In my early 20's, I bought a lovely copy of Tales of Mystery and Imagination by Edgar Allan Poe, at Sainsbury's Books in Camberwell. I was drawn to it because of the magnificent black and white illustrations, in a style reminiscent of Aubrey Beardsley.
The illustrator turned out to be Harry Clarke, and Irish stained-glass artist and book illustrator who was a leading figure in the Irish Arts and Crafts Movement.
The Little Mermaid
Born in 1889, the son of a stained-glass craftsman, he began studying stained glass in Dublin when he was a teenager, winning prizes for his work. Despite his successes, he began working as a book illustrator. Clarke's first completed commission was for Fairy Tales by Hans Christian Andersen, which was published in 1916.
The Pit and the Pendulum
This was followed shortly by Tales of Mystery and Imagination by Poe. The illustrations are much darker than Beardsley's, with incredibly detailed backgrounds and a lot of black.
Some of them, like this illustration for The Masque of Red Death, are quite morbid.
I particularly like this one, with the man buried alive underground, and the tree roots and other coffins. Delightfully gothic!
Clarke also illustrated The Years at the Spring by Lettice d'O Walters (1920), Fairy Tales of Perrault (1922), Goethe's Faust (1925), and Selected Poems by Swinburne (1928). The Faust contains some fantstic images, including the ones above and below.
Clarke and his brother took over their father's studio after his death in 1921, so while he was working on these later books, Clarke was also working to produce over 130 stained glass windows.
One of them is even in Australia, in St Stephen's Catholic Cathedral in Brisbane. The window was commissioned in 1923, and is inscribed to the memory of Isaac and William Mayne (it is known as the Mayne window).