Imagine owning a treasure trove of artwork so vast that even secure storage can't contain it all. That's the reality for Tony Callaghan, a Wigan bar chain owner, who is now preparing to part ways with what's believed to be the largest private collection of paintings by the acclaimed local artist, J. Lawrence Isherwood. But here's where it gets intriguing: Callaghan isn't selling out of necessity; he simply wants these masterpieces to be enjoyed by a wider audience, preferably in a public setting where they can be appreciated for generations to come.
Isherwood, a contemporary and friend of the famous L.S. Lowry, captured the essence of Wigan and beyond through his unique blend of impressionist and expressionist styles. His landscapes, seascapes, and portraits, often featuring his hometown as a backdrop, have become iconic, earning him a dedicated following. Since his passing in 1989, Isherwood's reputation has soared, with individual pieces fetching thousands of pounds.
Callaghan's connection to Isherwood dates back to his childhood. The artist was a regular at his parents' fish and chip shop, often bartering paintings for meals. Young Tony, initially intimidated by Isherwood's eccentric appearance—a bearded figure in a swirling cape—later grew to admire his talent. And this is the part most people miss: Isherwood's early works, including murals painted in the Callaghan family's shop, were unfortunately painted over by Tony's father, who wasn't a fan. But this only fueled Tony's fascination with the artist.
As a young adult, Callaghan began acquiring Isherwood's paintings, scouring car boot sales and buying from owners who had fallen out of love with their pieces. His collection grew significantly when he befriended the artist's sister-in-law, Molly Isherwood, who sold him a substantial portion of her own holdings. Today, Callaghan's collection boasts around 160 works, many of which were proudly displayed in his bars, Fifteens and Little Fifteens, even adorning the ceilings!
However, after a valuation, Callaghan faced a dilemma: to keep the paintings on display, he'd need to invest in expensive insurance. Reluctantly, he removed them, replacing them with copies. Now, with age and health considerations in mind, Callaghan is ready to pass the torch. He envisions the collection finding a 'good home,' ideally a public space where they can be admired. But here's the controversial part: while he's open to selling individual pieces or even loaning the entire collection for exhibitions, he's adamant that they shouldn't be tucked away as mere assets. He'd prefer them to remain accessible, perhaps even in the Wigan area, where Isherwood's legacy began.
Callaghan has already reached out to Wigan Council, proposing a permanent display at the Wigan Library, but to no avail. He's also been approached by potential buyers from the Isle of Man, though no deals have been finalized. So, what's the future for this extraordinary collection? Should it remain intact, or is it better appreciated as individual pieces? And where is the ideal home for these works—a museum, a gallery, or perhaps back in the heart of Wigan? Callaghan is open to ideas, and the art world is watching. What do you think? Should these Isherwoods be preserved as a complete collection, or is their impact greater when dispersed? Share your thoughts in the comments—let's spark a conversation about the legacy of J. Lawrence Isherwood and the future of his art.
