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

Plaster cast used for scars

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

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 selection of 'Gorgon bites' for use in the film 'The Gorgon' (1964), made by Roy Ashton (1909-1995) in 1964, stored in a red metal Elastoplast tin.

Gorgon bites

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

Christopher Lee as Dracula

Modelling wax by De Trey in box, made in England.

Modelling wax

Reference photographs comprising, 1 sleeve, 1 contact sheet and 4 negative strips of make up effects for 'She', 'Tales from the Crypt', 'The Curse of the Werewolf' and 'The Reptile'

Reference photographs for Stolen Face

A reference photograph showing the petrification of Professor Heitz, played by Michael Goodliffe (died 1976), in 'The Gorgon' (1964), taken by an unknown photographer in 1964.

Michael Goodliffe in 'The Gorgon'

1964
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 pastel drawing of a 'theatre-goer', created by Roy Ashton (1909-1995) in about 1955. In pastel on blue paper, the drawing, no.6 in a series, is sketched 'after Degas' as a proposal for an `Innoxa' advertising campaign.

A 'theatre goer' by Roy Ashton

circa 1955
Ink sketch by Roy Ashton (1909-1995) on green paper, of the Phantom's son from 'The Phantom of the Opera' (1962), holding up the Phantom's mask, made in about 1960.

The Phantom's son from 'The Phantom of the Opera'

circa 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
Set of four sequential ink sketches by Roy Ashton of himself. These miniature rough sketches are studies for how Ashton should lean on his chair for another picture.

Four images of himself by Roy Ashton

circa 1955
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
Gelatin silver photograph, taken for reference purposes, of the modelled clay head of the Creature, played by Kiwi Kingston in 'The Evil of Frankenstein' (1964).

Modelled clay head of the Creature

1964
A photograph of Roy Ashton applying make-up to Barbara Shelley taken by an unknown photographer in 1965. Ashton is pictured in his make-up studio applying a bruise to Shelley's right arm, for her role as Sonia in the film 'Rasputin the Mad Monk' (1966).

Roy Ashton applying make up to Barbara Shelley

1965
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
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
A reference photograph showing Roy Ashton (1909-1995) applying vampire bites to the back of his own hand, taken by an unknown photographer in about 1955. These latex puncture marks were applied to the skin and blended with make-up, to make it appear as though blood had been drawn from the victim in the Hammer `Dracula' films.

Roy Ashton applying vampire bites to the back of his own hand

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
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

A reference photograph of Ursula Andress who played the leading role of Ayesha in 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
Plaster cast for ears used during the special effects make-up of Roy Ashton for Hammer Films.

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

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

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

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

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'

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'