“There is nothing in here you can’t touch, and if I like it, it ends up here.”

Such are the words of an art collector who surrounds himself with pieces that speak to him directly, not because of their perceived value or the potential commerce of the artist’s name. Maurice Watson is pretty sure that any visitor will quickly figure out that they are in the home of a Black man who has collected his way into an artistic plethora of comfort and delight. It feels like one is at once dizzy with art choices and observing those choices from inside a cocoon of non-judgmental embrace. 

Maurice’s journey into collectorship is intentionally unintentional. His taste is in the piece, not the cocktail conversation that ends in, “Oh, who is it by?” That is not to say that he doesn’t appreciate certain artists or certain techniques, he just doesn’t shop that way. When the accomplished lawyer-turned-entrepreneur finds something that moves him, the subject matter is most likely Black individuals in their culture and their history. There is a divine set of two Charly Palmer multi-media works above a sofa in Maurice’s library. The words embedded in the family piece that jump out are “free yourself” and “love” and “living”. The gorgeous woman in red boasts “natural”. Together they create a force for good in a small corner of the world. And, since the library seems to host strong women, the subject in the red scarf is intoxicating in her confidence. 

Lest we think in singular dimensions, there is sculpture. In the green room, the West African antelope takes no prisoners from his perch atop an impressive marble-topped table. Directly across from him, and in the middle of the room on a round table, sits a contemporary, sensuous piece. Probably the most important carved piece is the nearly life-sized Blackamoor bust in an intimate alcove. Not familiar with Blackamoor? Typically, it is a depiction of a sub-Saharan Black person, a descendent of the Moors, a historic people of the Mediterranean. While connotations vary regarding the history and perception of the Blackamoor artform, it is considered culturally significant, including in today’s art production. Also, observe the ironwood West African sculpture of a member of the Marai Tribe. Need plates? Recognizably Kehinde Wiley, a set of plates grace a ceiling-height plate rail in the entry hall accented by the delicious dark blue gloss wall. 

While we tried (unsuccessfully) to make this article about the works and the man, we can’t help but include some design accolades – it is the way Maurice assembles, presents, and lets the audience find their own way – with a little push here and there. Hence, the great room. The entire performance in this end of the room deserves to be appreciated. It includes large West African head-dress pieces on top of the massive cupboard, as well as the painting to the right – Lester Goldman’s Coupling in sumptuous blues and browns and reds. Equally impressive in the design realm is the focal point in the green room above the fireplace with Edward Lintott’s portrait of a lady in her custom-made frame. Stunning. 

“Favorites” should be a category all of its own. Greeting visitors as they enter the home are two top contenders: The William Edouard Scott painting of the man in Haiti is showing him living his life – unencumbered by great suffering. Local and beloved artist Lonnie Powell created the endearing painting of the man in the white shirt. While the work is small and sits table-top, it commands a part of the entry hall and draws one in for a conversation. The abstract still life by Lester Goldman holds a special place in Maurice’s home, it keeps him company in the kitchen, where work is done, tea is brewed, and memories are shared. 

Ah, the beauty of collecting for the sake of enjoyment. Everything in Maurice Watson’s life is meant to be enjoyed – his friends, his travels, his art, and his warm and ingratiating personality. There is no more generous, engaged, appreciative hug than the one received from this joy of a man. So, in addition to applying to his art, the terms “comfortable and accessible” really relate to the collector. 

Featured in the February 10, 2024 issue of The Independent.
By Anne Potter Russ