"This day's experience, set in order, none of it left ragged or lying about, all of it gathered in like treasure and finished with, set aside." –Alice Munro, "What is Remembered"
More covers, freshly scanned and displayed in order of publication:
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Jupiter and Star Science Fiction 4 are wraparound covers, but I’m not in the mood right now to do the scanning and stitching necessary to display the back, spine, and front of each book as a single image. Sorry…
Went to a church rummage sale yesterday. Picked up three LPs and a small stack of paperbacks, including three with covers by Paul Lehr. Scanned the Lehr covers a few minutes ago. Uploaded the JPEGs to RCN. Typed a few lines of nonsense. Published the post. Tweeted the link. Sat back and admired my busywork.
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To browse through all of the covers with art by Paul Lehr that I’ve posted thus far on RCN, click here, scroll down, click the link to the next page, scroll down, etc.
A nice variety of covers by Lehr this time around. I especially dig Lehr’s 1967 cover for Margaret St. Clair’s The Dolphins of Altair, even if the exact location of the dorsal fin on the central dolphin (who, to Lehr’s credit, really looks like he is carrying a weight on his back) is slightly mysterious. I don’t know about you, but I’m happy to chalk this one up to artistic license… the fin is entirely hidden by the woman’s body and that’s all there is to it…
Click here to view all of the covers with art by Paul Lehr that I’ve posted so far.
The cover of The Three Faces of Time, which I bought yesterday at a used book store in Moose Jaw, Saskatchewan, is uncredited, and no signature is visible, but it sure looks like the work of Jeffrey Jones, circa 1968-69, to me.
UPDATE (24 July 2010):
This just in: reader Patrick Hill points out in the comments section of this post that Jones informed him ten years ago that he (Jones) swiped the pose of the main figure in Seetee Shock and The Three Faces of Time from “H2O World,” with story by Larry Ivie and art by Al Williamson and Roy Krenkel. Here’s the ocular proof:
If nothing else, the above news should make Maroto fans smile.
Notice that the publication dates of these covers by Paul Lehr, scanned just this morning directly from the library of yours truly, range from 1969 to 1980. I’m sure some people think of Lehr as a bit of a one-trick pony, but with this little group of four, one gets a nice sense of Lehr’s quiet versatility as an image maker, in a nutshell, as it were. Oddly enough, Frazetta later painted an image, entitled Torment (1986), of a guy impaled on a curvilinear structure that would not look out of place in the future city hinted at in the Gunner Cade cover — which perhaps tells you all you need to know about Frazetta’s attitude to modernity — but Lehr’s flamboyantly attired, bubble-helmeted hero is about as far from the half-naked, heavily muscled, hard-charging Frazetta archetype as one can get. Yes, the Glory Road and Power of Blackness covers are fairly typical Lehr productions; however, with the cover for The Centauri Device, Lehr charges boldly into John Berkey territory, and acquits himself very well indeed.
Human figures dwarfed by the universe, blue/green-and-gold/orange colour schemes… I wonder… is Jeffrey Jones edging into Paul Lehr territory in the following covers? I think so!
Click here to view all of the covers by Jeffrey Jones that I’ve posted so far.
The original reproduction on many of the following covers by Jeffrey Jones, all from the library of yours truly, was very poor, so my scans are sometimes not the best here. One exception is the last cover, Twilight of the Serpent, which actually showcases Jones’s artwork in more detail and with more lively colour than does the rather dour reproduction on the back cover of publisher Underwood-Miller’s lavish hardcover, The Art of Jeffrey Jones.
My favourites this time around are the covers for The Curse of Rathlaw (1968), an early effort in which Jones’s attractive design for the vignette is nicely reinforced by the typography, and Twilight of the Serpent (1977), a later cover which displays Jones’s hard-won skills as a draftsman (or draughtsman, if you prefer), mastery of lost-and-found edges in oil painting, and increasing willingness in the 1970s and early 1980s to produce images that went against the grain of traditional heroic fantasy.
Ragged Claws Network 
