Box 2

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. ...

Scope and Contents:

Lubell 2/11: 69

Ink and pastel drawing of a Maine harbor, with large red cranes and loose ink sketches of seagulls roosting on its edge. Large splotches are used to represent the darkness (or pollution) of the harbor, with an obscure image of a house on a rocky excursion next to it. Looser art style conveys a constant sense of movement. Signed and dated W.M. Lubell 1950. Lubell 69, 70 and 71 represent the same scene. See also Lubell 72 and 73.

30.2 x 44.3 cm

Scope and Contents: Lubell 2/11: 70 Ink drawing (with graphite pencil and pastel) of the same Maine harbor scene as Lubell 69 and 71, but drastically different in not only what it includes, but how. This second piece is extremely sparse, more akin to a preliminary drawing (albeit still with coloring). The coloring is similar, but the much lighter and less detailed image makes the red and yellow stand out much more. The rocks on the left side are similarly sparse and half-drawn. Signed and dated...

Scope and Contents: Lubell 2/11: 71 Ink and wash drawing over graphite pencil of the same Maine harbor scene as Lubell 69 and 70. In stark contrast to the other images, this is extremely detailed in its shading but has no color (its cranes are black with no highlights or shading to differentiate their space). Its rocky outcropping is also more noticeable and part of the space. Interestingly, while the subject matter is essentially the same – as is the framing – the pieces’ composition is different...

Scope and Contents: Lubell 2/11: 72 Ink and wash drawing. This is a wide view of a Maine harbor showing what appears to be a commercial area. A sketch of a person on a one-man fishing boat contrasts to the giant factory on the left side. Light wash and ink curves project the image of the island (or peninsula’s) ridges and hills, while small buildings line the horizon. A series of light waves are the only definition for the ocean. Titled, signed and dated Maine, W. Milius Lubell 1950. See also...

Scope and Contents: Lubell 2/11: 73 Ink and wash drawing (with gouache) of a Maine harbor. This is part of the same series of Maine harbor scenes as Lubell 69-72. This piece is possibly the most dramatically different from the other four of this series, despite all of their similar use of ink and wash coloring and shading. It depicts the ocean from a pier, looking equally at its end (with a truck barely shaded in) and a drained waterway, with garbage and a blue shaded boat lining the stone walls....