Archive for the Look Here Category
In the comments section of a previous post here at RCN, frequent commenter on this blog, Chris A, writes:
Just happened to see that someone posted scans of Jones’ “Harry” in glorious black and white! It originally ran in VAMPIRELLA #32 in 1974 with garish colors by Rich Corben (whose work I quite like, but this was a bad pairing), and was reprinted in a later VAMPIRELLA in black and white (which these scans came from). Enjoy!
http://atomic-surgery.blogspot.com/2009/10/harry-by-jeff-jones.html
Thanks for the link, Chris. No doubt about it: stripped of Corben’s day-glo colours, “Harry” is a real stunner!
For easy comparison, here is the colour version, which (as Chris A notes) appeared in Vampirella #32 (April 1974):
Anyone prefer the colour version?
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The cavalcade of covers by Jeffrey Jones continues, though the pace is slowing…
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ABOVE: Quinn Reade, Quest of the Dark Lady (New York: Belmont Books, 1969), with cover by Jeffrey Jones.
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ABOVE: J. Hunter Holly, The Dark Planet (New York: Macfadden-Bartell, 1971), with cover by Jeffrey Jones.
Click here to view the entire collection (so far).
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27
02
2010
Posted by: RC in Comics, Look Here, tags: Leo Duranona
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-):
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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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The following cover by Jones is from the Skywald horror magazine, Nightmare, volume 1, number 6 (December 1971):
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Jones’s Scheherazade graced the cover of the Styx #2 back in 1973 (37 years ago!):
Styx was published by Winnipeg’s own Joseph Krolik, who was very active in fandom beginning in the mid-to-late 1960s, when he and a buddy, Andris Taskans, both in high school at the time, started a club called “The Science Fiction Fans & Comic Collectors of Winnipeg” and published a “clubzine” called Universe that ran for seven issues.
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On 05 March 2010, Glimmer Graphics, known to readers of this blog as the publisher of an ongoing series of first-rate prints and posters by Jeffrey Jones, will release Poetry (see above image), a lush new 22 x 15 inch limited-edition giclée print by Barry Windsor-Smith. Each of the 375 prints that make up the edition will be signed and numbered and will be presented in a foil-stamped linen folder with a tipped-on colour plate. The unit price is US$135, shipped and insured, and you may pay in full or with installments. To place your order, click here.
This is NOT a paid advertisement. If the money BWS makes from the print enables him to complete work on his long-awaited Monsters graphic novel, that will be payment enough. The previews on BWS’s site are gorgeous!
BONUS LINKS:
The Barry Windsor-Smith Conan Archives Volume 1 HC (Publication Date: 13 January 2010) — “now presented as they were intended, remastered using the original color palette!”
The Barry Windsor-Smith Conan Archives Volume 2 HC (Publication Date: 19 May 2010) — “The two Barry Windsor-Smith archives collect all of the historic and influential Conan the Barbarian comics drawn by Barry Windsor-Smith,” including his adaptation of Robert E. Howard’s “Red Nails”!
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ABOVE: Ted White, The Spawn of the Death Machine (New York: Paperback Library, 1968), with cover by Jeffrey Jones.
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ABOVE: Michael D. Resnick, The Goddess of Ganymede (New York: Paperback Library, 1968), with cover by Jeffrey Jones.
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ABOVE: A. E. Van Vogt, The Far Out Worlds of A. E. Van Vogt (New York: Ace Books, 1968), with cover by Jeffrey Jones.
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ABOVE: L. Sprague de Camp, The Clocks of Iraz (New York: Pyramid Books, 1971), with cover by Jeffrey Jones.
Even though I don’t much care for any of the above covers, I have decided to include them here anyway for what they reveal about Jones’s slow but steady development as an artist.
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Here’s one of a signed-and-numbered edition of fifty prints, published by Idyl Impress in 1977, that were hand-coloured with watercolour by Jeffrey Jones. It is followed by the uncoloured version, which was published the same year by Idyl Impress in a signed-and-numbered edition of 1200:
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ABOVE: Jeffrey Jones, In a Sheltered Corner (Idyl Impress, 1977), hand-coloured, limited-edition lithograph, 17 x 21 inches.
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ABOVE: Jeffrey Jones, In a Sheltered Corner (Idyl Impress, 1977), limited-edition print, 17 x 21 inches.
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ABOVE: Jeffrey Jones, original art for Idyl (n.d.), ink on bristol, 18 x 23 inches.
You can view the printed version, with the title stripped in, here; it’s third from the top.
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Todd Adams of Glimmer Graphics has a beautiful new limited edition print by Jeffrey Jones available for purchase on his company’s Web site. “I have published over 50 fine art prints through the years,” writes Todd, “and this is the finest print quality I have seen to date.” Here’s a link to the order page. And here’s a copy of the image Todd sent out to promote the print:
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Jeffrey Jones, A Game of Thrones
Jones created the above painting for Meisha Merlin Publishing’s deluxe limited edition of the first book in George R. R. Martin’s “A Song of Fire & Ice” epic. The new Glimmer Graphics print is comprised of 375 signed and numbered copies, as well as 25 artist proof copies, all on 500 g/m² acid-free, ultra-smooth paper. Sheet size is 22 x 16 inches, with an image size of 19 x 12.5 inches.
BONUS LINK:
Work in Progress: The A Game of Thrones Cover by Jeffrey Jones
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ABOVE: Howard Pyle, An Attack on a Galleon (c. 1905).
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ABOVE: N.C. Wyeth, Westward Ho! (c. 1920).
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ABOVE: Frank Frazetta, The Galleon (1973).
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ABOVE: Frank Frazetta, Sea Serpent (1972), oil on canvas. Here's a bonus: another painting by Frazetta inspired by An Attack on a Galleon by Howard Pyle.
Frazetta’s obvious borrowing from Pyle has been pointed out many times in the past; however, I’ve never seen anyone add Wyeth’s painting to the mix (although surely someone has, the line of influence being so clear). Now, of the three galleon paintings, it seems obvious to me that Pyle’s original effort is not only the first but also the best of the three. It’s the best composed; it’s the most expressively painted; it’s the most dramatic. No wonder Wyeth and Frazetta (who seems to me to have borrowed as much from Wyeth’s galleon as from Pyle’s) were enthralled by Pyle’s Attack on a Galleon. It’s a masterpiece. And which of the remaining two galleon paintings is the weakest, Wyeth’s picturesque, chocolate-box cliché or Frazetta’s virtuosic but underdeveloped pastiche? You decide…
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I mentioned a couple of messages ago that my wife and I own a piece of original art by American watercolourist DeWitt Hardy; however, since I doubt many people (especially here in Canada) know the name, I thought that today, for your (and my!) enjoyment, I would post an image of our purchase:
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ABOVE: DeWitt Hardy, untitled watercolour painting, 28 x 27 centimetres (approx. 11 x 10.6 inches).
Sorry the image is a bit soft, but the painting was too big for our scanner. Also, our digital camera is not the best.
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Yes, there are some serious creases and wear marks on some of the covers, but it is difficult to find pristine copies of thirty-nine-year-old-plus paperbacks, especially when one limits one’s search to local bookstores:
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ABOVE: Andre Norton, Star Hunter And Voodoo Planet (New York: Ace, n.d.), with cover by Jeffrey Jones.
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ABOVE: Andre Norton, Sorceress of the Witch World (New York: Ace, 1968/1978), with cover by Jeffrey Jones (mis-credited to John Pound).
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ABOVE: John Jakes, The Planet Wizard (New York: Ace, 1969), with cover by Jeffrey Jones.
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ABOVE: Lin Carter, Thongor Fights The Pirates Of Tarakus (N.p.: Berkley Medallion, 1970), with cover by Jeffrey Jones.
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ABOVE: Andre Norton, The Zero Stone (New York: Ace, n.d.), with cover by Jeffrey Jones.
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ABOVE: Andre Norton, Uncharted Stars (New York: Ace, n.d.), with cover by Jeffrey Jones.
I don’t really like any of the above covers, with the exception, perhaps, of the Uncharted Stars cover, which I feel is a step up from the others in terms of draftsmanship, composition, technique, originality, and wit.
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