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Ashton & Leakey Collection

Ashton & Leakey Collection; pencil sketches, photographs, prosthetics, sculptures, make-up materials and equipment collectively comprising the Roy Ashton and Phil Leakey collection, assembled between 1945 and 1980. Features materials primarily but not exclusively used on Hammer Films Productions.

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Dracula's fangs from 'Dracula'

Dracula's fangs from 'Dracula'

1958
Plaster cast of Christopher Lee's head

Plaster cast of Christopher Lee's head

1959
Plaster cast model head of Peter Cushing

Plaster cast model head of Peter Cushing

1945-1980
Model head of 'The Reptile'

Model head of 'The Reptile'

circa 1966
Bottle of Fake Blood

Bottle of Fake Blood

1955-1965
Porridge oats and cornflakes

Porridge oats and cornflakes

1960s
Clay Model of the Creature's Head

Clay Model of the Creature's Head

1964
Box of Four Eyeballs and latex eyelid

Box of Four Eyeballs and latex eyelid

1957
Gorgon bites

Gorgon bites

1964
Modelling wax

Modelling wax

1960s
A tin of 'vampire bites' for use in the film 'The Kiss of the Vampire' (1963)

A tin of 'vampire bites' for use in the film 'The Kiss of the Vampire' (1963)

1963
Model of Mummy's head by Roy Ashton

Model of Mummy's head by Roy Ashton

1959
Plaster cast used for scars

Plaster cast used for scars

1945-1980
The Creature

The Creature

1963
Roy Ashton's Make Up Chest

Roy Ashton's Make Up Chest

1960s
The Creature in 'The Evil of Frankenstein'

The Creature in 'The Evil of Frankenstein'

1964
Make up ideas for The Creature in 'The Evil of Frankenstein'

Make up ideas for The Creature in 'The Evil of Frankenstein'

1964
Nostril enlargers

Nostril enlargers

Contents and value list from the lid of Phil Leakey's make-up trunk for 'The Romantic Englishwoman' which was flown by air from Dial Films Limited, England to Dial Films Ltd. Germany via France. The trunk contained a variety of make-up, listed as pansticks, pancakes, artificial eye lashes, sponges, powder puffs, skin freshener, artificial blood, sealore, talc, hair whitener, moustaches, oil colours, glycerine, cleansing cream, face powder, eye shadow, eye m/up removing pads, 'quickies', liquid make-up, towels, iron heater, beard block, make-up gowns, electric shaver, razors, personal make-up boxes containing used articles of make-up & equipment and also used articles of protective clothing.

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

c. 1950s
A face mask used in the final scene of the Amicus production, 'The Vault of Horror' (1973), created by Roy Ashton (1909-1995) in 1973.

Mask from 'The Vault of Horror'

1973
A reference photograph of Jacqueline Pearce as Alice Thompson in 'The Plague of the Zombies' (1966), taken by an unknown photographer in 1965.

Jacqueline Pearce in 'The Plague of the Zombies'

1965
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
Four pairs of latex vampire teeth used for long shots of vampire extras on the set of 'Dracula' (1958), created by Phil Leakey (1908-1992) in 1958.

Vampire fangs from 'Dracula'

1958
Typewritten letter to Roy Ashton from Jan Van Genechten at Fandom's Film Gallery, who had sent Ashton a draft transcript of an interview he had conducted with him at the Horror Elite Convention.

Letter to Roy Ashton from Jan Van Genechten

Four sequential pencil drawings - on one sheet of paper - by Roy Ashton (1909-1995), showing the special effects make up transformation of Ayesha, created in 1964. Ursula Andress played the leading role of Ayesha in the Hammer film, 'She' (1965). 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.

Four sequential pencil drawings by Roy Ashton for 'She'

1964
Six sequential pencil drawings, patched together on a single page, recording the scene-by-scene make-up changes to the Creature in 'The Evil of Frankenstein' (1964), drawn by Roy Ashton (1909-1995) in 1963.

The Creature in 'The Evil of Frankenstein'

1963
A selection of latex noses, eye pieces and scars, made by Roy Ashton (1909-1995) in 1961. The eye pieces were made for the film, 'The Terror of the Tongs' (1961).

Latex noses, eye pieces and scars

1961
Conceptual sketch by Roy Ashton of a mask for the Phantom in 'The Phantom of the Opera' (1962), using a Japanese Kabuki theatrical mask as a model.

Mask from 'The Phantom of the Opera'

1962
A reference photograph of Prudence Hyman as Megaera 'The Gorgon', taken by an unknown photographer in 1964. Prudence Hyman played Megaera in 'The Gorgon' (1964).

Prudence Hyman as Megaera 'The Gorgon'.

1964
A photograph of Roy Ashton applying fake blood to Jacqueline Pearce, taken by an unknown photographer in 1965. Pearce was preparing for her role as Alice Thompson in 'The Plague of the Zombies' (1966).

Roy Ashton applying fake blood to Jacqueline Pearce

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
A photograph of Roy Ashton (1909-1995) in his make-up studio with Barbara Shelley taken by an unknown photographer in 1965. Ashton applies a bruise to Barbara Shelley's right arm, in preparation for her role as Sonia in the film 'Rasputin the Mad Monk' (1966).

Roy Ashton in his make up studio with Barbara Shelley

1966
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
Gelatin silver reference photograph of four charcoal sketches by Roy Ashton of the Creature for 'The Evil of Frankenstein' (1964). The sketches show various studies for the face of the Creature.

Reference photograph of concept sketches

1964
Gelatin silver reference print showing a preliminary make-up test for Kiwi Kingston as The Creature, in 'The Evil of Frankenstein' (1964).

Kiwi Kingston as The Creature in 'The Evil of Frankenstein'

1964
Drawing of Christopher Lee as Dracula, stage 7 (possible duplicate record of 2000-5000/532)

Christopher Lee as Dracula

A reference photograph of the modelled clay head of The Creature, played by Kiwi Kingston in 'The Evil of Frankenstein' (1964), taken by an unknown photographer in 1963.

Modelled clay head of the Creature

1963
A skeleton and other special effects creations discuss a film script, in an ink sketch caricature by Roy Ashton (1909-1995) made in about 1955.

Special effects creations by Roy Ashton

circa 1955
An ink sketch of Hammer horror film characters, drawn by Roy Ashton (1909-1995) as a Christmas card design or gift in about 1960. Ashton himself is depicted in the bottom left corner - leaning on his make-up chair. Inscription: 'MERRY CHRISTMAS'

Hammer Horror characters

circa 1960
Gelatin silver photograph, taken during production, depicting Peter Cushing as Sherlock Holmes in 'The Hound of the Baskervilles' (1959), with Andre Morrell playing his sidekick, Watson.

Peter Cushing in 'The Hound of the Baskervilles'

1959
Photocopy of preliminary charcoal sketch by Roy Ashton for stage four of the Jeckyll/Hyde transformation in 'The Two Faces of Dr Jekyll' (1960). His background as a draughtsman is demonstrated by the way he centres his sketches. This sequence of sketches was not used in the final make-up of the Jekyll and Hyde character on the released film.

Sketch of the transformation in 'The Two Faces of Dr Jekyll'

1960
Copy of a typed letter from Roy Ashton to Jan Van Genechten at Fandom's Film Gallery, in response to receiving the draft transcript of an interview Van Genechten had conducted with Ashton at the Horror Elite Convention.

Letter to Jan Van Genechten from Roy Ashton

Roy Ashton in his studio.

Roy Ashton in his studio

Pencil drawings of 3 faces by Roy Ashton.

Pencil drawings of 3 faces by Roy Ashton

Five sequential charcoal and ink drawings made by Roy Ashton (1909-1995) in 1960. The drawings, on one sheet of paper, detail the transformation from man to Werewolf in 'The Curse of the Werewolf' (1961). Working from a sketch of the wolf's head, Ashton begins the gradual process of overlaying a wolf's characteristics onto human features.

Sequential drawing for 'The Curse of the Werewolf'

1960
Drawings of dogs and men's faces (13 images) by Roy Ashton.

Drawings of dogs and men's faces (13 images) by Roy Ashton

Bottle of silver hair gray by Ben Nye.

Bottle of silver hair gray by Ben Nye

A reference photograph of Syd Pearson working on a plaster cast head of Prudence Hyman taken by an unknown photographer in 1964. Pearson is working on the cast to create the special effects make-up required for Megaera, in 'The Gorgon' (1964).

Syd Pearson working on a plaster cast head

1964
Production still of stunt man Jackie Cooper as the Phantom, leaping from a box at Wimbledon Theatre, in 'The Phantom of the Opera' (1962).

Jackie Cooper at Herbert Lom's Phantom double in 'The Phantom of the Opera'

1962
Gelatin silver production still from the film 'The Plague of the Zombies' (1966). Jacqueline Pearce gets swept off her feet by a young, attractive zombie, played by Ben Aris. Roy Ashton employed plain, white lenses with pin-sized apertures to enable the wearer to see whilst filming.

Jacqueline Pearce in 'The Plague of the Zombies'

1966