Watt, James Cromer 1862 - 1940

James Cromar Watt was born in Aberdeen, Scotland on 14 July 1862 and was articled to William Smith (1817-1791) and John Smith (1791-1852) in Aberdeen in 1879. He was an an assistant to George Aitchison (1825-1910) in 1887, and to Reginald St. Aubyn Roumien (1854-1921) and Alfred Aichison (?-1914) in 1890.

In 1888 he entered the Royal Academy Schools in London. He qualified as an architect in 1892 and later that year was elected as an Associate of the Royal Institute of British Architects (ARIBA). He practised as an architect in Aberdeen and later in London.

In 1893 he travelled to Greece and for a period he made a study tour of the ancient sites in Greece and Italy. Following his return to Britain he published as 'Examples of Greek and Pompeian Decorative Work. Measured and drawn by J.C. Watt' (London: B. T. Batsford, 1897).

In addition to his work as an architect, he was also a jewellery designer and decorative artist. He participated in the exhibitions of the Arts & Crafts Exhibition Society in London in 1899, 1903, 1906, 1910, 1912 and 1916 and 1926. He also exhibited at the Aberdeen Artists' Society in 1919 and 1935, and the Royal Glasgow Institute of the Fine Arts in 1919, and participated in the Esposizione internazionale d'arte decorativa moderna in Turin in 1902.

In 1896 he resigned his membership of the RIBA and subsequently concentrated on his work as a jewellery designer and decorative artist.

His address was given as 21 Victoria Street, Aberdeen, Scotland in 1892; 9 Crowley Street, Dean's Yard, Westminster, London in 1892; and 71, Dee Street, Aberdeen in 1906, 1910 and 1912. He died in a street accident in Aberdeen on 19 November 1940
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Worked in
UK
Bibliography

Directory of British Architects 1834-1914. Compiled by Antonia Brodie, et al. Volume 2: L-Z. London; New York: British Architectural Library, Royal Institute of British Architects/Continuum, 2001

‘Obituary’. The Builder 6 December 1940 p. 556

Rew, Christine. ‘James Cromar Watt, Aberdeen architect and designer’ Journal of the Scottish Society for Art History vol. 5, 2000, pp. 29-36

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