Phil Leakey's make-up trunk for 'The Romantic Englishwoman'

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master makeup artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s.

These modelling tools come from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master makeup artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

This tube of household adhesive comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

This pestle and mortar comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

This tin of 'plasto' comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

This packet of Dentifix comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

This tube of buffing and polishing compound comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

Fixblood is a fast drying blood paste for special effects use in theatre, film and television. This tube comes from Phil Leakey's make-up trunk which he used during his work on the film 'The Romantic Englishwoman' in 1975. The trunk was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up such as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, talcum powder, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver and razors.