Jewellery, Watches, Silver & Objects of Vertu

An Arts and Crafts enamel and pearl pendant attributed to James Cromar Watt, circa 1905, gold mounted, the central blister pearl collet set and suspended below scrolling motifs each set with translucent enamels, in closed back settings, with freshwater pearl highlights and pendant drops, suspended from an open wirework bale, unmarked, length 6.2cm. £1,000-£1,500

James Cromar Watt (1862-1940) was born and grew up in Aberdeen and in 1879 began his training as an architect with W & J Smith of Aberdeen. In the late 1880s he travelled in Belgium, Germany and Italy which inspired his love of Renaissance arts and crafts. On his return he rejoined W & J Smith, and qualified as an architect at the Architectural School of the Royal Academy, London.

Watt continued his travels in the 1890s, spending time in Greece, where his love for decoration and craft skills deepened. In the course of his travels, he appears to have begun dealing in works of art, taking a particular interest in ancient metalworks. By 1896, he had resigned his architectural associateship to concentrate exclusively on his work with precious metals. He took a particular interest in developing his skills in the ancient techniques of gold granulation and translucent foiled enamelling, working firstly on large objects, then concentrating on jewellery. Inspiration came from contemporary artists, including Alexander Fisher and Phoebe Traquair.

During the First World War, Watt was engaged on secret government work - the true nature of which has never been disclosed. He did not return to jewellery-making - apparently due to failing eyesight - and devoted most of his energies into working with the English architect and goldsmith Henry Wilson, a friend since at least 1905, together completing the bronze tomb of Bishop Elphinstone, co-founder of the University of Aberdeen. He was granted an honorary degree in 1931 by the University of Aberdeen.


Watt assembled an important collection of ancient ceramics and artefacts, particularly from China and the Far East, including porcelain, jade, silk paintings, ivories, lacquer work, enamels and bronzes. After his death in 1940, his collection was divided between the Aberdeen Art Gallery and the Royal Scottish Museum.


Literature:
Charlotte Gere/Geoffrey C. Munn: Pre-Raphaelite to Arts and Crafts Jewellery, pub. ACC, 1996.

Beatriz Chadour-Sampson/Sonya Newell-Smith: Tadema Gallery London Jewellery from the 1860s to 1960s, pub. Arnoldsche Art Publishers, Stuttgart 2021.