Tony Callaghan, owner of a popular pub and club chain in Wigan, Greater Manchester, has announced his decision to sell what is believed to be the world's largest private collection of works by local artist J. Lawrence Isherwood. The collection, comprising approximately 160 paintings, represents decades of dedicated acquisition by Callaghan, who began buying Isherwood's pieces in his late twenties after recognizing the artist's rising significance in British art. The sale comes as Callaghan, now in his senior years and having experienced recent health concerns, wants to ensure these important works remain accessible to the public rather than hidden away in storage.

James Lawrence Isherwood (1917-1989) developed a distinctive artistic style that critics have described as impressionist-expressionist, though it became popularly known as the "Wigan style" due to his frequent use of local scenes and characters as subject matter. A contemporary and friend of L.S. Lowry, Isherwood painted vibrant landscapes, seascapes, and portraits characterized by bold brushwork and emotional intensity. Despite his talent, the artist often struggled financially during his lifetime, famously trading paintings for basic necessities like fish and chips at local establishments. Since his death, Isherwood's reputation has grown substantially, with individual works now commanding thousands of pounds at auction and attracting collectors from across the United Kingdom.

Callaghan's personal connection to Isherwood dates back to his childhood when the eccentric artist would visit his parents' fish and chip shop on Earl Street in Swinley. The young Tony found Isherwood intimidating—an imposing figure with a large beard and swirling cape who lived near the Bellingham Hotel and carried an air of bohemian mystery. However, his father Fred Callaghan took a liking to the struggling painter, allowing him to create murals in the shop's cellar and later on its back wall, though these were eventually painted over. As Tony matured, he came to appreciate Isherwood's artistic genius, particularly after learning that the then-Prince of Wales had acquired one of his paintings, signaling the artist's growing national recognition.

The collection grew through strategic purchases at car boot sales, from private owners looking to sell, and most significantly, from the artist's sister-in-law Molly Isherwood after his passing. At its peak, many pieces adorned the walls and even the ceiling of Callaghan's Fifteens and Little Fifteens bars, creating a unique gallery experience for patrons. However, after a professional valuation revealed the collection's substantial worth, insurance requirements forced Callaghan to remove the originals and replace them with high-quality copies. Since then, the majority of the authentic works have remained in secure storage, unseen by the public—a situation that conflicts with Callaghan's vision of art as a shared cultural resource.

Callaghan's primary motivation for selling is to find the collection a permanent home where it can be displayed and appreciated by the public, preferably within the Wigan area. He has already reached out to Wigan Council about establishing a permanent exhibition at the local library, though these discussions did not materialize into a concrete plan. The businessman emphasizes that this is not a financial necessity or "fire sale," but rather a thoughtful decision about legacy and cultural preservation. He remains open to various possibilities, including loaning the entire collection for a temporary exhibition, selling pieces individually to private collectors who will appreciate them, or finding an institutional buyer willing to keep the works accessible.

Potential buyers have already expressed interest, including contacts from the Isle of Man who considered purchasing the complete collection, though no agreements have been finalized. Callaghan hopes that some pieces might find a home in the newly restored Haigh Hall, which had previously considered displaying works by another Wigan artist, Theodore Major. He remains flexible about timing and terms, willing to delay any sale if a suitable exhibition opportunity emerges. For now, the collection remains intact, with Callaghan acting as custodian of these important works until they can transition to a setting where, as he puts it, "the public can see and enjoy them" for generations to come.