* ELIZABETH MARY WATT (SCOTTISH 1886 - 1954), SUMMER FLOWERS

oil on board, signed framed image size 58cm x 47cm, overall size 68cm x 56cm Note: The city of Dundee witnessed the birth of this prodigious talent on 14th February 1885. Daughter to Elizabeth and Alexander L. Watt, Elizabeth Mary Watt’s early life hinted at her imminent tryst with the arts. After a brief stint as a milliner and a subsequent move to Glasgow following her father’s relocation to America, Watt began working for the renowned woven fabric maker, Joseph M. Sadler. Concurrently, her enrolment as an evening student at The Glasgow School of Art in 1905 marked the initiation of her formal training. While working as a colourist, she pursued courses in Drawing and Painting, tutored by eminent instructors such as David F. Wilson and David N. Rollo. Her commitment to her craft and her undeniable talent culminated in her being awarded the Haldane Travelling Bursary, which took her to the artistic havens of Paris, Venice, Florence, and Rome. This expedition not only enriched her artistic vocabulary but firmly established her as a notable name in Glasgow’s art circuit. Watt’s artistry was deeply influenced by her surroundings and experiences. Whether it was the Scottish west coast’s rugged beauty or the whimsical alleys of Florence, her paintings were a testament to her profound observations. However, what set Watt apart was her predilection for fantasy. Her portrayal of elves and pixies amidst lush landscapes, often reminiscent of dreamy settings, became emblematic of her style. This juxtaposition of the real and the imagined resonated deeply with art enthusiasts, earning her a distinct place amongst her contemporaries. Beyond her canvases, Watt ventured into pottery painting and became renowned as a “china painter”. The 1939 series “Round the studios” by Nan Muirhead Moffat highlighted this facet of Watt’s artistry, further cementing her versatility and dexterity. Elizabeth Mary Watt’s association with the Glasgow Society of Lady Artists was a testament to her prowess. Her regular exhibitions alongside Kate Wylie and her eventual win of the Lauder Award in 1947 were not just accolades but also a celebration of her indomitable spirit. Furthermore, her exhibitions at the Royal Glasgow Institute of the Fine Arts and the Royal Scottish Academy bore witness to her widespread acclaim. There is a growing market for her work, notably in Scotland where most of her work is appearing at auction.