The selection of balance between colors used in this illustration is perfect.
(Really.)
Moving from foreground to horizon, we find a steady gradation of colors ranging from a steely greenish-blue landscape, to buildings in muted (and foggy) purplish blue to bold and crisp bluish-purple and then, insignia blue towers, horizontally banded with grayish blue, and occasional yellow. The towers themselves are backlit by a rising (or is it setting? – I think it’s setting) sun, itself behind a veil of undulating red and yellow clouds.
And, the blimps in the left add a sense of balance and scale.
Alas, the purple whatever-it-is (an extraterrestrial kangaroo, perchance?) doesn’t – really “fit”, and the foreground space would have been better occupied by another blimp, or something like one of the floating, curved, metalloids typical of the work of Richard Powers. I wonder if the artist was influenced by the Tauntaun, in The Empire Strikes Back…
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The Red Queen’s Race, by Isaac Asimov, from Astounding Science Fiction
Flaw, by John D. MacDonald, from Startling Stories
Private Eye, by Lewis Padgett (Henry Kuttner and Catherine L. Moore), from Astounding Science Fiction
Manna, by Peter Phillips, from Astounding Science Fiction
The Prisoner In The Skull, by Lewis Padgett (Henry Kuttner and Catherine L. Moore), from AstoundingScience Fiction
Alien Earth, by Edmond Hamilton, from Thrilling Wonder Stories
History Lesson, by Arthur C. Clarke, from Startling Stories
Eternity Lost, by Clifford D. Simak, from Astounding Science Fiction
The Only Thing We Learn, by Cyril M. Kornbluth, from Startling Stories
Private – Keep Out, by Philip MacDonald, from The Magazine of Fantasy and Science Fiction
The Hurkle Is A Happy Beast, by Theodore Sturgeon, from The Magazine of Fantasy and Science Fiction
Kaleidoscope, by Ray Bradbury, from Thrilling Wonder Stories
Defense Mechanism, by Katherine MacLean, from Astounding Science Fiction
Cold War, by Henry Kuttner, from Thrilling Wonder Stories
The Witches of Karres, by James H. Schmitz, from Astounding Science Fiction
Though less said about the cover art of Volume 13 of Isaac Asimov Presents the Great SF Stories – “the better” (!) – I’m still including images of this volume’s cover, and a close-up of its art, for the sake of completeness…
Well, okay.
Yeah.
(You get the idea.)
What were they thinking?
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Null-P, by William Tenn, from Worlds Beyond
The Sentinel, by Arthur C. Clarke, from Ten Story Fantasy
The Fire Balloons, by Ray Bradbury, from Imagination
The Marching Morons, by Cyril M. Kornbluth, from Galaxy Science Fiction
The Weapon, By Frederic Brown, from AstoundingScience Fiction
Angel’s Egg, by Edgar Pangborn, from Galaxy Science Fiction
“Breeds There A Man-“, by Isaac Asimov, from Astounding Science Fiction
Pictures Don’t Lie, by Katherine MacLean, from Galaxy Science Fiction
Superiority, by Arthur C. Clarke, from The Magazine of Fantasy and Science Fiction
I’m Scared, by Jack Finney, from Colliers
The Quest for St. Aquin, by Anthony Boucher, from New Tales of Space and Time
Tiger by The Tail, by Alan E. Nourse, from Galaxy Science Fiction
With These Hands, by Cyril M. Kornbluth, from Galaxy Science Fiction
A Pail of Air, by Fritz Leiber, from Galaxy Science Fiction
Dune Roller, by Julian May, from Astounding Science Fiction
From 1979 through 1992, Donald A. Wollheim books – founded by editor, publisher, and write Donald A. Wollheim, and his wife Elise – published twenty-five volumes of the Science Fiction Anthology Isaac Asimov Presents the Great SF Stories. Series authors Isaac Asimov and Martin H. Greenberg (whose names appear on each volume’s cover) designed the series such that each volume comprised a set of short stories that they deemed the best science fiction published every year (and only within “that” particular year) from 1939 through 1963, in terms of literary quality and cultural significance. Each volume includes approximately twelve to fifteen stories, the stories themselves chronologically arranged by month of publication within each given year.
At variance from retrospective anthologies wheres stories are arranged by theme, the chronological design of Asimov and Greenberg’s anthology created a “snapshot” of the evolution and development of science fiction across a quarter-century, shedding light on technological, social, ideological, and cultural changes in society commencing with the years just before the Second World War (the first volume covering 1939), through the early years of space exploration (the final volume covering 1963).
An invaluable aspect of the series, especially for one new to science fiction and unacquainted with the stories’ writers, was the way that Asimov and Greenberg presented very brief two-part introductions to each story. These typically comprised a short, “light” biographical blurb focused upon the literary and vocational career (sometimes one and the same; sometimes not!) of the story’s author, written by Greenberg, followed by commentary about the story itself, composed by Asimov. The latter would focus on the story’s literary significance, its “place” in the literature of science fiction (and sometimes literature in general), the cultural and social mechanics of publishing, and simply, the not-so-simple art of writing.
The cover art and content list of every volume can be viewed “here”, at WordsEnvisioned.
As for Volume 13, well… As good, sometimes excellent – and one or two times superlative – as the cover art is for some volumes, that for Volume 13, well…uh…er…leaves much to be desired. Enough said.
The series’ publication history is given below. You’ll see the volume number; the year represented by that volume; the publication date; cover artist or studio; New American Library / DAW Science Fiction Library serial numbers, and, price.
So (no drum roll needed…) here’s the cover and contents of Volume 1.
I, Robot, by Eando Binder, from Amazing Stories
The Strange Flight of Richard Clayton, by Robert Bloch, from Amazing Stories
Trouble With Water, by Horace L. Gold, from Unknown
Cloak of Aesir, by John W. Campbell, Jr. (as “Don A. Stuart”), from Astounding Science Fiction
The Day Is Done, by Lester del Rey, from Astounding Science Fiction
The Ultimate Catalyst, by John Taine, from Thrilling Wonder Stories
The Gnarly Man, by L. Sprague de Camp, from Unknown
Black Destroyer, by A.E. van Vogt, from Astounding Science Fiction
Greater Than Gods, by Catherine L. Moore, from Astounding Science Fiction
Trends, by Isaac Asimov, from Astounding Science Fiction
The Blue Giraffe, by L. Sprague de Camp, from Astounding Science Fiction
The Misguided Halo, by Henry Kuttner, from Unknown
Heavy Planet, by Milton A. Rothman, from AstoundingScience Fiction
Life-Line, by Robert A. Heinlein, from AstoundingScience Fiction
Ether Breather, by Theodore Sturgeon, from Astounding Science Fiction
Pilgrimage, by Nelson S. Bond, from Amazing Stories
Rust, by Joseph E. Kelleam, from Astounding Science Fiction
The Four-Sided Triangle, by William F. Temple, from Amazing Stories
Star Bright, by Jack Williamson, from Argosy
Misfit, by Robert A. Heinlein, from Astounding Science Fiction
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During publication of the series, between 1979 and 1992, the volumes were released on a semi-annual basis. The exceptions were 13, 16, and 17 (which respectively covered 1951, 1954, and 1955) having been the only volumes published in 1985, 1987, and 1988. (Again, respectively!) The covers of all volumes (except for the above-mentioned 1951) are available for your viewing here, at WordsEnvisioned.
Interestingly, an effort seems to have to re-release the series, with Volumes 1 and 2 (1939 and 1940) having been published by the Dorset Press in 2001 and 2002. However, it seems that no further volumes were re-published. (Why not?…)
The two Dorset Press volumes were printed in a notably larger format than the original books.. They measure 21 cm, while the original volumes are of a standard paperback size and measure 17.5 cm.
The other difference is the cover art of both Dorset Press volumes, both of which were designed by artist Tom McKeveny, whose digital portfolio can be viewed here, while his book cover designs can be viewed here.
The 1939 cover is beautifully adapted from a scene in David Butler’s 1930 science-fiction film Just Imagine, showing a 1930s vision of a city (New York?) of the future half-a-century hence: in 1980. (Now in 2019, thirty-nine years ago…)
You need not merely imagine Just Imagine. Uploaded to YouTube by Geography Video, you can watch the movie, below:
Like Volume 1 of Isaac Asimov Presents the Great SF Stories, which covered science-fiction short stories published during 1939, Volume 2 of this series was re-issued by Dorset Press; in this case, in 2002. It seems that Dorset did not proceed beyond Volume 2 in the Series’ re-publication.
Both covers are shown below.
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Here’s the cover of the original volume, with art by Jack Gaughan…
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The Dwindling Sphere, by Willard Hawkins, from Astounding Science Fiction
The Automatic Pistol, by Fritz Leiber, from Weird Tales
Hindsight, by Jack Williamson, from Astounding Science Fiction
Postpaid to Paradise, by Robert Arthur, from Argosy
Into the Darkness, by Ross Rocklynne, from Astounding Science Fiction
Dark Mission, by Lester Del Rey, from Astounding Science Fiction
It, by Theodore Sturgeon, from Unknown
Vault of the Beast, by A.E. van Vogt, from Astounding Science Fiction
The Impossible Highway, by Oscar J. Friend, from Thrilling Wonder Stories
Quietus, by Ross Rocklynne, from Astounding Science Fiction
Strange Playfellow, by Isaac Asimov, from Super Science Stories
The Warrior Race, by L. Sprague de Camp, from Astounding Science Fiction
Farewell to The Master, by Harry Bates, from Astounding Science Fiction
Butyl and the Breather, by Theodore Sturgeon, from Astounding Science Fiction
The Exalted, by L. Sprague de Camp, from Astounding Science Fiction
Old Man Mulligan, by P. Schuyler Miller, from Astounding Science Fiction
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…and this is Tom McKeveny’s cover for the Dorset Press Volume. The styles are obviously, utterly, completely different, but each “works” in its own way.
My preference? McKeveny’s. The representational and symbolic nature of his art is strikingly emblematic and evocative of the theme and “feeling” of pulp magazines of the 40s. (And early 1950s.) Particularly effective is the contrast between the pale golden-yellow of the spacecraft against the star-speckled dark blue “space” background, wand the “wrap-around” look of the orange-red-violet rocket trails across the cover.
You can view Mr. McKeveny’s digital portfolio here, and his book cover designs can be viewed here.
The selection of balance between colors used in this illustration is perfect. 
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