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Ashton & Leakey Collection; pencil sketches

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'

1958

The Creature

1963

Roy Ashton applying fake blood to Jacqueline Pearce

1965
An unused false beard and moustache in a box, from the Hammer make-up department, created by Roy Ashton (1909-1995) in about 1965. These items are from the Ashton & Leakey Collection. Roy Ashton and Phil Leakey (1908-1992) worked for Hammer Films during the 1950s and 1960s. They were pioneers of special effects make-up - using cosmetics and prosthetics to transform an actor's appearance.

False Beard and Moustache

Plaster cast for scars used during the special effects make-up of Roy Ashton for Hammer Films.

Plaster cast for scars used during the special effects make-up of Roy Ashton for Hammer Films

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

Christopher Lee as Dracula

Unused fake beard and moustache hair belonging to Roy Ashton.

Unused hair

Roy Ashton's hand-drawn chart to indicate the progressive changes in the make-up for Paul Massie, who played Dr Jekyll in the film 'The Two Faces of Dr Jekyll' (1960). This sequence was drawn after Ashton had read Mankowitz's script and realised that the transformation would be different from that which he had planned in his original sketches.

Sketches of make up for 'The Two Faces of Dr Jekyll'

1960
Gelatin silver print of Christopher Lee as Dracula taken during the production of the Hammer feature, 'Dracula, Prince of Darkness' (1966).

Christopher Lee in 'Dracula, Prince of Darkness'

1966
Gelatin silver photograph, taken during production, of Phil Leakey applying collodion to the face of actress Mary MacKenzie on the set of 'Stolen Face' (1952).

Mary Mackenzie in 'Stolen Face'

1952
Colour print of Oliver Reed in a transitional stage of becoming the Werewolf in 'The Curse of the Werewolf' (1961). Roy Ashton considered this make-up to be the most satisfactory, the most rewarding and one of the most difficult he had ever had to do.

Oliver Reed in 'The Curse of the Werewolf'

1961
Three sequential pencil sketches by Roy Ashton depicting the special effects make up transformation of Ayesha. Ursula Andress played the leading role of Ayesha 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 and the climax of the film shows Ayesha's transformation to the hideous appearance of her true age.

Sketch of Ayesha from 'She'

1965
Six sequential pencil sketches by Roy Ashton recording the scene-by-scene make-up changes to the Creature in 'The Evil of Frankenstein' (1964).

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

1964
Gelatin silver reference print of the actor, Oliver Reed who played Leon in the film 'The Curse of the Werewolf' (1961). The photograph was taken so that it could be used by Roy Ashton as a reference for adapting his werewolf design to Oliver Reed's head. Reed had previously had a walk-on part in 'The Two Faces of Dr Jekyll', and was suggested for the role of the Werewolf by Roy Ashton himself, who felt that Reed had the right facial characteristics to make the character's make-up particularly effective.

Reference photograph of Oliver Reed

1961
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
Article from 'The Daily Mirror' newspaper titled 'Thorough Course in Make-Up Art', dated 9 February 1934, showing Roy Ashton standing behind the lecturer, sixth from the left in the bottom image. Ashton sits in the centre, looking at the life model, in the top image.

Thorough course in make-up art

1934
Make-up chest containing various tools, chemicals and materials used to help create and administer the special effects seen in Hammer Film productions.

Make-up chest containing various tools

Gelatin silver photograph of Phil Leakey working on the special effects make-up of actress, Mary MacKenzie, for her role in Hammer Productions' 'Stolen Face' (1952).

Phil keakey working 'Stolen Face'

1952
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
A reference photograph of artificial radiation blisters created by Phil Leakey (1908-1992) for Hammer Film Productions', 'X: The Unknown' (1956)'.

Radiation blister from 'X The Unknown'

1956
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
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
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