Here at Watts Gallery, we're always thrilled when the stories within our collection resonate with contemporary events. Recently, the sale of Joseph Joachim's Stradivarius violin for a remarkable £9 million has captured headlines. It's also given us cause to reflect on our own connection to Joachim through George Frederic Watts's portrait of him; A Lamplight Study.

The bond between Watts and Joachim began in Little Holland House, the home of Sara and Thoby Prinsep where George took residence. Joachim was a frequent visitor, and often attended the musical soirées held here. This is where Watts and Joachim were first acquainted. In Mary Watts's book George Frederic Watts: The Annals of an Artist's Life, she details Harry Prinsep's recollection of the first night Joachim played at the house:

"It was after dinner in that drawing-room of harmonious colour, under the deep-blue ceiling, and Joachim leaning back had sunk into one of the biggest of sofas, when Signor ventured to ask him to play. … Joachim allowed, upon the second trial; and then away he went, drawing from the violin all that was possible, and making the room fill with the wonder of the song—an evening to remember..." (Mary Seton Watts, George Frederic Watts: The Annals of an Artist's Life)

Watts had a keen interest in music, even buying a violin with the intention of learning how to play it. He sought to capture Joachim during a performance in this intimate, artificially lit setting. Mary reflects on the evening that George painted this work:

"A Lamplight Study—the Portrait of Joseph Joachim," will preserve for future generations his aspect on these evenings. In imagination one can see him standing, bow in hand and chin upon the violin, in that room with its wealth and colour from floor to ceiling, the art upon its walls answering so nobly to the music." (Mary Seton Watts, George Frederic Watts: The Annals of an Artist's Life)

This portrait captures Joachim mid-performance, illuminated by artificial light, reflecting the intimate atmosphere of these gatherings. As a dedicated music enthusiast, Watts used this work to investigate the connection between music and visual art, a key element of the Aesthetic movement that gained momentum in the 1860s.

Watts and Joachim continued their friendship up until Watts's death in 1904. It's clear that Joachim's friendship was cherished by Watts, as evidenced by his refusal to sell the work. In a letter to his patron Charles Rickards, Watts divulged that: "With respect to the Joachim portrait, I don’t think I can let you have it…because it belongs to my gallery", and the painting has remained in our collection ever since.

George Watts was known for his ability to portray the essence of his subjects, and his portrait of Joseph Joachim is a wonderful example. A Lamplight Study is on display in George Watts's Studio in Limnerslease, and we invite you to experience this portrayal of a remarkable friendship for yourself, and appreciate the story of two men who were so deeply connected through their art.