Box 2

Scope and Contents:

Lubell 2/10: 55

Ink and wash drawing of a branch with purple magnolia flowers in bloom. Pen ink is used to outline the branch and flowers, with comparatively thicker lines for the branch – particularly the lower section at the bottom of the print – and thinner lines next to each other to give the petals a more airy, translucent image. Grey wash is used for the branch, and pink and orange for the petals.

22.7 x 30.5 cm

Scope and Contents: Lubell 2/10: 56 Ink drawing of a branch of a pine tree, with a single conifer cone in the center of the image. Ink is very loose, with thin, short lines for the branch and longer – if just as thin – lines for the leaves. The end of the branch has more lines, giving it a darker appearance akin to shading. The cone, by contrast, is by far the least-defined part of the drawing, and its much less drawn image and open spaces in its scales make it contrast with the darker part of the...

Scope and Contents:

Lubell 2/10: 57

Ink and wash drawing of a tree branch with small stems and flowers drooping off and lining it. Ink lines are of varying length, which gives each part of the image a different “thickness” and image. Another type of coloration is used for the branch and leaves, brown wash in multiple depths of color for each part of the image. Signed W. Milius Lubell.

22.7 x 30.4 cm

Scope and Contents:

Lubell 2/10: 58

Ink drawing of a pine forest. In contrast to many other Lubell pieces, many of the tree trunks have clear outlines, with cross-hatching to depict the leaves. Small dot patterns line the ground. Aside from the dot and line patterns, the only overt signifier of Lubell’s style is a floral pattern next to one of the trees, which is connected to her signature.

14.6 x 13.5 cm

Scope and Contents: Lubell 2/10: 59 Ink drawing of an unknown species of plant (lichen?), shown without any larger background from root to stem. Shading is nonexistent, but lines vary in size and thickness. The roots’ hairs are short, thin, and curve in elaborate patterns, while the upper branches and seeds are thick and blocky. A scrap of paper has been glued over the lower corner of the paper covering what may have been an original title “Usnea Parmelia,” which is a type of lichen. Drawn on...

Scope and Contents: Lubell 2/10: 60 Ink drawing of two lichens, including the rare cladonia lichen, devoid of any background or spatial context. With no coloring, the primary way in which Lubell differentiates the parts of the lichen comes from shading (largely crosshatching) and outline. A variety of different shapes, sizes, and styles to each branch are used, from a blank outline to a larger, tree trunk-like branch in the center. The lack of a central pattern, structure, or context gives the...

Scope and Contents: Lubell 2/10: 61 Ink drawing of an intricate floral network, apparently a combination of two lichen plants. No colors, with only crosshatching for shading and a lack of central structure or design (with, additionally, no primary visual design in place). Some different forms of crosshatching give some individual branches a unique texture. One branch leans out the bottom-right side. Circled number 4 written in pencil in the lower right. Drawn on illustration board. ...