This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other ...
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Very Good- No Jacket. 2 volumes hardbound in brown embossed cloth and gold lettering with no d/j, clean unmarked text, 609 pp (vol. 1), 702 pp (vol. 2). Cover is very good w/chipping off the head and foot of each spine, worst at head; shelf wear and rubbing, scuffing particularly at bottom edges and corners; binding is strong and tight, hinges sound and uncracked; text block is foxed throughout w/some damp staining confined to margins. Vol. 1 has clipped fly leaf w/second owner sig, first signature is loose but attached; vol. 2 owner sig.2 Volumes.
Very Good. No Dust Jacket. LIT 028952 CARP Set of six volumes. Green cloth hard cover rebound, with mild wear, gilt titling bright on spine. Light dust soiling to top foredge. Very nice. Volume IV with a few pages with short closed tears along the foredge at the end of the book, one page with a two inch chip missing.
Very Good+/Near Fine. No Jacket. 8vo-over 5¾"-7¾" Tall This is a Very Good +/Near Fine Set of 6 Volumes in original cloth with bright gilt title lettering to spines. Six volumes with engraved frontispiece and Title Pages. It's a lovely bright clean set with NO fading to covers and with NO external markings. Contents remain clean internally. This handsome set were acquired from the impressive private library of Roy Ward Baker who started in the film industry as a tea boy and his first jobs were menial, but by 1938 he had risen to the level of as assistant director on Alfred Hitchcock's The Lady Vanishes (1938). He served in the Army during World War II, transferring to the Army Kinematograph Unit in 1943. One of his superiors at the time was novelist Eric Ambler who insisted on Baker being given his first big break directing The October Man, from an Ambler screenplay, in 1947. Ambler also adapted Walter Lord's A Night to Remember for Baker's 1958 screen version. His next two films, The Weaker Sex (1948) and Paper Orchid (1949) were popular but overshadowed by the success of Morning Departure (1950), also featuring John Mills. Morning Departure drew international attention to Baker's talent and prompted Darryl Zanuck, production head of 20th Century Fox, to invite him to Hollywood, though his first film for the company was made in the UK. During the early 1950s, Baker worked for three years at Fox where he directed Marilyn Monroe in Don't Bother to Knock (1952) and Robert Ryan in the 3D film noir Inferno (1953). He returned to the UK in 1953 and continued to work on films. He worked for television during the 1960s. He directed episodes of The Avengers, The Saint, The Persuaders! and The Champions all adventure series created with an eye on the American market. He directed, among others, Quatermass and the Pit (1967) The Vampire Lovers (1970) and Scars of Dracula (1970) for Hammer, and Asylum (1972) and The Vault of Horror (1973) for Amicus. He also directed Bette Davis in the black comedy The Anniversary (1968). In the latter part of the 1970s he returned to television, and throughout the 1980s continued to work on shows such as Minder. He retired in 1992. Small 8vo (octavo) 6 volumes.
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