The timeline of Stefan Zweig’s life and works not only provides a guide to the key events of the writer’s life, but also includes direct links to records of persons and archival material in the repository.
The timeline is based on the lifetime calendar compiled by Michèle Schilling which kindly has been placed at the disposal of the STEFAN ZWEIG DIGITAL project. It will be continually developed.


A list of the first publications of Stefan Zweig’s works is available on German Wikisource.
It is based on the bibliography compiled by Rainer-Joachim Siegel, who has variously assisted STEFAN ZWEIG DIGITAL with other helpful information.


A person who or institution that owned a book formerly in Stefan Zweig’s library before it was transferred to its current location. If there are several entries, they are given in chronological order.


At the time of its greatest expansion in the mid-1930s, Stefan Zweig’s library comprised some 10,000 volumes. Of these, about 1,300 can still be located – a mere fraction of the former total. And yet, the present catalogue, here presented for the first time, facilitates important insights into the literature which Zweig took note of, read, and used as a source for his own writings.
It is worth considering that at no point did the books listed in the catalogue simultaneously constitute Stefan Zweig’s library. In particular, his decision in the mid-1930s to go into exile substantially diminished the scope of his collection. Some 1,000 volumes, forming the largest single remaining corpus of books, are still in the possession of Zweig’s heirs; the others were sold or given away as gifts and are now in public or private collections.
Only a small proportion of the volumes contain signatures or presentation inscriptions that permit their straightforward and positive identification as books formerly owned by Stefan Zweig. Hence, before undertaking the project of cataloguing, it was necessary to establish additional provenance features and characteristics, such as the shelfmarks that Zweig used in his library.
The catalogue of Stefan Zweig’s library was compiled by Stephan Matthias. It will integrate any new discoveries, and the team is always grateful to be made aware of further specimens in public or private collections.


As a rule, this term is used only for shelfmarks that trace back to Stefan Zweig’s ownership.
The books formerly in Stefan Zweig’s library show various different types of numerical codes or letter-number combinations which probably denoted shelf locations or subject fields, or – as in the case of the voucher copies (“Hausexemplare”) – constituted accession numbers. As these different call number systems were revised several times, apparently due to changes of residence or reorganisations of the library, a single volume may display several different shelfmarks. In some cases the obsolete shelfmark was stricken out, yet there are also indications that several shelfmark systems were in use simultaneously.
As no original catalogues of Stefan Zweig’s library have survived, it is not possible to be more precise regarding the usage of his various shelfmark systems. In spite of the fact that several volumes indicate locations, it has not been possible so far to establish with any certainty the original arrangement of the volumes within the library.


Indicates various pieces of furniture where books were stored. The following designations and abbreviations are known:
Bl. Tisch: library table (“Bibliothekstisch”) with drawers, similar to a large dresser
Gl./Glask./Glaskasten/Glasschrank: various designations for one and the same glass cabinet
Kl./kl. K.: a bookcase described as “kleiner Kasten”
Schreibtisch: Stefan Zweig’s desk
Truhe: an unidentified chest, location in Stefan Zweig’s house unknown



Consecutively assigned inventory number, sometimes preceded by the code “IN”. In use from 1920 onwards.



This shelfmark consists of several elements: consecutively assigned inventory numbers are preceded by the code “IN”, consecutively assigned work numbers by the code “WN”. These are followed by a number-letter combination, usually in a separate line, that probably stands for a subject area and/or a shelf location.
This is the oldest shelfmark system in Stefan Zweig’s library that could be established, in use from about 1908 through 1917. In a very few cases it was inscribed twice within a single volume, though probably only by mistake.



Consecutive numbers were assigned to the voucher copies of the original editions and translations of Stefan Zweig’s works, as well as to works in the production of which he had a part as editor, translator, or in some other capacity.
Most of these volumes bear a circular stamp with the word “Hausexemplar” and the number inscribed by hand, most frequently with a red crayon. Some books, however, lack the stamp and are identified only by the pencilled word “Hausexemplar”, followed by the number.



Indicates rooms in Stefan Zweig’s Salzburg villa where books were stored outside the library. The following designations and abbreviations are known:
Rg.: a filing registry in the hallway near the library
Vorr/Vorraum: the anteroom to the library



Location information. Period of use mostly unclear, but probably not in use before 1920.



Stefan Zweig’s collection of auction and stock catalogues issued by rare book and autograph dealers, including relevant literature, forms an independent bloc, and these volumes were assigned their own consecutive inventory numbers. These are mostly handwritten in ink within an oval stamp reading “Sammlung Stefan Zweig” (or, in some cases, “SAMMLUNG Stefan Zweig”).
At a later point, the same stamp – without an inscribed number – was used to mark books from Stefan Zweig’s library gifted to today’s Mozarteum University in Salzburg.



Under this heading we list Stefan Zweig’s diaries and contracts concerning his literary works, but also official documents, bank statements, posters for theatrical performances, invitation cards, unused envelopes, and the like. Material of this kind sheds light on Stefan Zweig’s situation in life at a given time, but also permits us to investigate broader issues falling within the realm of the sociology of literature. His "Hauptbuch" for example, the central register into which Zweig entered all contracts and agreements, gives evidence of his international network of contacts as well as of the wide reach of his works.


The index lists the names of all persons appearing in the records. Clicking on any name will initiate a general search of the database. Important contributions were made by Frank Geuenich, who compiled the “Stefan Zweig index of authors, artists, and works”.


Books from Stefan Zweig’s library show various provenance features which allow us to deduce his previous ownership. For the greater part, these individual features were categorised and recorded in the library catalogue following the T-PRO Thesaurus of Provenance Terms. Please note that several provenance features may occur within one and the same volume, sometimes in juxtaposition.


(T-PRO library provenance feature)

The holograph name of Stefan Zweig or any other person, for example in limited editions or used as an ownership.


BINDING Standort

(T-PRO library provenance feature)

Some 20 known volumes from Stefan Zweig’s library were custom-bound for him in special cardboard bindings. There are two basic types:
in lacquered white paper with gilt lettering on red spine labels
in lacquered paper of various colours with coloured edges and black lettering on the spine labels



(T-PRO library provenance feature)

Usually a label glued to the front pastedown of a book, stating the name of the owner or the book’s provenance, frequently illustrated. Stefan Zweig’s own bookplate is preserved in only a very few volumes.



(T-PRO library provenance feature)

A note or annotation inscribed on the blank pages of a book or on an inserted slip of paper.



(T-PRO library provenance feature)

An insertion or enclosure of any kind, such as bookmarks, letters, envelopes, postcards, newspaper clippings, or slips of paper.



(T-PRO library provenance feature)

Annotations in the margin of a page, providing a written commentary on a specific passage in the text.



(T-PRO library provenance feature)

An overpasted slip of paper covering the original printed text



(T-PRO library provenance feature)

Handwritten presentation to or by Stefan Zweig, either on a page of a book or on an insertion.



(T-PRO library provenance feature)

A removed page or part of a page (leaf). In the catalogue this most frequently applies to copies from which, according to Stefan Zweig’s instructions, presentation inscriptions and ownerships were removed as he dissolved portions of his library. Without additional provenance features in the same volume, such books cannot be attributed to Zweig’s library with any certainty.


STAMP Standort

(T-PRO library provenance feature)

The impression of any kind of stamp, including but not limited to ownership stamps, address stamps, censorship stamps, or the stamps “Hausexemplar” and “Sammlung Stefan Zweig”



(T-PRO library provenance feature)

A marked passage in the text, such as an underlining or a single or double vertical pen or pencil line in the margin, highlighting several lines of printed text.



The list of locations illustrates plainly the degree to which Stefan Zweig’s posthumous manuscripts, documents, and books are today dispersed among public and private collections worldwide.
Clicking will display a list of items held at the respective location.


This section comprises all original material relating to Stefan Zweig’s literary works: manuscripts, typescripts, galley proofs, notebooks, and similar documents. While relevant items are held by numerous public and private collections throughout the world, the principal focus of the present catalogue is on the documents in the Literature Archive Salzburg and those in the Daniel Reed Library in Fredonia, New York. Thus, Stefan Zweig’s literary estate, comprising all documents in his possession at the time of his death and now dispersed among both repositories, has been fully catalogued and made accessible to scholarship for the first time.
This process has made it possible to reunite in virtual form, through the catalogue entries and digital facsimiles, several manuscripts whose pages were inadvertently scattered after Zweig’s death. An example is Stefan Zweig’s eulogy for Sigmund Freud, “Worte am Sarge Sigmund Freuds,” the first leaf of which is held by Fredonia, while the remainder is in the Salzburg archive.
The catalogue of works is constantly being expanded by important and extensive holdings from additional collections and archives, according to the standards set down in the “Regeln zur Erschließung von Nachlässen und Autographen” (Rules for the Cataloguing of Literary Archives and Autographs, RNA).
The manuscripts are grouped thematically and by works; all material belonging to a separate work is arranged chronologically in the order of creation, as far as it could be ascertained. The category “Working Notes” comprises all relevant notes in notebooks, notepads, or leaves with related content that could not be assigned to a single work. This subset, which is here fully catalogued for the first time, also contains texts or text fragments that could not be identified thus far. Stefan Zweig resumed the use of some of his notebooks after intervals which frequently lasted many years by reversing the book and beginning to write from the other end. In these cases, the orientation of the text is necessarily reversed. This is documented throughout by the digital facsimiles, as are the frequently large number of blank pages between the entries.
The current locations and call numbers of the documents are provided at the end of each catalogue entry. Please address any inquiries concerning individual manuscripts to the respective holding institution.


Many of the surviving manuscripts and typescripts include additional, accompanying material originating from Stefan Zweig himself or in all likelihood added to the documents during his own lifetime. These additions are catalogued individually, stating their shape, extent, dimensions, and inscriptions, if any. The frequent use of cover sheets or paper wrappers is a characteristic feature of Stefan Zweig’s literary estate. Either from the very beginning or occasioned by a later reorganisation of the documents, some manuscripts and typescripts were equipped with a large sheet of paper that serves as a wrapper. The cover sheets usually consist in a large blue sheet of paper added to the notebooks or bundles of pages as the first leaf, placed uppermost. These sheets often provide the title of the work and occasionally further information in brief (such as notes on content) in Stefan Zweig’s own handwriting or in that of Lotte Zweig.

DATE Standort

Dates are given as they are stated in the source material. Dates in square brackets have been determined from extrinsic sources.


Additions accompanying Zweig’s documents, created by third parties and added to his papers after his death.



Unless the source material has a cover sheet or is enclosed within wrappers, it is common for the first page to bear an identifying inscription which frequently states the title and sometimes gives dates or information regarding the version or stage of revision. The catalogue reproduces the exact wording of this inscription, the scribe, and the writing instrument or substance.


INCIPIT Standort

The incipit – the first words of a text – serves to identify a work instead of or in addition to the title, as in the case of several differing versions or of fragments.


Persons who or institutions that had any part in establishing the documents in their present form, such as through corrections, amendments or additions to the text.


The nature and physical description of the object, such as manuscript, typescript, galley proof, etc., stating “corrected” if it contains corrections by Stefan Zweig or other parties. The number of leaves refers to the entire document inclusive of blanks, but omitting additional material and accruals. The dimensions are given in centimetres. If applicable, the binding is described and numbered pages are noted.


Stefan Zweig himself provided many of his manuscripts and typescripts with a title. In addition, many documents bear title statements in the handwriting of Lotte Zweig, usually written in blue pencil. These titles are reproduced verbatim. If the document bears no title, it is supplied from extrinsic sources, or a descriptive title is assigned by the cataloguer. Manuscripts and typescripts are to be found under their published title or the title under which they are most familiar.


Substances and instruments used for writing. Stefan Zweig preferred purple ink, but also commonly used pencil, blue and red ink, red and blue pencils for writing and annotation. For typescripts Zweig’s office mainly used purple and black ribbons. Stefan Zweig himself did not use a typewriter, but would dictate his literary texts and letters.


The posthumous papers show that Stefan Zweig chose his writing material with care. Many of his diaries and notebooks exhibit sellers’ labels and manufacturer details. Zweig’s manuscripts and typescripts are on paper of a wide range of sizes, usually bearing a watermark. Zweig also used hotel stationery, sometimes a long time after his stay at the hotel. He also used waste paper (old envelopes, printed forms, pages from books) for his notes.