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  • Catalogue Essay

    World Premiere of Anderson & Low: On the Set of James Bond’s Spectre

    We are excited to premiere the captivating new series On the Set of James Bond’s Spectre created by the artist duo Anderson & Low. Having gained exclusive on-the-set access to the upcoming James Bond film Spectre, the artists chose as their subject the spectacular sets for which the Bond films are known.

    The following five works from On the Set of James Bond’s Spectre were created by Anderson & Low exclusively for Ultimate. Each work is number 1 from the edition of 1 and is unique in this large format.

    In the series On the Set of James Bond’s Spectre, Anderson & Low explore the idea of a constructed narrative and the relationship between reality and fantasy. In Oberhauser’s Control Room (lot 40), Old MI6 Building (lot 41), and Shooting Gallery (lot 42), the illusion is presented intact and we are drawn into the constructed narrative. In Secret Room (lot 39), we are given a hint that the fantasy is fabricated; the top edge of the image is peeled back to reveal the reality behind the artifce. Both elements take centre stage in Palazzo (lot 43), the lighting and rigging are fully exposed and function as a counterpoint to the palatial interior.

    These large-scale works by Anderson & Low are visually powerful and seductive. We invite you to experience the excitement and wonder at Phillips London when all five works go on view on 30 October.

    We sit down with Anderson & Low to learn about the making of this project.

    Phillips How did you gain access to the set of Spectre?

    Anderson & Low We were invited by the production company behind the Bond films to create images around Spectre from a ‘fine art’ stance. We previously had created some behind-the-scenes portraits around Skyfall … two of them were acquired by the National Portrait Gallery.

    P Please tell us about the shooting process. When and how were the images made?

    A & L All the images were shot at Pinewood Studios on the edge of London during the making of the movie. Most were made after shooting had finished on the set and sometimes before shooting, during the pre-lighting of the set. We then were allowed access to the sets and could create images using the studio lights.

    P Why did you choose the sets as your subject?

    A & L When you visit a film set, you are astounded by the extraordinary level of artifice. That gets amplified in a blockbuster movie. Both the scale and the level of detail on James Bond sets are remarkable. You touch something that even close up looks exactly like rusted wrought iron and it’s all artificial – simply incredible. When the invitation came for Spectre, we had this very clear idea that we could use the sets to create something quite special and unique.

    P As photographers, you saw great potential in the scale and precision of these sets. How did you convert these pre-existing sets into unique Anderson & Low images?

    A & L We wanted to illustrate the detail, passion and devotion that have gone into creating theses sets – to show not just what they look like, but what they feel like. We are also very interested in constructed narratives and ideas relating to reality and fantasy. The coexistence and collision of extraordinary artifice and the real are so powerful in these sets and that is something we very much want to convey in this work.

Ultimate

43

Palazzo, Rome from On the Set of James Bond's Spectre

2015
Archival pigment print, flush-mounted.
106.7 x 142.2 cm (42 x 56 in.) Overall 113 x 148 cm (44 1/2 x 58 1/4 in.)
Signed, titled, dated and numbered 1/1 in pencil on an artist's label accompanying the work.

This work is number 1 from the edition of 1 and is unique in this size.

Estimate
£7,000 - 9,000 

Sold for £10,000

Contact Specialist
Lou Proud
Head of Photographs
London
+ 44 207 318 4018

Photographs

London Auction 6 November 2015 2pm