Printing was done by the Riverside Press on Crocker-Burbank Company paper (dubbed “Saturn” paper here). The red ink scattered throughout is called English vermillion. Original Old Style serves as the main text, with English Caslon embellishments and Sylvan decorations. Production details: the designer is unstated.

Photogravures of the originals were utilized for the Heritage edition. To summarize, the original artwork was done via engraving on a specifically prepared copper plate, and is then dipped in nitric acid to create the print in a watercolor-esque fashion. Sharp provided the LEC edition of the book aquatint illustrations, which the Sandglass goes into great detail about. He definitely shows some versatility in his style his later, more restrained pen drawings for Pepys and Rousseau’s Confessions greatly contrast against these more grisly interpretations of Poe’s imaginative narratives.

William Sharp, last spotted doing the set of Samuel Pepys’ Diary, gleefully made his debut for the George Macy Company rendering these chilling tales in 1941. The marbled boards are perfect too the coloring is ghastly! Many of the classics are included here: “The Fall of the House of Usher”, “The Black Cat”, “The Gold-Bug”, “The Pit and the Pendulum”, “The Tell-Tale Heart”, “The Murders in the Rue Morgue”, “The Masque of the Red Death”, and plenty more. Here we have what many would consider his most enduring legacy to literature his horror-fueled short stories. We last saw Poe in the exquisite Hugo Steiner-Prag illustrated Poems I detail out his LEC/HP career in that particular post. in 1941įront Binding – Two previously featured icons return to the Macy blog today: the author, Edgar Allan Poe, and the artist, William Sharp. Tales of Mystery and Imagination by Edgar Allan Poe (1941)

Tales of the mystery and imagination