, qui s'ajoutera aux beaux dessins d'Overbeck!" ["I keep your Via Crucis, in the spirit indicated by Mr. Dudevant in connection with an album he gave to his son Maurice, son of Mme George Sand: 'on condition that it be filled with fine drawings'. This time it may happen that bad music will be added to Overbeck's fine drawings!"] (Br. VII, No. 165.) Liszt finished his late composition of great importance, Via Crucis, in 1879. He drafted several times the ending (see the facsimile on p. 84) before deciding on the definitive version. 98.** LISZT: VIA CRUCIS Facsimile of some sheets from the original manuscript organ score. Deposited by Jeno Hubay and donated by his heirs. 24.5 by 31.5 cm. - Original manuscript: LM Ms.mus. L. 3. 99. ARMCHAIR Hungarian, c. 1870-80. Height. 90 cm, width: 65 cm, breadth: 64 cm. - LM B. 25.

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Drawing-Room 100.** PIANO MADE BY CHICKERING & SONS (BOSTON), OP. 50.080. FROM LISZT'S ESTATE. FROM THE CONCERT HALL IN SUGÁR STREET, 1879/80 Concert grand, English action, range of 7 1/3 octaves (AAA-C5), overstrung, with three pedals (middle pedal: divided damper lever for increasing volume of treble notes). Cast iron frame, palisander case lacquered dark, with carved ornaments, carved legs (voluted, foliate and bead ornaments); on pedals: ornament in the form of a lyre. In front, under lid, three-section music-rest reaching entire width of piano. Inside keyboard lid, inscribed in gold letters: "Chickering & Sons / ? F. Liszt." The piano was donated to Liszt in autumn, 1880, by Charles Francis Chickering. In spring, 1881 Liszt had it placed in the concert hall in Sugár street. Shortly after his death it became the property of the Academy of Music. Length: 260 cm, width: 150 cm, height: 97 cm. - LM H. 5. For a detailed account, see the study by János Kárpáti on pp. 25-32. 101.* PHOTOGRAPH OF A MUSIC-REST FROM LISZT'S ESTATE Photo by Ágnes Bakos and Bence Tihanyi of the original, property of the Hungarian National Museum. Original: cast, rolled and engraved silver. In the middle, in round field framed with various instruments, bas-relief portrait of Liszt (after Bovy's medallion, see Cat. No. 117). Underneath, in Baroque cartouche, engraved views of Vienna and Budapest with inscription in ribbons: "FRANZ LISZT" "SYMPHONIE - FESTMESSE - FANTASIE-TRANSCRIPT". In the upper part, busts of Beethoven, Schubert and Weber, held by angels. The angels' legs, stylised into foliate ornaments, hold a candelabrum each. Engraved in the wide base are the names of donors, primarily from Liszt's circle in Vienna and Pest. 1858, Vienna. Original: HNM 1887.41.24, acquired by the Hungarian National Museum from Ferenc Liszt's estate. Width: 63 cm, height: 60 cm, length: 128 cm. Photograph: LM F. 851. Excerpt from Liszt's letter to Princess Carolyne Sayn-Wittgenstein, dated 16 April 1858, Vienna: "Le fameux pupitre m'a été remis avant-hier, 5 heures, et c'est encore Assmayer en sa qualité de Hofkapellmeister qui s'était chargé de l'allocution, ? laquelle je n'ai répondu qu'un simple merci. Pourtant j'ajoutai le voeu de produire bientôt quelques oeuvres, qui seraient dignes d'etre placées sur un pareil pupitre, et dignes aussi d'etre offertes en hommage aux trois Patrons de la musique Beethoven, Weber et Schubert, dont les bustes semblent me commander de marcher mon chemin, et de remplir ma tâche." ["The famous music stand was presented to me the day before yesterday, at 5 o'clock, and it was Assmayer in his quality of Hofkapellmeister who undertook the address, to which I answered by a simple 'thank you'. However, I added my wish to produce soon some works worthy of being offered as a homage to the three Patrons of music: Beethoven, Weber and Schubert, whose busts seem to command me to go on my own way and perform my task."] (Br. IV, Nr. 317.) 102. PIANO STOOL Beech stained dark, glade by Thonet (Vienna). Last third of the 19th century. Bentwood, with carved trestle legs, rotating cane seat screwed on. Donated by Péter Király in 1986. Shortest height: 41 cm, seat diam.: 38.2 cm. - LM B. 27. 103. PORTRAIT OF FERENC LISZT Oil painting by Wilhelm von Kaulbach (l805-1874). Full-length standing representation. Liszt in black suit and brown cloak, in his right hand gloves and bowler-hat, his left hand resting on table. Signed on side of table: "W. Kaulbach." 230 by 137 cm. - HNM Hist. Gall. 515. Prahács puts the date of this picture at 1857. Liszt was an admirer of Kaulbach whose historical painting Hunnenschlacht (The battle of the Huns) inspired his symphonic poem, also dated 1857. 104. BUST OF FERENC LISZT By Alajos Stróbl (1856-1926) in 1883. Bronzed plaster of Paris. Liszt in jacket and waistcoat. On square pedestal. Height: 70 cm. - LM Pl. 2. Excerpt from Liszt's letter to Princess Sayn-Wittgenstein, dated 4 February 1883, Budapest: "Voici maintenant qu'un jeune sculpteur de beaucoup de talent, du nom de Strobel, m'entreprend en buste, apr?s avoir modelé l'hiver dernier une grande statue assise de ma personne." ["A very talented young sculptor, Stróbl by name, is about to make a bust of me, after having done, last winter, a large seated statue of my person"]. (Br. VII, No. 366.) 105. BUST OF FERENC LISZT By Kaspar Clemens von Zumbusch (1830-1915), Munich, 1867. Plaster of Paris, varnished. Liszt shown in cassock. On round base. Height: 66 cm. - LM Pl. 3. ON THE LEFT SIDE OF THE DOOR TO THE BALCONY: 106. BUST OF FERENC LISZT By Pál Ferenc Kugler (1836-1875) in 1871. Plaster of Paris painted in bronze. Liszt shown in braided Hungarian-style coat with cloak across shoulder. On round base. From Henrik Gobbi's estate, deposited in the museum and donated in 1999 by István Gobbi. Height: 66 cm. - LM Pl. 101. The marble original, in the Hungarian National Gallery, Budapest (HNG 5953), was made for the London Exhibition. In February 1871, Liszt had two sittings in the studio of Kugler who was born in Sopron, near Liszt's birthplace. (See Legány: Ferenc Liszt and his country 1869-1873, 1983, p. 42.) 107.* PIANO MADE BY BÖSENDORFER (VIENNA), OP. 7561, FROM THE DRAWING ROOM OF LISZT'S FLAT IN SUGÁR STREET Baby grand, with Viennese action, range of 7 octaves (AAA-a4), straight strung, two pedals. Mahogany-plated case with sections varnished black. Top with black frame, under it music-rest with two stylized lyres and foliate ornaments. Inside keyboard lid signed with metal inlay: "Bösendorfer". Two pedals in the form of a lyre. Made probably in 1873. According to certification inside case under the strings, Liszt used it in his flat in Sugár street from 1880 [!] up to his death. Length: 187 cm, width: 143 cm, height: 97 cm. - LM H. 2. Liszt on Bösendorfer instruments: "…? mon avis, ses pianos sont les plus complets, les plus sonores et agréables ? toucher, entre tous ceux que produisent les fabriques de l'Empire d'Autriche et au del?" ["…in my view, his pianos are the most perfect, most sonorous and agreeable to the touch among those made in the Austrian Empire and beyond"]. (To Cardinal Gustav Hohenlohe, Pest, 22 January 1872. Br. VIII, No. 206.) - For a detailed description of the instrument, see the study by Kárpáti on pp. 25-32. 108. BACKED CHAIR Second part of 19th century. Signed Thonet (Vienna). Beech. On leather-upholstered seat, stylized lyre and laurel branches: on back, vine tendrils and a boy sitting on a barrel playing the flute. On barrel, the initial "A". This was Antal Siposs's piano stool. Height: 89 cm. length: 44 cm, width: 46 cm. - HNM 1970.2.2. Antal Siposs (1839-1923) studied with Liszt in Weimar in the late 1850s. In 1875 he founded a private music school in Budapest whose work Liszt followed with interest. It was with Siposs that a number of Liszt's students (including Miklós Almássy, Aladár Juhász, Ilona Ravasz and Vilma Varga) acquired their basic training. BEHIND THE PIANO: 109. SEATED STATUE OF FERENC LISZT By Alajos Stróbl (1856-1926), made in 1883. Model or small-size version of the statue at the entrance to the Budapest Opera House. Bronzed plaster of Paris. Unsigned. Purchased in 1960 from the Táborszky family. Height: 50 cm. - LM Pl. 1. For Táborszky, see Cat. No. 19. - Stróbl made a number of small plaster versions of his statue for the Opera House in various sizes and with small alterations. Other copies are in the Hungarian National Gallery, the National Széchényi Library and a private collection. 110. PORTRAIT OF FERENC LISZT Oil painting by Mór Than (1828-1899). Three-quarter-length standing portrait. In Liszt's right hand, a baton, with his left he is touching the score of The Legend of St. Elizabeth on the music stand. In the background, a piano with wide laurel wreath. Signed lower left: "Than M. 1878". 137 by 100 cm. - HNM Hist. Gall. 1718. The painting was commissioned by the National Conservatoire and was ceremonially unveiled in Liszt's presence on 25 March 1878. Liszt gave concerts to raise funds for the National Conservatoire in 1840 and 1846. The premi?re of Die Legende von der heiligen Eisabeth [The Legend of St. Elizabeth] was given in Pest under Liszt's baton on 15 August 1865, the 25th anniversary of the founding of the Conservatoire. The oratorio was performed in Hungarian translation by Kornél Ábrányi. 111.** HARMONIUM, MASON & HAMLIN (BOSTON), FROM LISZT'S ESTATE ("LISZT CABINET ORGAN") Rectangular coffered wooden case with maple veneer. Inside mahogany and maple, the section above the keyboard varnished black. Fret-work music rest. The front covering the keyboard opens to serve as base for a seat. - Suction system, 6 octave range (CC-c3). Stops: Forte I, Sub Basse, Viola Dolce, Viola 3, Contra Basso 2, English Horn 1, Octave Coupler, Automatic Expression, Vox Humana 3, Melodia 1, Corno 2, Piccolo 3, Seraphone, Voix Celeste, Forte 2. Signed: Mason & Hamlin Organ Company. Inscribed above keyboard: "Style 496 No. 90243". Probably made in 1876. Donated by the Company to Liszt in 1877, who first placed it in his flat in Hal square, then in the drawing-room of his home in Sugár street. After his death it became the property of the Academy of Music, and in 1973 of the Hungarian National Museum. Height: 113 cm, keyboard height: 85.4 cm, length: 135 cm, width: 72.5 cm. - HNM H. 1973.8. Liszt probably received the harmonium through the mediation of his one-time pupil William Mason (1829-1908), brother of the co-owner of the organ company which was founded in 1854 and still exists today. 112. PORTRAIT OF FERENC LISZT Oil painting by Franz Seraph von Lenbach (1836-1904). Quarter length, Liszt turning towards right and facing viewer, his hair grey, eyes blue; wearing cassock. Against dark background. 76.7 by 63.5 cm. - MFA 86.15.b According to Prahács, done in 1870. Of the four portraits Lenbach made of him (cf. Br. VII, No. 403), it is this one Liszt probably refers to in his letter of 22 July 1870 to Princess Carolyne Sayn-Wittgenstein: "Lenbach, grand peintre de portrait tr?s en vogue, fait, dit-on, un chef-d'oeuvre de ma triste figure" ["Lenbach, a major portrait painter very much in vogue, has made what they say is a chef d'oeuvre of my unhappy figure"] (Br. VI, No. 234). 113.** PIANINO-HARMONIUM, ERARD-ALEXANDRE (PARIS), FROM LISZT'S ESTATE Two-manual combination of harmonium and pianino. Case: walnut, with turned-work parts. Narrower outer part encasing bellows-system, 5 octave (C-c3) harmonium; on top, two manuals supported by a turned-work column on each side. Stops on the left: Expression, Sourdine Générale, Prolongement Basson, Prolongement doux, Bourdon, Percussion ou Cor anglaise; on the right: Percussion ou Flute, Clarinette, Prolongement doux, Prolongement hautbois. Inside keyboard lid signed with metal inlay: ORGUE PIANO Alexandre P?re et Fils P. Sébastien Erard Paris. Sound-box containing pianino strings is higher; with folding music-rest under raisable lid. On wooden wrest-plank, construction data: "Erard Facteur de forté Pianos et harpes etc etc ? Paris /37527 /44236 /8740 /D. N." Pianino straight strung iron frame, 7-octave range (AA-a4), 1 damper and 1 pianino una corda pedal. Probably made in 1866. Used by Liszt in Rome, and sent to Budapest in 1872. After his death became property of the Academy of Music. Height: 126.5 cm, length: 153 cm, width: 72.5 cm. - LM H. 7. Liszt owned a larger instrument of combined piano and harmonium in Weimar; it was built by Erard and Alexandre at his commission, and placed in 1854 in the Altenburg (now in the collection of the Gesellschaft der Musikfreunde in Vienna). This smaller version, with pianino and harmonium, he commissioned and used first in Rome, then in Budapest. The Liszt Ferenc Memorial Museum possesses a Liszt manuscript with a piece arranged for this double instrument (see Eckhardt: "Franz Liszt's 'Jeanne d'Arc' - Version für ein Doppelinstrument", 2006. 114. PORTRAIT OF FERENC LISZT Bronze relief by Ludwig Schwanthaler. Left profile of head on round base. Hair adorned with laurel wreath. Unsigned. Diam.: 39 cm. - MFA 7659. Liszt himself summarizes the story of his portrait-medallion made by the noted Munich sculptor Ludwig Michael Schwanthaler (1802-1848) in a letter to Ida Schmidt, Rome, 10 November 1863: "C'est en Octobre 43, ? Munich, que je me rencontrais avec Louis de Schwanthaler. Il travaillait alors avec une extreme ardeur ? sa Bavaria, - et quelques heures avant mon départ, il me fit ses adieux en modelant mon médaillon (que vous avez vu dans le cabinet vert de l'Altenburg). Pour Noël de la meme année, il m'en adressa quelques exemplaires ? Weimar et m'écrivait: 'Mittlerweile habe ich Dir einen Lorbeer Kranz aufgesetzt, es passt Dir besser so' - Puisse cette intention confraternelle de sa part ne pas sembler une illusion trop flatteuse ? mon sujet!" ["It was in October 43, in Munich, that I first met Ludwig Schwanthaler. He was working with an extreme ardour on his Bavaria, - and some hours before my departure, as a good-bye he modelled my medal (the one you saw in the green cabinet of the Altenburg). For Christmas of the same year, he sent me some copies to Weimar and wrote: 'In the meantime I have put a laurel wreath upon you, this suits you better' - I wish that this goodwill of a confr?re should not seem to be a too flattering illusion concerning me!"] (See Kovács, Mária: "Les manuscrits de Liszt ? Morlanwelz", 1988). The date 1857 in Bory: La vie de François Liszt par l'image, 1936 (p. 145) is an obvious error: the author of the famous Munich monument Bavaria died nine years earlier. 115.** TWO DRAWINGS BY GUSTAVE DORÉ (1832-1883) FROM LISZT'S FLAT Illustrations to Liszt's works in pencil and colour. 1866. Photo-reproductions. a) "The Gate of Hell". Dante and Virgil against a rocky landscape background, with a large gaping cavity among the rocks. Signed lower right: "d'apr?s la symphonie de l'abbé Liszt / G. Doré.", on the left a quotation from Dante's Divina Commedia: "Lasciate ogni speranza voi ch'entrate". With stamp of the estate. Original: MFA 1905.1963. 42.4 by 32 cm. - LM Repr. 109. b) "St Francis of Paola Walking on the Waves." Dedication lower right: "? l'abbé Liszt / hommage affectueux de son admirateur / Gustave Doré". With stamp of the estate. MFA 1905.1963. 44 by 33 cm. - LM Repr. 110. Excerpt from Liszt's letter of 13 April 1866 to Princess Carolyne Sayn-Wittgenstein: "Gustave Doré m'envoie ce matin un superbe dessin de St. François de Paule. En revanche, j'arrangerai une petite soirée, avec Symphonie Dantesque chez lui. Saint-Saëns se chargera du second piano". ["This morning Gustave Doré has sent me a superb drawing of St. Francis of Paola. I shall in return arrange a little soirée at his home, with the Dante Symphony. Saint-Saëns will undertake the second piano."] (Br. VI, No. 106.) - The soirée was held on 11 May (cf. Br. VI. Nos. 110, 112, 113). - Ábrányi, among others, reports on the drawings in the flat in Sugár street in Magyar Salon: "… his sitting room can justifiably be said to house a collection of valuable rarities… On the walls are hung pictures of great value by great masters, among them two original drawings in crayon by Gustave Doré which the artist made as illustrations to the maestro's compositions "Dante" and "St Francis over the Waves." (Ábrányi: "Liszt Ferenczrol", 1886.) 116. PORTRAIT OF FRYDERYK CHOPIN By Antoine Bovy (1795-1877). Bas-relief from dark brown metal sheet. Face in left profile on round background. Signed lower right: "A. Bovy F. / 1837." On the left, in semi-circle: "FREDERIC CHOPIN". Secured to black wooden frame. Diam.: 11.5 cm, frame diam.: 16.5 cm. - LM Pl. 50. 117. PORTRAIT OF FERENC LISZT Metal plaque by Antoine Bovy (1795-1877). Right profile of head on round background. Signed lower left: "A. BOVY. F.T / 1840." On the right, in semi-circle: "FRANTZ LISZT". In wooden frame lacquered black. Diam.: 10.5 cm, frame diam.: 16.5 cm. - LM Pl. 49. This was one of Liszt's favourite medals; he helped the Swiss artist to distribute it in numerous copies among Liszt enthusiasts through the mediation of his friends and his music publishers. 118. PORTRAIT OF FERENC LISZT Oil painting by Wilhelm von Kaulbach (1805-1874). Shoulder-length representation in left half-profile. In brown coat and white shirt. 57 by 47 cm. - LM O. 3. According to Prahács, this portrait was done in 1856 in Weimar, one year earlier than the standing representation (Cat. No. 103). But Liszt's and Kaulbach's friendship went back to as early as 1843 in Munich (see the portrait Kaulbach-Gonzenbach, Burger: Franz Liszt, 1986, No. 297). 119. GLASS CASE Pest, 19th century. Walnut-veneer, in places carved. Height: 192 cm, length: 160 cm, width: 53 cm. - MAA 69.1886.1. IN THE ABOVE: LISZT MEMORABILIA FROM SOPON (OEDENBURG) 120. CHARTER PRESENTING THE FREEDOM OF THE CITY OF SOPRON TO LISZT Certified copy from 1846 of the charter written in Hungarian on 24 February 1840, with an accompanying letter in German dated 7 August 1846. ["WE THE MAYOR, CHIEF JUSTICE, COUNCIL AND ELECTED MAGISTRATES OF THE FREE ROYAL TOWN OF SOPRON HEREWITH DO PUT IN REMEMBRANCE by force of this present Letter: that FERENCZ LISZT Esq., artist in sound and pianist of world renown, since he was born in the Honorable and Noble County of Sopron and having spent a great many days of his tender years within its walls, and having given also, as a youth of 10 years the first proof before the public of his then budding artistic talent, now enjoying full perfection, henceforth considering our town as it were his birth-place, and having given on the 18th of this month a concert for the benefit of three local Institutions, namely: the music school, the Hospital for poor journeymen and servants, and the Institution for the care of infants, having thus gained income to be devoted for funding these said Institutions […] by installing the Honourable Ferencz Liszt in the ranks of our fellow citizens, hereby we present Him with the freedom of our town. […]"] According to the accompanying letter, Liszt lost the charter he was presented in 1840, of which he requested a copy during his visit to the town in 1846. Later the original was also recovered. - Original: Klassik Stiftung Weimar, Goethe- und Schiller-Archiv, GSA 59/ÜF 164. Charter on parchment: 34 by 50 cm. Letter: two leaves, 25 by 39 cm. - Reproduction of the charter: LM AD-Foto 3. 121. PROGRAMME OF THE CONCERT GIVEN BY LISZT ON 3 AUGUST 1846 IN THE SOPRON CASINO Text in German. 39.5 by 49.3 cm. - LM Any. 46. After the concert Liszt was elected a judge of the County Court of Sopron, and the town presented him with a silver baton. 122. SILVER BATON IN CASE, PRESENTED BY THE TOWN OF SOPRON TO FERENC LISZT IN 1846 Made by the Sopron goldsmith Orthner. Pressed, and beaten with appliqué ornaments. On boss at lower end: ribbon, festoon and bird ornaments and a head of Liszt; on neck: goldsmith's and town marks, above them a lyre; cylindrical baton ornamented with four rows of bead mould lengthwise; at upper end, divided into two sections by ring; at end ring: round cabochon of cornelian set in ring. In red leather case. Length: 36 cm. Case: 2.3 by 6.2 by 37.8 cm. - LM Er. 60. LISZT OBJECTS CONNECTED WITH THE CORONATION MASS (UNGARISCHE KRÖNUNGSMESSE) 123.** FIRST EDITION OF THE SCORE OF THE CORONATION MASS FROM LISZT'S ESTATE Three decorative title pages: Hungarian, Latin, German. English translation of the Hungarian title page: "Coronation Mass composed by Ferencz Liszt. Performed in Buda on the 8th of June, 1867 when Their Majesties Francis Joseph I Emperor of Austria and the Empress Elizabeth were crowned Apostolic King and Queen of Hungary". Leipzig - New York: [1869], Schuberth. l00 pp. 33.3 by 27. cm. - LM LH 3663. 124. A CUT PROPOSED BY LISZT IN THE "BENEDICTUS" OF THE CORONATION MASS Original manuscript, 4+2 measures on slip of paper. On the back, instructions "NB. pour Mossony - / Tout le prélude du Benedictus (Solo de Violon) peut etre retranché - et remplacé par / les 4 mesures suivantes - / V.S." ["NB. For Mosonyi - The whole prelude of the Benedictus (Violin solo) may be cut - and substituted by the 4 following measures - V.S."] - Purchased in 1991 (Sotheby's - R. Macnutt). 7.5 by 15.5 cm. - LM Ms.mus. L. 77. Liszt composed the violin solo in the "Benedictus" of the Coronation Mass for the world-famous Hungarian virtuoso Ede (Eduard) Reményi (1828-1898), his friend since 1853. However, Reményi did not take part in the church performance during the coronation ceremony, since by an official order, the mass was performed by the Vienna Court Chapel and the solo was played by Joseph Hellmesberger. The composer Mosonyi, Liszt's friend (see cat. No. 88) "who was the most familiar with and infallible in reading Liszt's handwriting, was to face the task of copying the manuscript in duplicate as soon as it arrived from Rome" (see Kornél Ábrányi: A magyar zene a 19. században, 1900). For the first concert performance on 26. April 1869 with Hungarian artists including Reményi, Liszt added an Offertorium to his mass with violin solo. Both the "Benedictus" and "Offertorium" were also published separately as instrumental pieces in several versions. 125. GROUP PHOTOGRAPH: LISZT, PLOTÉNYI AND REMÉNYI By Joseph Albert, Munich, September/October 1867. Oval cut, signature is cut off. Donated to the museum by Mrs. László Visontai. 12.5 by 10 cm. - LM F. 169. The violinist and pianist Nándor (Ferdinand) Plotényi (1844-1933) was Reményi's pupil, piano accompanist and violin duo partner. From 1863, he also belonged to Liszt's circle. 126. BATON DONATED TO LISZT BY THE PRINCE PRIMATE JÁNOS SIMOR IN 1867 Ebony and ivory, with turned-work and carved ornaments. On cylindrical ebony baton, at lower end, ringed ornament ending in drop shape; at upper end, voluted capital with oak leaf ornaments ending in acorn shape. Length: 40 cm. - LM Er. 8. It was the Prince Primate János Simor (1813-1891) who crowned Francis Joseph and Elizabeth on 8 June 1867. 127.** HUNGARIAN CORONATION MARCH. FIRST EDITION OF THE PIANO VERSION FROM LISZT'S ESTATE "Ungarischer Marsch / zur / Krönungs-Feier zu Ofen-Pest am 8ten Juni 1867 / componirt / von / Franz Liszt," Leipzig - New York: [1871], J. Schuberth. 7 pp. 32 by 25.5 cm. - LM LH 3809. 128.** RIBBON OF WREATH GIVEN TO LISZT AT THE SECOND PERFORMANCE OF THE CORONATION MASS ON 26 APRIL 1869 Reps silk in the national colours, with inscription embroidered in silver thread: "Liszt Ferencnek a hazai zenemuvészet nevében hódolói, Pest 1869 Ápril 26-odikán" ["To Ferenc Liszt from his admirers in the name of Hungarian music, Pest, 26 April 1869"]. Length: 210 cm, width: 15.5 cm. - LM Er. 19. For the coronation ceremony in the Matthias Church Liszt received no formal invitation; he followed the performance of the Viennese artists from the choir loft. Two years later, the first concert performance of the Coronation Mass was given in the Vigadó (Redoute) by Hungarians under Liszt's baton. LISZT MEMORABILIA FROM POZSONY (PRESSBURG): 129. RIBBON OF WREATH GIVEN BY THE POZSONY ASSOCIATION FOR CHURCH MUSIC ON 19 APRIL 1874 Beige silk with inscription in gold: "Dem grossen Meister - der dankbare Pressburger Kirchenmusik-Verein 19. April 1874." Length: 155 cm, width: 13.2 cm. - LM Er. 21. On 19 April 1874 a benefit concert was held in which Sofie (Sophie) Menter, Countess Rossi and Frigyes Dohnányi performed. The choir of the Association of Church Music sang "Die Seligkeiten" from the oratorio Christus. After the concert, a banquet was held in Liszt's honour at the Zöldfa (Zum Grünen Baum) Restaurant. 130. INVITATION CARD TO THE LISZT BANQUET ON 19 APRIL 1874 Printed by C. Angermayer. Text: "Liszt-Banquet. / Hotel [Zum] "grünen Baum" / Sonntag den 19. April 1874, /4 Uhr Nachmittag." 7. by 11.7 cm. - LM Any. 161. 131. LISZT AT THE PIANO IN SOCIETY Pencil drawing by István Zádor (1882-1963). Signed lower left: "Zádor". Inscription under picture in ink: ["Ferenc Liszt accompanying at the piano Countess Rossi, daughter of Henrietta Sonntag, in Braga's Serenade (April 1874). Cello accompaniment by Frigyes Dohnányi, teacher from Pozsony."] Donated by Mrs. Árpád Keöpe, née Ilona Dohnányi, from the Dohnányi bequest, through the mediation of Béla Mátéka. 21.7 by 28.9 cm. - LM Gr. 29. Frigyes Dohnányi was the father of Erno (Ernst von) Dohnányi (1877-1960), the excellent Hungarian pianist, composer and conductor, piano student of the Liszt-pupil Thomán at the Budapest Academy of Music (1894-97), and later professor (1916-19) and director (1919, 1928-44) of the institution. 132. PROGRAMME OF CONCERT HELD IN POZSONY ON 2 APRIL 1881 (FOR THE BENEFIT OF FUNDS FOR THE HUMMEL STATUE) Bifolio in Hungarian and German. Printed by Stampfel, Eder and Co. in Pozsony. ["Performers: Misses Fánni Kováts and Irén Schlemmer-Ambros, Count Géza Zichy, Aladár Juhász, the choral society of Pozsony under conductor N. Kitzinger, and FERENCZ LISZT"]. 29 by 23 cm. - LM Any. 12. Liszt played Hummel's A-minor sonata for four hands with his student Aladár Juhász, and a version for three hands of the Rákóczi March with Géza Zichy. The Pozsony Choral Society sang the choral pieces for male voices Geharnischte Lieder, Ungarns Gott (composed to Petofi's poem) and Lied der Begeisterung by Liszt. Two other songs by him were also performed. 133. PHOTOGRAPH OF FERENC LISZT AND GÉZA ZICHY Original photograph by Ede Kozics (Pozsony). Quarter-length, oval. No date (April 1881). In original frame with name stamp of studio. 11. 8 by 9.2 cm. - LM F. 20. For Zichy, see Cat. No. 36. 134. RIBBON OF WREATH GIVEN TO LISZT BY GÉZA ZICHY Striped raw silk damask, with inscription in gold: "SZERETETT NAGY MESTERÉNEK - ZICHY GÉZA" [To his beloved maestro - Géza Zichy]. With gold tassels at both ends. Length: 204 cm, width: 21.7 cm. - LM Er. 37. 135. FIRST EDITION OF THE SCORE OF "MAGYAR KIRÁLYDAL" ("UNGARISCHES KÖNIGSLlED"), FROM LISZT'S ESTATE ["For the occasion of the opening of the new Hungarian Royal Opera. Hungarian King's Song. (Words by Kornél Ábrányi Jr.) Composed after an old Hungarian tune by Ferencz Liszt".] Four-hand piano arrangement. Budapest: 1884, Táborszky and Parsch. 13 pp. 34 by 27.2 cm. - LM LH 3690. For political reasons the composition was not performed at the inauguration of the Budapest Opera in September, 1884. It was premi?red by the Pozsony Choral Society at their anniversary concert held on 21 December 1884. 136. BUST OF FERENC LISZT By Viktor Tilgner (1844-1896), plaster of Paris. Signed on back: "nach der Natur modellirt Tilgner 1884". Estate of Eduard von Liszt Jr. Height: 29 cm. - LM Pl. 6. This small plaster study was the model for the first sculpture of Liszt erected in a public place in Hungary, inaugurated in 1893 in Színház tér in Sopron, the work of a sculptor born in Pozsony, who also made the statue of Hummel for his native town. OBJECTS FROM LISZT'S TRAVELS: 137.* FERENC LISZT'S TRAVELLING BAG Embossed brown calf-leather. On side: appliqué embroidery of knightly arms of Liszt. Estate of István Thomán, donated by Mrs. Félix Szinyei Merse. Width: 42 cm. - LM Er. 1. 138.* FERENC LISZT'S TRAVELLING DUMMY KEYBOARD ("STUMMERLI") Rectangular case of pine with walnut veneer, 3 octave keyboard, bottom open. Deposited by Jeno Hubay and donated by his heirs. With letter certifying authenticity issued by Caesar Simay for Countess Róza Cebrián, widow of Jeno Hubay. Simay's grandfather received the instrument from Anton Bruckner who had been presented with it by Liszt himself. Length: 56 cm, height: 8.5 cm, width: 40.6 cm. - LM H. 3. Excerpt from Simay's letter to Mrs. Jeno Hubay, née Countess Róza Cebrián (24 February 1941, Budapest): ["Everyone in the musical circles of Vienna knew the 'Stummerli'. Liszt carried it with him on his travels everywhere, especially in the 1830s, and also later for a time, and practised on it in hotels for hours"]. 139.* FERENC LISZT'S TRAVELLING LAMP Adjustable candlestick behind glazed opening front part of rectangular case with silvered metal frame. Estate of István Thomán, donated by Mrs. Félix Szinyei Merse. Height: 14 cm, length: 6.5 cm, width: 4.5 cm. - LM Er. 44. 141.* TRAVELLlNG INKPOT, PEN CASE Persian or Turkish, 19th century. Copper, with engraved ornaments. Estate of Eduard von Liszt Jr.; according to inventory of estate, it belonged to Liszt's travelling equipment.Length: 25 cm. - LM Er. 2. 140.* TRAVELLlNG WRITING-BOX FROM LISZT'S ESTATE Carved pear-wood with gilt mounting. Two-part lid opens to serve as writing surface covered with purple velvet. Inside, stamp of estate. Purchased from Dr. György Wenczel in 1960. Length: 35.5 cm, width: 25.5 cm, height: 7.7 cm. - LM Er. 7. 142.* FERENC LISZT'S WALLET Hungarian or Austrian, second half of 19th century. Cherry-red embossed leather, with tooled linear ornaments. Two clasped hands on silver buckle. Lined with green silk. Closed: 7 by 9 cm. - LM Er. 45. 143.* WALKING-STICK, GIFT FROM POPE PlUS IX Brown malacca cane with wrought silver knob. On the knob, Venetian mosaic and arms, lower part incomplete. Donated to the National Museum by Baroness Antal Augusz née Klára Schwab, through the intermediary of Dr. Mór Stiller, from Liszt's estate. Length: 94 cm. - HNM 1887.41.9. 144. PHOTOGRAPH OF FERENC LISZT Photo made by Julien Ganz, Bruxelles, May 1881. Oval shape, diameters 12.2 by 9 cm, full size: 20.7 by 15.4 cm. In carved wooden frame. - LM F. 40. Made during Liszt's visit in Belgium on the occasion of a series of concerts given of his major works in Antwerp and Brussels. The seventy-year-old master had not yet had the accident which in July of the same year "was his traumatic entry into old age" (see Walker: Franz Liszt. Vol. 3. The final years, 1996, p. 403). However, he did not change his way of life as "eternal wanderer"; mortal illness later reached him during a journey to Bayreuth. ON THE OTHER SIDE OF THE DOOR LEADING TO THE CORRIDOR: 145.** PORTRAITS OF TWO PRINCESSES FROM LISZT'S FLAT IN SUGÁR ÚT Photo-reproductions of two photos made by Károly Koller, Budapest, after the crayon drawings by an unknown artist, 1884. a) On the right: Archduchess Maria Valeria von Habsburg-Lothringen (1868-1924), 4th child of Austrian emperor/Hungarian king Franz Joseph I and Austrian empress/Hungarian queen Elisabeth von Wittelsbach. Signed bottom right: "Marie Valérie / 1884". b)On the left: Princess Amélie Marie von Wittelsbach (1868-1924), daughter of Duke Carl Theodor von Wittelsbach (brother of Queen Elisabeth) and Sophie von Sachsen. Signed bottom right: "Amélie / 1884". Oval photos, diameters 44 by 37 cm, total size: 61 by 54 cm. Originals: HNM Photo Collection. - LM Repr. 202/a-b. The two young princesses-cousines visited Liszt on 5 December 1884 in his flat in Sugár street. Liszt played for them three of his piano pieces (Un sospiro, 13th Hungarian Rhapsody, Soirées de Vienne No. 6) and wrote in their keepsake-albums. In turn, the girls presented him with their portraits (see Legány: Liszt and his country 1874-1886, 1992, pp. 255-256). ON TOP OF THE GLASS-CASE: 146. BUST OF FERENC LISZT, 1840 Bisque bust on glazed porcelain stand with gold ornament. Impressed Viennese mark and stamped date [1]840. After statue by Antonio Galli. Purchased in 1963. Height: 40 cm, diam. of base: 12.5 cm. - LM Pl. 21. IN THE GLASS-CASE: 147.* CUP Silver, in part gilt. Inscribed around edge and on foot: "Souvenir de ton ami le comte Leo Festetich et son épouse Christine née de Kubiny 1873 Novembre" and "Lisztnek emlekül Gr. Festetich Leó es Neje Kubinyi Krisztina Pest 1873 November". Between 1868 and 1873, Vienna, by Vincenz Czokolly. Sent to the Hungarian National Museum from Liszt's estate by Mrs. Antal Augusz through the mediation of Dr. Mór Stiller. Height: 12.5 cm. - HNM 1887.41.23. 148.* CIGAR-CASE Silver, with inscription on front: "presented to F. Liszt by his obliged Friend Ms S 14th May 1841". 1839, London, with maker's stamp C. R. W. S. It was given to Liszt by the singer Mary Steele in gratitude for Liszt's participation in her concert on the date indicated. Purchased by the Hungarian National Museum. Lenght: 13 cm, width: to cm. - HNM 1962.154. 149.* BESSAMIM STEEPLE Silver and painted porcelain. Supported by square base on four globes and on stem, both filigree-work: a two-storeyed small steeple with spire, with four flags on each corner and with cross on globe at the apex. On front plate of lower storey, on painted porcelain insert, figure of St Francis; inside upper storey, small bell. Incised on rim of base: "Francisco Liszt - Johannes Card.-Scitovszky Primas - R. Hung. 1865". Second part of the 19th century, without maker's mark. - Sent to the Hungarian National Museum from Liszt's estate by Baroness Augusz through the intermediary of Dr. Mór Stiller. Height: 40 cm. - HNM 1887.41.21. 150. DEED OF ENDOWMENT OF THE "CAPITAL BUDAPEST LISZT FERENC FOUNDATION", 1873 4 folios with handwritten texts and painted decoration (paper, ink, watercolour), in a decorative reps album with coat-of-arms of the city. Inscription with golden print: "PEST SZ. KIR. VÁROSA. / LISZT FERENCZ / ALAPITVÁNY / 1873" ["Pest free royal city. / Liszt Ferencz / Foundation / 1873"]. Text of deed: pp. 2recto - 3recto, dated Pest, 23 October 1873; additional clause: pp. 3recto - 4recto, dated 9 April 1890, ministerial assent: 22 April 1890. 39.1 by 30.2 cm. - LM AD. 12. To celebrate Liszt's 50th artistic jubilee, the Council of the Hungarian capital Budapest created a foundation which entitled Liszt to decide every year about a scholarship to the value of 600 forints for the best students of the Academy of Music when it opened. The deed was handed to him on 9 November 1873 as part of a three-days celebration, including the performance of a Liszt Cantata composed by Henrik Gobbi and the first performance without cuts of Liszt's oratorio Christus under the baton of Hans Richter. (See the chapter "A nation's celebration" in Legány: Liszt and his country 1869-1873, 1983, pp. 221-224). 151.* GLASS AND SPOON Silver-gilt and glass. On glass-holder with handle, engraved foliate and tendril ornaments. On scoop of silver-gilt spoon, chequered nielloed ornament; handle twisted. 1868, Moscow, Aleksandr Alekseyev Mukhin. - Sent to the Hungarian National Museum by Baroness Augusz from Liszt's estate, through the intermediary of Dr. Mór Stiller. Height: 9 cm. - HNM 1887.41.19. 152.* PROPELLING PENCIL Gold, hexagonal controlling ring with engraved ornaments. With green stone set on cap. Second half of 19th century, without maker's mark. Sent to the Hungarian National Museum by Baroness Augusz from Liszt's estate through the intermediary of Dr. Mór Stiller. Length: 8.5 cm. - HNM 1887.4128. 153.* PROPELLING PENCIL Gold, small articulated controlling ring on ribbed cylindrical body; at its other end, on flat button-shaped tip, engraved: "Caroline". Second half of 19th century, without maker's mark. Given to the Hungarian National Museum by Princess Carolyne Sayn-Wittgenstein by Liszt's arrangement. Length: 7.3 cm. - HNM 1887.41.27. 154.* INK-POT Platinum and glass. Cubiform, cast and chiselled, with lid opening upwards. Rich Baroque foliate ornaments, with Ferenc Liszt's coat of arms on front side. In middle of lid, large turqoise with gold inlay and Turkish characters. On bottom, inscription refering to maker. Between 1842 and 1870, St Petersburg, G. Faberge. Given to the Hungarian National Museum by Princess Carolyne Sayn-Wittgenstein by Liszt's arrangement. Height: 7 cm, width: 7 cm. - HNM 1887.41.20. 155.* REPLICA OF FERENC LISZT'S LEFT HAND Made by unknown sculptor in Liszt's younger years. White Carrara marble hand attached by metal joint to a two-layer marble base (above: red, underneath: black). Fingers are pasted up; above wrist, cuffs. Given to the Hungarian National Museum by Princess Carolyne Sayn-Wittgenstein by Liszt's arrangement. Hand total length with cuffs: 29.5 cm. Base: 34 by 17 by 2 cm. - HNM 1887.41.26. 156.* CIGAR TRAY Chased and chiselled silver tray on four legs, with foliate border relief ornament and engraved neo-Baroque tendril and animal design. Bell-shaped cup on rectangular base. On front side of both, mythological scenes (Orpheus in the Underworld, Hebe, Melpomene, Prometheus and Dionysus). On both sides of cigar-holder, small stemmed cup. On bottom, inscription referring to maker. Between 1842 and 1870, St Petersburg, G. Faberge. - Sent to the Hungarian National Museum from Liszt's estate by Baroness Augusz through the intermediary of Dr. Mór Stiller. Width: 26.5 cm, length: 39 cm, height: 21 cm. - HNM 1887.41.22. 157.* INK-STAND Chased and engraved silver oval tray with four legs; on it, ink and sand-bottles in holders with small raised sides. Back side of tray also lined with imitation fence. With small sculpture of date palm in the middle. In the hollow part, in leafed cartouche, inscription: "Liszt Ferencnek muvészi pályája félévszázados ünnepének emlékére 1873. B. L. M." ["To Ferenc Liszt in commemoration of fifty years of his artistic career 1873. B. L. M."] Without hallmark and maker's mark. Sent to the Hungarian National Museum from Liszt's estate by Baroness Augusz through the intermediary of Dr. Mór Stiller. Width: 22 cm, length: 36 cm, height: 21 cm. - HNM 1887.41.16. ON THE WALL BY THE GLASS-CASE: 158. COMMEMORATIVE LEAF FOR THE ARTISTIC JUBILEE Coloured lithograph by unknown master, printed and published by István Halász, Pest. Divided into one round and four elliptic sections. Inscription in the middle, under laurel-wreathed bust of Liszt in round space: "LISZT FERENC / Liszt Ferenc elso nyilvános föllépésének fél évszázados emléke. / Erinnerung an das 50 jährige Jubilaeum des Franz Liszt." In the elliptic spaces, scenes from Liszt's life. Lower left: "Liszt szül. helye Reidingben[sic] Sopr. vármegyében" ["Liszt's birthplace in Reiding[sic], County of Sopron"]. Upper left: "Liszt elso hangversenye Bécsben, Beethoven által megölelve" ["Liszt at his first concert in Vienna, being embraced by Beethoven"]. Upper right: "Liszt Ferencz utolsó hangversenye a redouteban" ["Liszt's last concert in the Vigadó"]. Lower right: "Üdv Liszt Ferenczünknek!" ["Hail to our Ferenc Liszt!"]. In the middle, above bust: 1873. 44.5 by 60.3 cm. - LM Gr. 35. All scenes imaginary, except for the one in upper right, which was made after an oil painting by Franz Schams (1823-1883) and Ernst Lafite (1826-1885) and shows Liszt at the concert hold on 18 March 1872 in Pest, attended by the royal family. 159. PHOTOGRAPH OF FERENC LISZT WEARING HIS DECORATIONS Oval photograph of quarter-length figure by Ferenc Kozmata, Budapest. No date [1873]. In contemporary frame. 32.5 by 27 cm. - LM F. 7. 160. PHOTOGRAPH OF LISZT WITH ORGANIZING COMMITTEE OF HIS ARTISTIC JUBILEE Unsigned. 1873. Liszt surrounded by friends at the piano with his hands on keyboard. Seated: Lajos Haynald, Imre Széchényi, Albert Apponyi, Guidó Karácsonyi. Standing: Imre Huszár, Ödön Mihalovich, Antal Augusz, Hans Richter, János Nepomuk Dunkl. Inscription in hand on contemporary passe-partout, above: "Fünfzigjähriges Liszt-Jubiläum 1873"; below: names of the persons in the picture. 29 by 38.5 cm, with passe-partout: 42 by 52.5 cm. - LM F. 2. 161. STOOL Neo-Renaissance. Budapest, late 19th century. Carved oak, with cushion. Height: 48 cm, seat 35 by 35 cm. - MAA 65.136.1. 162.** UPHOLSTERED SOFA FROM THE DRAWING-ROOM OF LISZT'S FLAT IN SUGÁR STREET Designed by Sándor Fellner, Budapest, c. 1880. Oak, with carved ornaments; brown velvet upholstery embroidered with silk and metal thread with Hungarian-pseudo-late-Renaissance design with bunches of flowers and birds. In the middle of back, the initials BM with five-branched crown. Gift of Mrs. Miklós Blaskovich, née Marianne Edelspacher, to Liszt. Circumstances of acquisition by Academy of Music unclarified. Height: 130 cm, length: 150 cm, width: 55 cm. - LM B. 4. 163.** TWO ARMCHAIRS FROM THE DRAWING-ROOM OF LISZT'S FLAT IN SUGÁR STREET Neo-Renaissance design by Sándor Fellner, c. 1880. Carved oak, with leather and peacock-blue velvet upholstery. Embroidery on back with the initials CKI and five-branched crown, and KSM and five-branched crown, respectively. Gift from Mrs. Vilmos Csapó, née Ida Karlovszky, and Mrs. Zsigmond Karlovszky to Ferenc Liszt. Both donated by the Csapó family to the Béri Balogh Ádám Museum, Szekszárd, which in 1961 assigned it to the Budapest Academy of Music. Height: 96 cm, length: 70 cm, width: 64 cm. - LM B. 6/1-2. Vilmos Csapó (1840-1933) was a land-owner from Tolna County, with a keen interest in literature and music; his family were close friends of Liszt. It was Csapó who published in 1911 Liszt's letters to Baron Augusz, together with his own reminiscences of Liszt. He writes in detail about Liszt's apartment and mentions the two armchairs as well: "These period pieces, with embroidery, were distributed among the intimate circle of the deceased maestro's admireres by Princess Wittgenstein, who also sent us two armchairs at Tengelicz". (Csapó: Liszt Ferencz levelei Báró Augusz Antalhoz, 1911, p. 9.) 164.** ARMCHAIR FROM THE DRAWING-ROOM OF LISZT'S FLAT IN SUGÁR STREET Neo-Renaissance design by Sándor Fellner, c. 1880. Carved oak, with leather and velvet upholstery. Velvet embroidered with late Hungarian pseudo late-Renaissance floral motifs; in the middle, between birds, the stylized initials PMR with five-branched crown (the letter P reversed). Gift of Mrs. Dénes Pázmándy, née Mária Reitter, to Ferenc Liszt. By 1936 the property of the Academy or Music (see Füssmann - Mátéka, Franz Liszt, 1836, no. 235). Circumstances of acquisition unclarified. Height: 126 cm, length: 76 cm, depth: 80 cm. - LM B. 7. Dénes Pázmándy (1848-1931), politician and journalist, edited the French-language paper Gazette de Hongrie, to which Liszt was a subscriber. His wife, daughter of the architect Ferenc Reitter, was a noted pianist, a pupil of Antal Siposs. Liszt was a friend of the family and attended their parties. 165. OCTAGONAL TABLE Neo-Renaissance. Workshop of Sámuel Krámer, Budapest, c. 1880. Carved and turned walnut. Purchased in 1986. Height: 71.5 cm, surface 72 by 72 cm. - LM B. 21. ON THE TABLE: 166.* CARD-PRESS FROM LISZT'S POSSESSION Hungarian, between 1870-80. Palisander veneer, with inlay, ribbed and carved ornaments and turned-work parts. Donated by Mrs. Félix Szinyei Merse. Height: 14.5 cm, length: 23.5 cm, width: 11.2 cm. - LM B. 2. ON THE WALL ABOVE JUBILEE PICTURES AND SOFA: 167. PORTRAIT OF FERENC LISZT Copy by Viktor Madarász (1830-1917) of Henri Lehmann's (1814-1882) oil painting of 1839. Three-quarter-length standing representation. Liszt turning right, facing viewer, in dark clothes, with arms crossed. Background in green monochrome. Inscribed lower left: "AMICUS AMICO (ROMAE) MDCCCXXXIX UTÁN / M. V. 1860". Donated by Antal Reményi from Ede Reményi's estate to the Museum of Fine Arts in 1911. Later transferred to the Hungarian National Museum. 116 by 89 cm. - HNM Hist. Gall. 1312. Henri Lehmann met Liszt in Paris, but their friendship intensified later in Italy in 1838-39, where he painted portraits of Liszt and Marie d'Agoult. Madarász made his copy, a free "paraphrase" of Lehmann's original, for the great Hungarian violin virtuoso Ede Reményi, who had close contacts with Liszt (see Cat. Nos. 124-125). Another, somewhat different copy by Madarász of the head of the same portrait is still in the possession of Reményi's descendants. 168. PORTRAIT OF FERENC LISZT Copy by Dalma Kakun (before 1956) of an oil painting by Miklós Barabás (1810-1898) from 1847. Oil on canvas. Three-quarter-length standing representation in Hungarian costume. His left hand on hip, his right on piano, on whose music-rest lie sheets of music with inscription "F. Liszt". Signed lower right: "Barabás M. 847". 132 by 102 cm.- LM O. 1. Original on permanent display in the Hungarian National Museum, Budapest (HNM Hist. Gall. 178.). 169. HEAD OF FERENC LISZT By Alajos Stróbl (1856-1926). Plaster of Paris painted dark red, larger than life. On square base. Height: 44 cm. - LM Pl. 9. Prahács puts its date at 1882. For Stróbl, see also Cat. Nos. 8, 32, 104 and 109. The numerous different representations of Liszt by Alajos Stróbl can be explained among others by the fact that Stróbl's studio was for some years in the attic of the Sugár street building of the Academy of Music where Liszt lived. IN THE CORNER: 170.** STATUE OF BEETHOVEN, SEATED, FROM LISZT'S ESTATE By Kaspar Clemens von Zumbusch (1830-1915) ca. 1877-78, small-size version of the main figure of the Beethoven memorial in Vienna. Bronze, on wooden base. Inscribed on metal tablet on base: "Dem verehrten Meister / FRANZ LISZT / das dankbare Beethoven-Comité" [To the respected Master / FRANZ LISZT / the grateful Beethoven-Committee]. Acquired by the Hungarian National Museum from Liszt's estate. Height: 65 cm, base length: 30 cm, width: 35 cm, height: 22 cm. - HNM 1887.78. On 16 March 1877 Liszt gave a benefit concert in Vienna, raising a huge amount of money for the Vienna Beethoven memorial fund. In acknowledgement, he was presented with the small sculpture. 171.* MIRROR Vienna, Viehofener factory, c. 1850. In wooden frame with gilt stucco ornaments. - From the estate of Eduard von Liszt Jr. According to inventory of estate, it was in the Altenburg, Liszt's home in Weimar in the 1850's. 133 bx 84 cm. - LM B. 10. 172. PORTRAIT OF FERENC LISZT Oil painting by Fortuné Joseph Séraphin Layraud (1834-1912). Full-length standing representation, turning slightly toward right, looking left, leaning against piano, with arms crossed, in dark clothes. Signed lower left: "Layraud Rome 1869". 63 by 35.3 cm. - MFA 4060. The painting might have been made after a photograph of Liszt taken in 1869 (see Burger: Franz Liszt in der Photographie seiner Zeit, 2003, No. 82). According to Prahács, it is a study for a life-size painting now in the Municipal Museum in Valenciennes, France. A life-size version of the head is in the collection of the Budapest Historical Museum (authenticity is dubious). Several other copies are also known. Goupil published a photogravure of the painting in 1894. 173. PORTRAIT OF FERENC LISZT Plaster bas-relief by A. Henselt, showing Liszt in profile looking left, in a coat with fur collar. Unsigned, undated. Diameter: 24 cm. Identified after a signed and dated copy ("A. Hensel, 1877") with different rim, in Bory: La vie de François Liszt par l'image, 1936, p. 209. 174. PORTRAIT OF FERENC LISZT Oil painting by Károly Jakobey (1826-1891). Quarter-length figure turning and looking right. In black coat, white shirt and black bow-tie, against dark brown background. Signed middle right: "Jakobey 1859". Purchased by the National Museum from Simon Färber in 1903. 36.5 by 47 cm. - HNM Hist. Gall. 931. 175. DEED OF CONFERMENT OF THE KNIGHT'S CROSS OF THE ORDER OF FRANCIS JOSEPH. BUDA, 7 JUNE 1867. "Wir Franz Joseph der Erste / […] haben Uns bewogen gefunden, / Unseren Lieben Getreuen, den Abbé / FRANZ LISZT / anlaeßlich der Aufführung der von ihm componirten Messe bei Unserer Krönung als König von Ungarn, / zum Comthur Unseres Franz Joseph-Ordens / zu ernennen. […]". With stamped seal. 46.3 by 55.3 cm. - LM AD. 1. On Liszt's Coronation Mass (Ungarische Krönungsmesse), for which he was nominated "Comthur" (Knight) of the Francis Joseph order, see Cat. Nos. 123-128.

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