Bernard Robinson (born 1912 in Liverpool, England, died 1970) designed sets for several of Hammer's films in their heyday, including The Curse of Frankenstein (1957), Abominable Snowman of the Himalayas (1957), Dracula (1958), Curse of the Werewolf (1960), The Phantom of the Opera (1962), The Gorgon (1964) and Quatermass and the Pit (1968).
[3] The knack that Bernard possessed was that he managed to give Hammer's films a very expensive look working from a tiny budget.
Once again he proved his ability to work miracles out of the barest of resources, creating one of Hammer's most memorable and haunting set pieces.
In Bernard's spare time, which was very limited, he wrote about antique furniture and was preparing a book on the subject before his untimely death.
The style of Bernard Robinson's paintings could be associated with the great cubists or abstract painters of the period such as Picasso and Braque; his handling of paint bear him out as a phenomenal painter who knew his craft and, like Picasso's heavy narrative, he informs by subtle messages conveyed with a rigour of style and oil to canvas that its hard not to be impressed and informed at once.