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Post by dem bones on Apr 6, 2023 5:53:22 GMT
Nat Long (1893-1955). Prolific, Bournemouth-born genre-hopping artist - westerns, detective, crime, mystery, school, the occasional girlie, etc. The scant "horror" work I'm aware of includes Amelia Reynolds Long's Death Wears a Scarab (1943) and the early Creeps anthologies (1932). Could be there is far more to find; according to Steve Holland, Long's work was often published sans credit. The Creeps artwork also graced the cover of a 932 reissue of The Strange Papers of Dr. Blayre. Biog: Bear Alley Charles Lloyd Birkin [ed]., Creeps, 1932. Charles Lloyd Birkin [ed]., Shivers, 1932. Charles Lloyd Birkin [ed]., Shudders, 1932. The Thriller, 14 Sept. 1929.  G. H. Teed - The Grey Ghost: ( The Thriller, 18 Jan 1930)  Robert Murray - On 'Ticket and Leave': ( The Thriller, 15 June 1929) Walter S. Masterton, The Flying Beast, 1932. Amorous Confessions #1, 1948. 
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Post by dem bones on Apr 23, 2023 11:56:15 GMT
The Ghoul artwork is unattributed - a signature is possibly obscured by the Bles logo - so we can't yet confirm 100% that it's Long's work, but will take a chance. No such problem with the title heading for The Man Who Quit. Frank King - The Ghoul (Geoffrey Bles, 1928) Blurb: It was on a foggy November afternoon that little Betty Harlan — a young artist, engaged in a struggle to sell "cover" designs to unappreciative publishers — received that momentous visit from Mr. Everard Broughton.
This stately personage announced himself as the solicitor to the late Mr. Edward Morlant, who had left Betty his property, worth £5,000 a year, on condition that she went to live for six months at the old home of the Morlants, Hameldon House, in Yorkshire....
This was the prelude to the mystery of that lonely house on the moors and the terror of The Ghoul.... Anthony Skene - The Man Who Quit: ( The Thriller, 9 March 1929)
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Post by helrunar on Apr 23, 2023 15:26:05 GMT
Very cool. I finally saw The Ghoul film earlier this year. If you can find the copy that was located in excellent condition in some film archive, it's well worth seeing. Very stagey and theatrical but for me, that's a point in its favor. It does feature some very evocative photography including some location shooting.
H.
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