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Details
Films 1946-1963
An important collection of scripts, stills and correspondence, 1946-1963, comprising sixteen final shooting scripts, each bound with red cloth boards, the spines gilt-stamped with film title and year of production, each signed by Roy Ward Baker on the title page and annotated throughout in his hand with observations and minor script changes, majority bound with cast and unit lists and accompanied by a corresponding production file of correspondence and stills, including:
- The October Man, 1947, 133pp. of mimeographed typescript with additional pages including shooting schedules and location breakdowns, correspondence file includes four pages of mimeographed notes on the script, various letters and telegrams of congratulation from friends, family and colleagues, fourteen stills and publicity photographs [three printed recently], some duplicates, majority -- 10x8in. (25.4x20.3cm.); and related material;
- The Weaker Sex, 1948, 133pp. of mimeographed typescript bound with additional pages including shooting schedule and set list, correspondence file includes eleven pages of typescript amendments to the script, twelve stills [five printed later], majority -- 10x8in. (25.4x20.3cm.); and related material;
- Paper Orchid, 1949, 127pp. of mimeographed typescript; and related material;
- Morning Departure, 1950, 142pp. of mimeographed typescript, correspondence file includes various letters and telegrams of congratulation from friends and colleagues; fourteen stills [majority printed later], some duplicates, all -- 10x8in. (25.4x20.3cm.); and related material;
- Highly Dangerous, 1950, 92pp. of mimeographed typescript; accompanied by three file copy typescript letters from Baker regarding part of the production shot on location in Trieste;
- The House In The Square, 1951, [the script titled The House On The Square], 112pp. of mimeographed typescript, correspondence file includes twenty-three pages of typescript amendments to the script, various letters and file copies of memos regarding production and casting and a breakdown of production budget; eleven stills, majority -- 10x8in. (25.4x20.3cm.); a still of Tyrone Power and Baker, signed and incsribed in black ink La, Mr Baker! I am deeply indebted to you sir - Affectionately, Tyrone Power, London, May 51 -- 14½x11½in. (36.8x29.2cm.), mounted on card; and related material;
- Night Without Sleep, 1952, 96pp. of mimeographed typescript, correspondence file includes file copies of typescript memos on Twentieth Century-Fox Film Corporation headed stationery; nineteen stills [twelve printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.);
- Inferno, 1953, 128pp. of mimeographed typescript bound with staff list, movement list and shooting schedule, correspondence file includes letters and file copies of letters and memos regarding the production; fifteen stills [nine printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.); four black and white snap-shots taken on location, all -- 4x4in. (10.2x10.2cm.); and related material;
- Passage Home, 1955, 103pp. of mimeographed typescript; accompanied by five stills, majority -- 10x8in. (25.4x20.3cm.)
- Jacqueline, 1956, 107pp. of mimeographed typescript; accompanied by facsimile copies of storyboard drawings, bound; eight stills, one of which shows Catherine Cookson, author of the novel on which the film was based [one printed later], all -- 10x8in. (25.4x20.3cm.); and related material;
- Tiger In The Smoke, 1956, 100pp. of mimeographed typescript, correspondence file includes various letters and memos regarding the prouduction and a shooting schedule; six stills, one of which shows Margery Allingham, the author of the book on which the film was based [five printed later], all -- 10x8in. (25.4x20.3cm.); and related material;
- The One That Got Away, 1957, 100pp. of mimeographed typescript, the correspondence file includes Baker's handwritten treatment notes, file copies of letters regarding the production, including a letter from the Department Of National Defence in Ottawa, Canada giving details of the escape of Lieutenant Franz von Werra from a train in 1941 while en route to a PoW camp in Canada, with additional information regarding uniforms for the Veterans Guard of Canada, 4pp.; eight stills [three printed later], majority -- 10x8in. (25.4x20.3cm.); and related material;
- The Singer Not The Song, 1961, 104pp. of mimeographed typescript, the comprehensive correspondence file includes a large quantity of letters and file copies of letters, memos, invoices and other material regarding the production, which according to the director, was beset with problems; accompanied by four large colour stills, all -- 20½x18½in. (52x47cm.) mounted on board and thirty-one stills [fourteen printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.);
- Flame In The Streets, 1961, 84pp. of mimeographed typescript, the correspondence file includes a large quantity of letters and file copies of letters and memos regarding the production, copies of insurance claims for Sylvia Syms and John Mills for days lost due to illness; and related material;
- The Valiant, 1962, 93pp. of mimeographed typescript, with a facsimile blueprint showing a cross section of H.M.S. Valiant being re-fitted at Devonport in November, 1939 -- 85x30in. (216x76cm.); accompanied by twenty-five stills, some duplicates, all -- 10x8in. (25.4x20.3cm.);
- Two Left Feet, 1963, 100pp. of mimeographed typescript; and
- three volumes of related press clippings and a quantity of miscellaneous stills (a lot)
An important collection of scripts, stills and correspondence, 1946-1963, comprising sixteen final shooting scripts, each bound with red cloth boards, the spines gilt-stamped with film title and year of production, each signed by Roy Ward Baker on the title page and annotated throughout in his hand with observations and minor script changes, majority bound with cast and unit lists and accompanied by a corresponding production file of correspondence and stills, including:
- The October Man, 1947, 133pp. of mimeographed typescript with additional pages including shooting schedules and location breakdowns, correspondence file includes four pages of mimeographed notes on the script, various letters and telegrams of congratulation from friends, family and colleagues, fourteen stills and publicity photographs [three printed recently], some duplicates, majority -- 10x8in. (25.4x20.3cm.); and related material;
- The Weaker Sex, 1948, 133pp. of mimeographed typescript bound with additional pages including shooting schedule and set list, correspondence file includes eleven pages of typescript amendments to the script, twelve stills [five printed later], majority -- 10x8in. (25.4x20.3cm.); and related material;
- Paper Orchid, 1949, 127pp. of mimeographed typescript; and related material;
- Morning Departure, 1950, 142pp. of mimeographed typescript, correspondence file includes various letters and telegrams of congratulation from friends and colleagues; fourteen stills [majority printed later], some duplicates, all -- 10x8in. (25.4x20.3cm.); and related material;
- Highly Dangerous, 1950, 92pp. of mimeographed typescript; accompanied by three file copy typescript letters from Baker regarding part of the production shot on location in Trieste;
- The House In The Square, 1951, [the script titled The House On The Square], 112pp. of mimeographed typescript, correspondence file includes twenty-three pages of typescript amendments to the script, various letters and file copies of memos regarding production and casting and a breakdown of production budget; eleven stills, majority -- 10x8in. (25.4x20.3cm.); a still of Tyrone Power and Baker, signed and incsribed in black ink La, Mr Baker! I am deeply indebted to you sir - Affectionately, Tyrone Power, London, May 51 -- 14½x11½in. (36.8x29.2cm.), mounted on card; and related material;
- Night Without Sleep, 1952, 96pp. of mimeographed typescript, correspondence file includes file copies of typescript memos on Twentieth Century-Fox Film Corporation headed stationery; nineteen stills [twelve printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.);
- Inferno, 1953, 128pp. of mimeographed typescript bound with staff list, movement list and shooting schedule, correspondence file includes letters and file copies of letters and memos regarding the production; fifteen stills [nine printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.); four black and white snap-shots taken on location, all -- 4x4in. (10.2x10.2cm.); and related material;
- Passage Home, 1955, 103pp. of mimeographed typescript; accompanied by five stills, majority -- 10x8in. (25.4x20.3cm.)
- Jacqueline, 1956, 107pp. of mimeographed typescript; accompanied by facsimile copies of storyboard drawings, bound; eight stills, one of which shows Catherine Cookson, author of the novel on which the film was based [one printed later], all -- 10x8in. (25.4x20.3cm.); and related material;
- Tiger In The Smoke, 1956, 100pp. of mimeographed typescript, correspondence file includes various letters and memos regarding the prouduction and a shooting schedule; six stills, one of which shows Margery Allingham, the author of the book on which the film was based [five printed later], all -- 10x8in. (25.4x20.3cm.); and related material;
- The One That Got Away, 1957, 100pp. of mimeographed typescript, the correspondence file includes Baker's handwritten treatment notes, file copies of letters regarding the production, including a letter from the Department Of National Defence in Ottawa, Canada giving details of the escape of Lieutenant Franz von Werra from a train in 1941 while en route to a PoW camp in Canada, with additional information regarding uniforms for the Veterans Guard of Canada, 4pp.; eight stills [three printed later], majority -- 10x8in. (25.4x20.3cm.); and related material;
- The Singer Not The Song, 1961, 104pp. of mimeographed typescript, the comprehensive correspondence file includes a large quantity of letters and file copies of letters, memos, invoices and other material regarding the production, which according to the director, was beset with problems; accompanied by four large colour stills, all -- 20½x18½in. (52x47cm.) mounted on board and thirty-one stills [fourteen printed later], some duplicates, majority -- 10x8in. (25.4x20.3cm.);
- Flame In The Streets, 1961, 84pp. of mimeographed typescript, the correspondence file includes a large quantity of letters and file copies of letters and memos regarding the production, copies of insurance claims for Sylvia Syms and John Mills for days lost due to illness; and related material;
- The Valiant, 1962, 93pp. of mimeographed typescript, with a facsimile blueprint showing a cross section of H.M.S. Valiant being re-fitted at Devonport in November, 1939 -- 85x30in. (216x76cm.); accompanied by twenty-five stills, some duplicates, all -- 10x8in. (25.4x20.3cm.);
- Two Left Feet, 1963, 100pp. of mimeographed typescript; and
- three volumes of related press clippings and a quantity of miscellaneous stills (a lot)
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