Field, on the other hand, was apparently not! My friend Piotrek helped me translate this letter from Edward Wolff to Józef Nowakowski (both were Polish pianists and acquaintances of Chopin). Only this excerpt survived:
[...] Chopin is already very well known and appreciated here [in Vienna]. Nb. Field is here, and making his acquaintance was required. I was at Graff's, as usual, and I played my Concerto: suddenly enters Field; I immediately guessed that it was he, because Graff said to me that he was expecting him any moment. Of course I got up right away, though he asked me to keep playing for him; it goes without saying that I did not want to play and excused myself by saying it was because I wanted to hear him first; he too began to play. You and Chopin have it right that he plays like some kind of beginner; no skill, no style, and no ability to conquer any difficulties; in a word, a poor player. But he has his advantages, steady German playing, slow, eins, zwei, drei, slow trills, but always with four fingers. He played the b Concerto [?]; he played cleanly, sure and steady. Here you have Field, and do not be surprised that I never liked him. He rants a lot about Paris and Italy. He praised Chopin, Kalkbrenner, Moscheles, and especially Hummel, and greatly disapproved of Herz and Liszt. Today he is giving a concert in the theater, and I am to have lunch with him today. A very polite and kind-hearted man. At the end he begged me, so I played him something. I was a little daring; I fired off with the Allegro and Rondo, which I've done and finished here. He very much enjoyed it, and in the end I played the Chopin Etudes and my Mazury. He said to me in French: "Those youths are truly diabolical." I had to play him passages of the Rondo several times. I did a few mazurkas à la Chopin, but increasingly more eccentric. [...]
Of course, that was in August 1835, not exactly the pinnacle of Liszt's career, though it was fairly close to the pinnacle of his career as a performer; he had already dissociated himself from the likes of Herz in Paris, but perhaps not yet in Vienna (or in Field's and Wolff's estimations). Field died less than two years later.
This letter is really most interesting because it gives a glimpse of what the second tier of Romantic virtuosi thought of themselves.