Lilian Neilson Sold at Auction Prices

§ LILLIAN NEILSON (SCOTTISH 1938-1998)

LILLIAN NEILSON (SCOTTISH 1938-1998) FIELDS AND SEA Signed verso, oil on board 20cm x 22cm (8in x 8.75in), and another oil on board by the artist (2), both unframed A private collector and friend of the artist; thence by descent to the present owner. Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LILLIAN NEILSON (SCOTTISH 1938-1998)

LILLIAN NEILSON (SCOTTISH 1938-1998) SUNSET, CATTERLINE Signed verso, oil on irregularly-shaped board (2) 16.5cm x 16cm (6.6in x 6.25in), and another oil and board by the artist, each unframed A private collector and friend of the artist; thence by descent to the present owner. Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LILLIAN NEILSON (SCOTTISH 1938-1998)

LILLIAN NEILSON (SCOTTISH 1938-1998) TRACK NEXT TO A CORNFIELD Signed lower right, oil on board 38.5cm x 70cm (15in x 27.5in), unframed A private collector and friend of the artist; thence by descent to the present owner. Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LILLIAN NEILSON (SCOTTISH 1938-1998)

LILLIAN NEILSON (SCOTTISH 1938-1998) STAR FRAGMENTS Oil on board 63cm x 84cm (24.75in x 33in), unframed A private collector and friend of the artist; thence by descent to the present owner. Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LILLIAN NEILSON (SCOTTISH 1938-1998)

LILLIAN NEILSON (SCOTTISH 1938-1998) MOONRISE, CATTERLINE Oil on board 40cm x 30cm (15.75in x 11.75in), unframed A private collector and friend of the artist; thence by descent to the present owner. Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LILIAN NEILSON (SCOTTISH 1938-1998)

LILIAN NEILSON (SCOTTISH 1938-1998) STILL LIFE WITH OIL LAMP AND GRATER Signed and indistinctly dated ('69?) lower left, oil on board 29cm x 59cm (11.5in x 23.25in) Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land. 

§ LIL NEILSON (SCOTTISH 1938-1998)

LIL NEILSON (SCOTTISH 1938-1998) FISHING NETS AND WINTER WAVES, CATTERLINE Oil on board 79.5cm x 120cm (31.25in x 47.25in) 369 Gallery, Edinburgh In the summer of 1960, following graduation from Duncan of Jordanstone College of Art, Lil Neilson attended a summer school at the prestigious arts centre Hospitalfield House. Here, she formed a portentous connection with visiting tutor Joan Eardley, who in recent years had been painting the tenements and residents of the Glasgow slum of Townhead. Neilson admired the direct vitality of Eardley’s technique, and following the summer school’s conclusion the pair remained in contact. A travelling scholarship enabled Neilson to spend a year working across Paris and Italy, but by 1962 she was back in Scotland, settling in Edinburgh. Shortly after her return, she received an invitation from Eardley to join her at her new studio in the remote coastal village of Catterline. The pair painted together, and the young Neilson assimilated technical lessons from Eardley’s landscape style. Neilson’s Catterline paintings are characterised by a frenetic expressivity and intensely brooding atmosphere, capturing the turbulent drama of the sea.When Eardley fell ill in 1963 Neilson left her job working backstage in Edinburgh theatres to nurse Eardley in Catterline. Upon Eardley’s untimely death in August 1963, Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. She continued to develop her energetic painterly technique and spent her time working between the Catterline cottage and Norfolk, observing the human impact upon the respective coastlines, which precipitated an interest in ecological conservation. Neilson’s paintings increasingly express her conflicting devotion to, and frustration with, the state of the landscape.Lyon & Turnbull are delighted to be presenting two substantial paintings by this important Scottish woman artist, one of which is the largest ever example we are aware of having been offered to market. 

§ LIL NEILSON (SCOTTISH 1938-1998)

LIL NEILSON (SCOTTISH 1938-1998) FISHERMAN'S BOTHY, CATTERLINE Signed and inscribed to artist's label verso, oil on board 30cm x 49cm (11.75in x 19.25in) In the summer of 1960, following graduation from Duncan of Jordanstone College of Art, Lil Neilson attended a summer school at the prestigious arts centre Hospitalfield House. Here, she formed a portentous connection with visiting tutor Joan Eardley, who in recent years had been painting the tenements and residents of the Glasgow slum of Townhead. Neilson admired the direct vitality of Eardley’s technique, and following the summer school’s conclusion the pair remained in contact. A travelling scholarship enabled Neilson to spend a year working across Paris and Italy, but by 1962 she was back in Scotland, settling in Edinburgh. Shortly after her return, she received an invitation from Eardley to join her at her new studio in the remote coastal village of Catterline. The pair painted together, and the young Neilson assimilated technical lessons from Eardley’s landscape style. Neilson’s Catterline paintings are characterised by a frenetic expressivity and intensely brooding atmosphere, capturing the turbulent drama of the sea.When Eardley fell ill in 1963 Neilson left her job working backstage in Edinburgh theatres to nurse Eardley in Catterline. Upon Eardley’s untimely death in August 1963, Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. She continued to develop her energetic painterly technique and spent her time working between the Catterline cottage and Norfolk, observing the human impact upon the respective coastlines, which precipitated an interest in ecological conservation. Neilson’s paintings increasingly express her conflicting devotion to, and frustration with, the state of the landscape.Lyon & Turnbull are delighted to be presenting two substantial paintings by this important Scottish woman artist, one of which is the largest ever example we are aware of having been offered to market. 

LIL NEILSON (SCOTTISH 1938-1998) THE DARK PATH OF THE GUITAR

LIL NEILSON THE DARK PATH OF THE GUITAR Lithograph, Artist's Proof, signed, inscribed and editioned 'U/P' in pencil to margin 1938 the sheet 49cm x 39.5cm (19.25in x 15.5in)

§ LIL NEILSON (SCOTTISH 1938-1998) TWO BOATS

§ LIL NEILSON (SCOTTISH 1938-1998) TWO BOATS Titled to artist's label verso, oil on board (40cm x 81cm (15.75in x 32in))

§ LIL NEILSON (SCOTTISH 1938-1998) PLOUGHED FIELDS, CATTERLINE

§ LIL NEILSON (SCOTTISH 1938-1998) PLOUGHED FIELDS, CATTERLINE Signed lower left, inscribed to a label verso, oil on board (24cm x 61cm (9.5in x 24in))

§ LIL NEILSON (SCOTTISH 1938-1998) CELTIC MIRAGE SITE

Screenprint, U/P, signed, titled and editioned in pencil to margin (Dimensions: 42cm x 57.5cm (16.5in x 22.75in)) (42cm x 57.5cm (16.5in x 22.75in)) Footnote: Note: It is believed that this print was not ever editioned, and so the artist's editioning as U/P, may refer to it being a unique print.

§ LIL NEILSON (SCOTTISH 1938-1998) BLUE CRUSADER III

§ LIL NEILSON (SCOTTISH 1938-1998) BLUE CRUSADER III Screenprint, U/P, 1995, signed, dated, titled and editioned in pencil to margin (Dimensions: 29cm x 41.5cm (11.5in x 16.25in), image size)

§ LIL NEILSON (SCOTTISH 1938-1998) COTTAGES ON THE COAST

§ LIL NEILSON (SCOTTISH 1938-1998) COTTAGES ON THE COAST Signed and indistinctly dated, artist's address label verso, oil on board (Dimensions: 38cm x 111.5cm (15in x 44in))

LIL NEILSON Scottish b1938 'Turtle Walking' Screen print artist proof(AP) signed bottom centre right

LIL NEILSON Scottish b1938 'Turtle Walking' Screen print artist proof(AP) signed bottom centre rightL: 31cm approx H: 41cm approx Condition Report: Prior to bidding, please consult the additional photos provided and ask all pertinent questions Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition

LIL NEILSON Scottish b1938 'Turtle Walking' Screen print artist proof(AP) signed bottom centre right

LIL NEILSON Scottish b1938 'Turtle Walking' Screen print artist proof(AP) signed bottom centre rightL: 31cm approx H: 41cm approx Condition Report: Prior to bidding, please consult the additional photos provided and ask all pertinent questions Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition

[§] LIL NEILSON (SCOTTISH B.1938) COTTAGES AT CATTERLINE 59.5cm x 68cm (23.5in x 26.75in)

[§] LIL NEILSON (SCOTTISH B.1938) COTTAGES AT CATTERLINE Oil on board 59.5cm x 68cm (23.5in x 26.75in)

[§] LIL NEILSON (SCOTTISH 1938-1998) COTTAGES, CATTERLINE 29cm x 34cm (11.5in x 13.5in)

[§] LIL NEILSON (SCOTTISH 1938-1998) COTTAGES, CATTERLINE Signed with monogram, oil on board 29cm x 34cm (11.5in x 13.5in)

[§] LIL NEILSON (SCOTTISH 1938-1998) CATTERLINE SKYLINE 27cm x 30cm (10.5in x 12in)

[§] LIL NEILSON (SCOTTISH 1938-1998) CATTERLINE SKYLINE Signed, oil on board 27cm x 30cm (10.5in x 12in)

[§] LIL NEILSON (SCOTTISH 1938-1998) FIFE FISHING BOAT 28cm x 41cm (11in x 16in)

[§] LIL NEILSON (SCOTTISH 1938-1998) FIFE FISHING BOAT Oil on board 28cm x 41cm (11in x 16in)

[§] LIL NEILSON (SCOTTISH 1938-1998) STORMY SUNSET 19cm x 63cm (7.5in x 24.75in)

[§] LIL NEILSON (SCOTTISH 1938-1998) STORMY SUNSET Oil on board 19cm x 63cm (7.5in x 24.75in)

[§] LIL NEILSON (SCOTTISH 1938-1998) FIFE FISHING VILLAGE - 1970 32cm x 56cm (12.5in x 22in)

[§] LIL NEILSON (SCOTTISH 1938-1998) FIFE FISHING VILLAGE - 1970 Oil on board 32cm x 56cm (12.5in x 22in)

§ LILLIAN NEILSON (SCOTTISH 1938-1998) WEE FISHER 29cm x 60cm (11.25in x 23.5in)

§ LILLIAN NEILSON (SCOTTISH 1938-1998) WEE FISHER Signed and dated (1970) and inscribed with title verso, oil on board. 29cm x 60cm (11.25in x 23.5in)

§ LILLIAN NEILSON (SCOTTISH 1939-1998) GREEN GARDEN 66cm x 91cm (26in x 36in)

§ LILLIAN NEILSON (SCOTTISH 1939-1998) GREEN GARDEN Oil on canvas 66cm x 91cm (26in x 36in)

§ LILLIAN NEILSON (SCOTTISH 1938-1998) STILL LIFE WITH YELLOW FLOWERS 29cm x 30cm (11.5in x 12in)

§ LILLIAN NEILSON (SCOTTISH 1938-1998) STILL LIFE WITH YELLOW FLOWERS Oil on board 29cm x 30cm (11.5in x 12in)

§ LIL NEILSON (SCOTTISH B.1938) BOTHY AND BOAT 61cm x 122cm (24in x 48in)

§ LIL NEILSON (SCOTTISH B.1938) BOTHY AND BOAT Signed, and inscribed verso, oil on board 61cm x 122cm (24in x 48in)

Lilian Neilson (British, 1938-1998) White Cottages, Catterline

White Cottages, Catterline Signed and dated 'Lilian Neilson 68' (lower right) oil on board, 33.5 x 49.5cm (13 3/16 x 19 1/2in).

Lilian Neilson (British, 1938-1998) Harbour scene possibly Angus

Harbour scene possibly Angus inscribed to the verso 'Lillian Neilson' oil on board 120 x 120cm (47 1/4 x 47 1/4in).

Lilian Neilson (British, 1938-1998) "The Harbour"

"The Harbour" signed, inscribed on label verso, oil on board, unframed, 63 x 124cm (24 13/16 x 48 13/16in).

Lilian Neilson (British, 1938-1998) "Bothy and boat"

"Bothy and boat" signed and dated '84, inscribed on label verso, oil on board, unframed, 61 x 122cm (24 x 48 1/16in).

Lilian Neilson (1938-?)"Southrow Catterline"signed, oil on board, unframed36cm x 37.5cm (14.25in. x 14.5in.)