From the pages of Devilina, volume 1, number 1 (January 1975), here’s the unfortunately named, but expertly illustrated, “Lay of the Sea,” with story by Gabe Levy and art by Leo Duranona (1938-):
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.
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- ABOVE: Robert Silverberg, ed., Earthmen & Strangers (New York: Dell, 1968), with cover by Jeffrey Jones.
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- ABOVE: Gardner F. Fox, Kothar of the Magic Sword (New York: Modern Promotions, n.d.), with cover by Jeffrey Jones.
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- ABOVE: A. E. Van Vogt, The Book of Ptath (New York: Paperback Library, 1968), with cover by Jeffrey Jones.
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- ABOVE: Samuel R. Delany, The Jewels of Aptor (New York: Ace, 1968), with cover by Jeffrey Jones.
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- ABOVE: Jack Williamson, Seetee Shock (New York: Lancer, 1968), with cover by Jeffrey Jones.
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- ABOVE: L. Sprague de Camp and Fletcher Pratt, The Incomplete Enchanter (New York: Pyramid, 1968), with cover by Jeffrey Jones.
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- ABOVE: Peter Saxon, The Curse of Rathlaw (New York: Prestige Books, 1968), with cover by Jeffrey Jones.
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- ABOVE: Richard Meade, The Sword of Morning Star (New York: Signet, 1969), with cover by Jeffrey Jones.
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- ABOVE: Frank Brunner, Bedlam Planet (New York: Ace, n.d.), with cover by Jeffrey Jones.
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- ABOVE: Peter Valentine Timlett, Twilight of the Serpent (New York: Bantam Books, 1977), with cover by 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.
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