Excellent stuff, Gerald

I watched that episode of
Danger Man only a couple of weeks ago and remembered your post.
Starting to get concerned about Hugh, who has been equally brilliant at the Books and Records (on screen) threads. He's been away longer than me.
I have stored a few more discoveries during my own absence, either in folders or in the memory. This is
again from an
Armchair Thriller story,
The Chelsea Murders, which starred Dave King. Here though, it's Guy Gregory who is seen at the local library looking through one of the books:

Even during normal viewing, I couldn't resist going into 'screencap mode' and so kept stopping the picture to have a better look. Seconds later, the unfamiliar Guy hands the mystery tome to Librarian Fiona Mathieson, but I was none the wiser as I could only make out the last word of the main title. However, after her customer (and admirer) has left, Fiona decides to take a sneaky peek at the book and all is revealed - for about half a second! It's Edward Lucie-Smith's Waking the Dream - Fantasy and the Surreal in Graphic Art 1450-1500 (first published in 1975):

I found this description via a Google search, from a now defunct website called 'Jahsonic, a vocabulary of culture', on it's Fantastic Art page:
The tradition of the grotesque is particularly alive in prints. The fantastic is especially suited to the graphic medium, and it is possible to track almost its entire history in etchings, engravings and woodcuts. A fine book, The Waking Dream: Fantasy and the Surreal in Graphic Art 1450-1900 charts this progress through Holbein’s Dance of Death, the macabre prints of Urs Graf, the engravings of Callot, seventeenth-century alchemical prints, scientific, medical and anatomical illustration (I adapted the embryonic development diagrams of Ernst Haeckel for my drawing Species/Gender), emblems, the topsy-turvy world popular prints, Piranesi’s Prisons (which influence my architectural fantasies), Rowlandson, Gillray (whom I studied for guidance on how to draw caricature for drawings like my Seven Sins) , Goya, Fuseli and Blake, and into the nineteenth century with Grandville, Daumier, Meryon, Doré, Victor Hugo’s drawings and Redon. The tradition continues with the Symbolists and Richard Dadd, Ensor and Kubin, through to Surrealism, which recognised many of the artists of the grotesque and fantastic tradition as precursors. It is via Surrealism that much of this work has come to be appreciated. In the twentieth century this type of imagery has permeated culture, and is found everywhere, in diverse art forms including: the satiric installations of Kienholz, the drawings of A. Paul Weber, the cartoons of Robert Crumb, the animated films of Jan Svankmajer, photographs by Witkin, plays by Beckett, science fiction by Ballard, fantastic literature like Meyrink’s The Golem, Jean Ray’s Malpertuis, the art and writings of Bruno Schulz and Leonora Carrington, films by Lynch, Cronenberg and Gilliam; all are part of a spreading network of connections, the branching tentacles of the grotesque. -- Paul Rumsey via http://www.angelfire.com/pa5/rumsey/artist.htm [Dec 2005]
I don't know how long I will be able to keep this sudden burst of activity going but I've achieved a lot today. Still a lot of catching up to do.