I'm risking getting all tl;dr on you folks now, so I'll stop--it's a big internet, and if you feel like pursuing more on the topic, there's plentiful info out there. You're here for the spooky shite, and I'd be remiss were I not to cut RIGHT to the chase.
Artist Alastair was a latecomer to the Symbolist movement--like, a really, REALLY latecomer, starting his career in the 1920s. His style has much in common with that of Aubrey Beardsley's highly decorative, clean-lined panels, but he injects a healthy dose of Harry Clarke's deeply macabre Poe illustrations into the proceedings. Alastair's bio reflects his complete commitment to the Decadent lifestyle--he was of ambiguous European heritage, given to flights of hypochondria and hyperbole, with an appropriate embrace of the melancholy. He was an enigmatic figure with a unique visual style.
Let's take a look at some of his horror-themed pieces, shall we?
Fall of the House of Usher, pencil on paper, 1928. Madeline and Roderick, locked in a cobweb embrace. A romantic evocation of the Poe story's themes if I ever saw one!
Paganini, 1927. The virtuoso violinist has become a bit of a legend in the years since his death, with rumors of murder most foul and deals with the Devil swirling around the musician's name. And, for the Italo-horror fans in the house, let's not forget trash auteur Luigi Cozzi's "Paganini Horror!"
The Picture of Dorian Gray, 1927. Oscar Wilde's innocent-turned-hedonist is captured in a rather quiet moment in this fine-lined illustration.
"The Young Widow II," illustration for Frank Wedekind 's German Expressionist play"Erdgeist," date unknown. I'm just including this because it's one of the most GOTH AS FUCK pieces of art ever committed to paper. STYLE, people--these two have it.