Search our collection

Clear all filters
Image
Category
Collection
Object type
Maker
Place of origin
Date

Dracula's fangs from 'Dracula'

1958

Roy Ashton applying fake blood to Jacqueline Pearce

1965

The Creature

1963
A pastel drawing of a tree-lined avenue made by Roy Ashton (1909-1995) in about 1955. Drawn on blue paper, the image was created for an 'Innoxa' advertising campaign.

Tree lined avenue

circa 1955
A pen and wash drawing for the Beggar character played by Richard Wordsworth in 'The Curse of the Werewolf' (1961), made by Roy Ashton (1909-1995) in 1960. Overall, Ashton's designs for the Beggar provide a three-stage transformation from a starving vagabond to a beast.

The Beggar in 'The Curse of the Werewolf'

1960
A reference photograph of a crazed masked character created for the film 'Paranoiac' (1963), taken by an unknown photographer in 1962.

Masked character from 'Paranoiac'

1962
A reference photograph of a crazed masked character created for the film 'Paranoiac' (1963), taken by an unknown photographer in 1962.

Masked character from 'Paranoiac'

1962
A reference photograph of Roy Ashton (1909-1995) in his studio, taken by an unknown photographer in 1973. Ashton is fitting a death mask onto an unknown actor for 'Vault of Horror' (1973). Other prosthetic creations by Ashton are also visible.

Roy Ashton in his studio

1973
A photograph of a special effects rotting corpse made by Roy Ashton (1909-1995), taken by an unknown photographer in 1962. The 'corpse' is pictured here suspended from a makeshift wall, and was used in the film 'Paranoiac' (1963).

Special effects rotting corpse used in 'Paranoiac'

1962
A publicity photograph of a small group, including Oliver Reed (1938-1999), visiting Roy Ashton's (1909-1995) special effects studio, taken by an unknown photographer in 1962. The photograph was taken during the production of 'Paranoiac' (1963). Oliver Reed shakes hands with a `rotting corpse', whilst Roy Ashton is pictured to the far left of the photograph.

Oliver Reed visiting Roy Ashton's studio

1962
A photograph showing Roy Ashton (1909-1995) in his make-up studio, trying on his favourite mask for 'Kiss of the Vampire' (1964), taken by an unknown photographer in 1964. The studio contains other examples of Ashton's work, including face masks and prosthetics from 'The Curse of the Werewolf' (1961), and in the foreground another mask from 'Kiss of the Vampire'.

Roy Ashton in his studio

1964
A pencil drawing of Ayesha by Roy Ashton (1909-1995) in 1964. The drawing reveals the seventh stage of a special effects make-up sequence. Ayesha, played by Ursula Andress undergoes two thousand years of ageing in the Hammer film, 'She' (1965). Ayesha had achieved immortality by bathing in the ice- blue flames of a mystic fire, but a second visit to the flames proved fatal. The climax of the film shows Ayesha's transformation to the extreme appearance of her true age.

Ayesha from 'She'

1964
A photograph of Roy Ashton (1909-1995) learning the art of film make-up at Gaumont-British film studios, taken by an unknown photographer in 1934. Ashton is pictured centre, while Rosenthal is believed to be pictured right.

Roy Ashton at Gaumont-British studios

1934
A photograph, believed to have been taken by Roy Ashton, showing the make-up test for Paul Massie as Mr Hyde from the Hammer film 'The Two Faces of Dr Jekyll' (1960).

Paul Massie in The Two Faces of Dr Jekyll

1960
A reference photograph of an Alsatian dog that starred in 'The Hound of the Baskervilles' (1959), taken by an unknown photographer in 1958.

An Alsation dog

1958
A group of conceptual sketches by Roy Ashton (1909-1995), made in 1959. The drawings visualise the Mummy's skull and bandaging, for the special effects make-up in 'The Mummy' (1959). Ashton compiled a selection of sketches and notes for a proposed yet unpublished article in 'New English Library Ltd'.

Designs for 'The Mummy'

1959
A trophy from XIV International Festival des Phantastischen Films, Munchen (Munich), 1987, awarded to Roy Ashton (1909-1995) for his special effects make-up.

Trophy from XIV International Festival des Phantastischen Films, Munchen (Munich), 1987

1987
A reference photograph of Prudence Hyman as Megaera 'The Gorgon', taken by an unknown photographer in 1964. Roy Ashton (1909-1995) used the image for developing the special effects make-up of Megaera in 'The Gorgon' (1964).

Prudence Hyman as Megaera in 'The Gorgon'.

1964
A papier mache mask for the character of the Grim Reaper in the Amicus production, 'Tales from the Crypt' (1972), made by Roy Ashton (1909-1995) in 1972.

Papier mache mask from 'Tales from the Crypt' by Roy Ashton

1972
A typewritten letter from Roy Ashton (1909-1995) to Phil Leakey (1908-1992) and his wife Gladys, dated 12 March 1980. The letter contains personal and career news. Ashton writes to Leakey about his decision to accept 'The Monster Club' (1980) and an invitation he has received to do another Werewolf film.

Letter from Roy Ashton to Phil Leakey

1980
An ink sketch caricaturing a 'wardrobe slipup' by Roy Ashton (1909-1995), made in about 1955. Drawn on orange paper, six of Ashton's special effects creations discuss their mistaken outfit situation.

Wardrobe slipup' by Roy Ashton

circa 1955
A publicity photograph of Bette Davis (1908-1989), Roy Ashton (1909-1995) and a second man, taken by an unknown photographer in about 1955.

Bette Davis, Roy Ashton and unidentified man

circa 1955
Special effects make-up modelling tools in a wooden make-up box, used by the special effects make-up artists on Hammer Film Productions.

Special effects make-up modelling tools in a wooden make-up box

A photograph of an unknown actress who played the aged Ayesha, taken by an unknown photographer in 1964. This actress followed Ursula Andress' earlier scenes, for the latter part of the distintegration scene of 'She' (1965).

An unknown actress playing the aged Ayesha in 'She'

1964
Bottle of Kryolan Collodium.

Bottle of Kryolan Collodium

Bottle of Max Factor adhesive spirit gum.

Bottle of Max Factor adhesive spirit gum

Bottle of Max Factor adhesive spirit gum.

Bottle of Max Factor adhesive spirit gum

Bottle of Kryolan mastic matt spirit gum.

Bottle of Kryolan mastic matt spirit gum

Bottle of 'Nu-Skin'.

Bottle of 'Nu-Skin'

Bottle of Max Factor hairpiece adhesive.

Bottle of Max Factor hairpiece adhesive

Five ink and watercolour sketches made by Roy Ashton (1909-1995) in 1962. These sketches of masks were created during planning for the masquerade ball scene in 'Kiss of the Vampire' (1964). Ashton made masks of birds, animals, devils and monstrosities.

Sketches for 'Kiss of the Vampire'

1962
Bottle of Max Factor hairpiece adhesive.

Bottle of Max Factor hairpiece adhesive

A watercolour sketch of Megaera from 'The Gorgon', showing her hair before it transforms into serpents, drawn by Roy Ashton (1909-1995) in 1964. This sketch, based on the actress, Barbara Shelley forms part of a sketch book assembled by Ashton.

Megaera from 'The Gorgon'

1964
A reference photograph of Oliver Reed (1938-1999) in full make-up as the Werewolf, taken by Roy Ashton (1909-1995) in 1960. Reed played Leon in 'The Curse of the Werewolf' (1961). Preparing Reed's full werewolf make-up involved a number of sittings and the creation of various prosthetic appliances. Yak hair imported from Tibet was used for the fur - trimmed to reduce the rather woolly effect seen here. Creases in the fur on Reed's chest are clearly visible. The nostrils were filled with candle wax and left with a hole in the centre so that Reed could breathe.

Reference photograph of Oliver Reed

1960
Copy of the Sunday Times Magazine, June 13, 1976 featuring an article about Egypt.

Sunday Times magazine, June 13, 1976

1976
A reference photograph of a character in 'The Stranglers of Bombay' (1960), taken by an unknown photographer in 1960. The image shows Roy Ashton's (1909-1995) face make-up and special effects on the character's amputated hand.

The Stranglers of Bombay'

1960
Gelatin silver reference print showing Roy Ashton's innovative use of tracing paper in planning Dr Jekyll's appearance, for the film 'The Two Faces of Dr Jekyll' (1960). The image depicts a right-profile head and shoulders view of the actor.

Planning image for Dr Jekyll's appearance in 'The Two Faces of Dr Jekyll'

1960
A pencil drawing of Roy Ashton's (1909-1995) werewolf, made by an unknown artist in 1985. The drawing was given to Ashton by an unidentified fan. It has been signed by Ashton and dated 1985. 'The Curse of the Werewolf' was released in 1960.

Werewolf

1985
A typewritten letter of appointment from Anthony Nelson Keys, producer at Hammer Film Productions Ltd., to Roy Ashton (1909-1995), dated 14 July 1964. The letter confirms Ashton's engagement as Make-Up Supervisor for the film 'The Secret of Blood Island' (1965).

Letter from Anthony Nelson keys to Roy Ashton

1964
Blank sheet of sketching paper.

blank sheet of sketching paper

A reference photograph of Ursula Andress (born 1936) as Ayesha for the Hammer film 'She' (1965), taken by an unknown photographer in 1964. Ayesha achieved immortality by bathing in the ice blue flames of a mystic fire, but a second visit to the flames proved fatal. The climax of the film shows Ayesha's transformation to the extreme appearance of her true age.

Ursula Andress as Ayesha in 'She'

1964
A colour reference transparency of Jodie Foster during a break in production on the set of 'Candleshoe' (1977), taken by an unknown photographer in 1977. Roy Ashton's (1909-1995) make-up is visible on Foster's left cheek.

Jodie Foster on the set of 'Candleshoe'

1977
One of over fifty pencil and charcoal drawings planning the appearance of The Creature for the film 'The Evil of Frankenstein' (1964), drawn by Roy Ashton (1909-1995) in 1963. Ashton based his presentation of the creature on make-up artist Jack Pierce's original concept of the monster for the 1931 Universal Studios production, 'Frankenstein'.

The Creature in 'The Evil of Frankenstein'

1963
Gelatin silver reference print of an unknown actress who played the ageing Ayesha in place of Ursula Andress for the distintegration scene of 'She' (1965). Ayesha had achieved immortality by bathing in the ice blue flames of a mystic fire, but a second visit to the flames proved fatal and the climax of the film shows Ayesha's transformation to the hideous appearance of her true age. The disintegration sequence was carried out by Roy Ashton at Elstree Studios while the location filming for this sequence toom place in Israel.

Unknown actress as Ayesha in She

1965
A photograph taken during production of actor Alexander Davion wearing Denver's mask for his role in the film 'The Plague of the Zombies' (1966), by an unknown photographer in 1965. Roy Ashton (1909-1995) created Denver's mask. The voodoo masks that Ashton made were based upon his research into the tradition, and his investigation of voodoo ceremonies in the Caribbean Islands. This horned mask was inspired by icons from South African tribes.

Alexander Davion in 'The Plague of the Zombies'

1965
One of over fifty pencil and charcoal sketches made by Roy Ashton in preparation for his make-up of The Creature for the film 'The Evil of Frankenstein' (1964). Ashton based his presentation of the creature on make-up artist Jack Pierce's original concept of the monster for the 1931 Universal Studios production, 'Frankenstein'.

Sketch of The Creature from 'The Evil of Frankenstein'

1964
An ink sketch of the Phantom and his son posing for a photograph taken by the Werewolf, created by Roy Ashton (1909-1995) in about 1955. Here, Ashton caricatures his special effects creations.

The Phantom and his son posing for a photograph taken by The Werewolf

circa 1955
A reference photograph of Frankenstein's Creature from the 1931 Universal Studios production of 'Frankenstein', taken by an unknown photographer in 1931. Roy Ashton (1909-1995) based his presentation of the creature on make-up artist Jack Pierce's original concept of the monster for the 1931 production.

The Creature from 'Frankenstein'

1931
One of over fifty pencil and charcoal sketches made by Roy Ashton in preparation for his make-up of The Creature for the film 'The Evil of Frankenstein' (1964). Ashton based his presentation of the creature on make-up artist Jack Pierce's original concept of the monster for the 1931 Universal Studios production, 'Frankenstein'.

Sketch of The Creature from 'The Evil of Frankenstein'

1964
Photographic portrait of man

Portrait of man