![Gottschalk, Louis Moreau. (1829–1869) [Stacy, George. (1831–1897)] Gottschalk and his friends, Saratoga [New York], 1864 - Two Stereoview Photographs](http://www.schubertiademusic.com/cdn/shop/files/Gottschalk25719.jpg?v=1775947652)
Two rare stereoview photographs of the composer and pianist in Saratoga Springs, both generally attributed to George Stacy. One view shows a group gathered outdoors in front of a columned building, identified in some sources as the courtyard of Union Hall; the second image depicts Gottschalk standing holding a sheet of music, posed in a studio setting around a small draped table with two associates. The studio portrait stamped to verso by Stacy "SARATOGA / Gottschalk and his Friends / No. 654," the other inscribed "Saratoga / Gottschalk + his Friends / No. 4117." Small other identifying labels to front of one card, else fine. 6.75 x 3.25 inches.
The studio portrait shows Gottschalk with (standing) George William Warren (1828-1902), pianist and organist, described by Fred Starr (Bamboula: The Life and Times of Louis Moreau Gottschalk) as "Robust and full-bearded, . . . he and Gottschalk stood on opposite sides of many fault lines running through American life. Warren was drawn at once to the composer from New Orleans, 'I then heard him for the first time,' Warren recalled, 'and succumbed at once. It was love at first sight–love for the man, his genius, his most extraordinary playing, and the utter (inner) simplicity of character, which I discovered at a glance.'" It was Warren who introduced Gottschalk and the painter Frederick Edwin Church; Gottschalk and Warren would later write the music, The Andes, that provided the accompaniment to the exhibition of Church’s monumental painting “Heart of the Andes.” The other figure in the photograph has sometimes been incorrectly identified as Tenor Pasquale Brignoli. Neither his identity or those of the assembled friends in the outdoor portrait are known to us.
Two rare stereoview photographs of the composer and pianist in Saratoga Springs, both generally attributed to George Stacy. One view shows a group gathered outdoors in front of a columned building, identified in some sources as the courtyard of Union Hall; the second image depicts Gottschalk standing holding a sheet of music, posed in a studio setting around a small draped table with two associates. The studio portrait stamped to verso by Stacy "SARATOGA / Gottschalk and his Friends / No. 654," the other inscribed "Saratoga / Gottschalk + his Friends / No. 4117." Small other identifying labels to front of one card, else fine. 6.75 x 3.25 inches.
The studio portrait shows Gottschalk with (standing) George William Warren (1828-1902), pianist and organist, described by Fred Starr (Bamboula: The Life and Times of Louis Moreau Gottschalk) as "Robust and full-bearded, . . . he and Gottschalk stood on opposite sides of many fault lines running through American life. Warren was drawn at once to the composer from New Orleans, 'I then heard him for the first time,' Warren recalled, 'and succumbed at once. It was love at first sight–love for the man, his genius, his most extraordinary playing, and the utter (inner) simplicity of character, which I discovered at a glance.'" It was Warren who introduced Gottschalk and the painter Frederick Edwin Church; Gottschalk and Warren would later write the music, The Andes, that provided the accompaniment to the exhibition of Church’s monumental painting “Heart of the Andes.” The other figure in the photograph has sometimes been incorrectly identified as Tenor Pasquale Brignoli. Neither his identity or those of the assembled friends in the outdoor portrait are known to us.