I am very sorry to inform prospective buyers of Paul's art that there must be a temporary hold on sales.. He is ill, and while his family works out the details for his care, and establishes plans for the selling (or not) of what remains in his inventory of paintings, I will be unable to sell and/or supply them. Once the legalities are cleared away, I am hopeful that I will be able to offer most, if not all, of the works that Paul still had in his possession.
Paul Alexander worked for architectural firms and then in advertising before signing with an artist’s rep agency in New York City - which brought his work to the attention of Ace Books, 1977. Impressed by his command of hardware and machinery illustration, Ace gave him dozens of SF assignments and over the next two decades Alexander built a national reputation among fans of the genre working for Ace, Ballantine, Fawcett, Del Rey, Baen, and others and many magazines. Although he is as proficient at illustrating people as he is machines, he is still best known for his high-tech illustrations – “one of the top "gadget" artists currently working in the American paperback market” writes Vincent Di Fate, who featured Alexander in his Infinite Worlds: The Fantastic Visions of Science Fiction Art 1997). Paul’s work was also selected for Spectrum: The Best in Contemporary Fantastic Art Volumes #1-4. Paul worked for Baen Books well into the 1990s, most notably doing David Drake’s “Hammer’s Slammers” series, and Keith Laumer’s “Bolos” series. When the computer entered the scene, it was time for him to end the commercial part of his art career - because he only PAINTS the traditional way!