I am pleased to be able to return to sales of Paul's art, which now includes the entirety of what remains in his inventory. Paul is now in a nursing home, and I have have been appointed by the court to be the exclusive agent for all the paintings, prelims, sketches, and studies that Paul still had in his possession. Many of the artworks now listed have never been offered for sale before, or even displayed publically, until now. These
works span the entirety of his career, and include several that were inspired by his interests in architecture, historical military themes, model trains, and more. Every piece is a unique, one-of-a-kind original, and every one must now be sold to pay for his medical care.
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 was 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” wrote 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 would only created art the traditional way - by hand, in gouache! He never owned a computer, a digital camera, nor a cel phone. And he liked it that way!