10SERIE

The 1947 FERRARI 159S designed by Gioacchino Colombo, succeeded the 125S. Only 2 were ever built for which one exists in the form of a 166 Spyder Corsa. It was altered to race in the 1948 season and is the oldest remaining. It’s said to be a 125S with a few cosmetic changes aside from a larger engine. The engine is a 1.9-litre 60° V12 with a bore/stroke of 59 x 58 mm producing 125 bhp (92 kW) at 6,500 rpm. Debuting on 15 August 1947 at Circuito Pescara with driver Franco Cortese, it came in second battling to beat the Maserati 6CS 1500 for the rest of the year. On 12 October with its No78 livery, it got to shine at least once at the Turin Grand Prix driven by Raymond Sommer.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1947 FERRARI 125S designed by Gioacchino Colombo, was the very first car to wear the Ferrari badge launching on 11 May 1947 at Piacenza race track. Roadster in style, it featured a 1.5L V12 engine designed and built by Ferrari unlike its predecessor, the Auto Avio Costruzioni 815 from Fiat parts. Producing 118bhp (87kW) at 6800rpm it reached a top speed of 170km/h (106mph). It was 2 weeks later after a failed first race that No56 claimed its first victory at the Grand Prix of Rome driven by Franco Cortese. Only 2 cars were ever built and were dismantled as parts to be reused. Today what appears to be the 01C chassis (corrected from 010l) has been restored and keeps the fraternity of historians and enthusiasts in huge debate on whether this is true or not!

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1982 DMC DELOREAN also known as the DMC-12, featured in the movie trilogy ‘Back 2 The Future’ was originally designed by Giorgetto Giugiaro for the John Delorean company producing around 9000 between 1981 and 1983. It featured gull-wing doors and a brushed stainless steel outer shell. In reality, it disappointingly didn’t produce the power its presence and price-tag demanded but in the movie, it ticked all the boxes transporting Doc & Marty McFly through time when it hit 88mph. Mr. Fusion also, included in the sketch, features right at the end of the first movie when Doc gets back from 2015. The prop was actually developed from a Krups coffee grinder. Today 6500 of these cars are still on the road for which 150 of them have been converted to Time Machines!

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1970 DATSUN 240Z also known as the S30 & Fairlady Z, was the first generation Z GT 3-door coupe produced by Nissan from 1969-1978. With Albrecht Goertz, designer of the BMW 507 responsible for making the body styling super sleek, it proved very popular with added benefits of low price, impressive performance & modern engineering. Independent suspension, front brakes, and rear drums also came standard. This particular 1970 BRE 240Z driven by John Morton in the 70’s helped put the Japanese carmaker on the US racing scene winning both the 1970 & 71 SCCA C production championship runoff races at Road Atlanta.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1971 DATSUN 510 or otherwise known as the Datsun 1600, designed by Terri Uchino, was a model of the ‘Bluebird’ sold from 1968 to 1973. These cars were inspired by the 1966 BMW 1600 on a technology level and were eventually famous for their rallying success outside of Japan. In the US the car had 96 hp (72 kW), and a claimed top speed of 100mph, front disk brakes, independent suspension, and a solid live axle with leaf springs in the back. Two-door, four-door, and station wagon options were available. Best known in the US for winning the Trans Am Series under 2500cc class in ’71 &’72 with John Morton at the wheel, this car remains one of the most popular production cars in numerous classes of amateur racing.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1955 CADILLAC FLEET WOOD SERIES 60 was Elvis Presley’s second Cadillac after the first was destroyed in a fire. It was originally blue with a black roof but after recording his first chart featuring song ‘Baby Let’s Play House’ where he mentioned a pink Cadillac, he had it modified by his neighbour Art who customised the pink colour and called it ‘Elvis Rose’. Elvis gave it to his mother as a gift but then because she didn’t drive, he drove it with his band ‘The Blue Moon Boys’ through '55 & ’56. Elvis went on to own to 3 Cadillacs in his lifetime. Today this one is on display at Graceland.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1947 FERRARI 125S designed by Gioacchino Colombo, was the very first car to wear the Ferrari badge launching on 11 May 1947 at Piacenza race track. Roadster in style, it featured a 1.5L V12 engine designed and built by Ferrari unlike its predecessor, the Auto Avio Costruzioni 815 from Fiat parts. Producing 118bhp (87kW) at 6800rpm it reached a top speed of 170km/h (106mph). It was 2 weeks later after a failed first race that No56 claimed its first victory at the Grand Prix of Rome driven by Franco Cortese. Only 2 cars were ever built and were dismantled as parts to be reused. Today what appears to be the 01C chassis (corrected from 010l) has been restored and keeps the fraternity of historians and enthusiasts in huge debate on whether this is true or not!

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1947 FERRARI 159S designed by Gioacchino Colombo, succeeded the 125S. Only 2 were ever built for which one exists in the form of a 166 Spyder Corsa. It was altered to race in the 1948 season and is the oldest remaining. It’s said to be a 125S with a few cosmetic changes aside from a larger engine. The engine is a 1.9-litre 60° V12 with a bore/stroke of 59 x 58 mm producing 125 bhp (92 kW) at 6,500 rpm. Debuting on 15 August 1947 at Circuito Pescara with driver Franco Cortese, it came in second battling to beat the Maserati 6CS 1500 for the rest of the year. On 12 October with its No78 livery, it got to shine at least once at the Turin Grand Prix driven by Raymond Sommer.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1952 FERRARI 250S, designed by Giovanni Michelotti, was the first in the long lineage of Ferrari 250 road and race cars powered by the then present 3.0-liter Colombo V12 engine. In 1952 the 250 S won the Mille Miglia and 12 Hours of Pescara. At the Le Mans, the same year, it clocked the fastest race lap time. The 250S evolved from the 225 S model and shared the same tubular steel ‘Tuboscocca’ chassis with the same wheelbase and track dimensions. A 3.0-liter Colombo V12 engine was added producing 169 kW/227 hp at 7500rpm. Only a single example serial no. 0156ET was ever produced!

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

This Ferrari 250GTO, Chassis No 3223GT, completed late in 1961 was the very first ever built. In 1966 it scored a GT class win in the 24 Hours of Daytona and today it has been restored to show off that particular configuration.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

This 330 P3/4 kept me going this evening...and so it should. Italian Design isn’t for sissies! Unfortunately, she did get beaten by those GT40s at Le Mans in 1966

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1969 FERRARI 365 GTB/4 COMPETIZIONE ‘DAYTONA’ styled by Leonardo Fioravanti as a Pininfarina design took on a much more sharp-edged styling away from the traditional rounded look of the previous 275 GTB/4. Ferrari’s internal foglio allestimenti or assembly sheets show that this chassis No12467 was the third 365 GTB/4 completed. Various changes away from standard were Plexiglas windows, an aluminum bonnet and boot, extended wheel arches, increased diameter on headlights and a transparent cowling which replaced the bumpers. Stiffer suspension springs, sturdier anti-roll bars and a 120-litre fuel tank were also fitted. The engine was unchanged from the road car in the first batch of competition cars, including this car, but tuned in the latter two batches. These cars were not raced by the official Scuderia Ferrari team, but by a range of private entrants for which this car placed 5th in the 24 Hours of Le Mans in 1971.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1979 FERRARI 312 T4 took Jody Scheckter to the top of his game, winning the Formula One championship in that year. It was designed by Mauro Forghieri and was used in various versions from 1975 until 1980. Following Lotus’ lead, he altered it in ’79 to be as narrow as possible taking advantage of ground effects.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1984 FERRARI 308 GTSi ‘MAGNUM PI’ car with the number plate ‘ROBIN 1’ and US-spec bumper, featured in the final 7th and 8th season of the television series Magnum, P.I. in which the series' lead, Thomas Magnum (Tom Selleck) drove it around Oahu for 8 seasons from 1980 to 1988.
This V8 mid-engined, two-seater sports cars manufactured between 1975 to 1985 replaced the Dino 246 GT and GTS in 1975. In 1982, Ferrari launched the ‘Quattrovalvole’ with the main change being four valves per cylinder which returned output to 240 hp (179 kW) restoring some of the performance lost to the emission control. The new model was recognized by the additional louvered panel in the front lid to aid radiator exhaust air exit, power-operated mirrors, a redesigned radiator grille with rectangular driving lights on each side, and rectangular side repeaters.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

The 1987 FERRARI F40, Enzo’s final legacy. After development of an evolution 288 GTO and the end of the Group B category in 1986, Ferrari was left with five 288 GTO Evoluzione development cars, and no series to enter them into competition. The Evoluzione program would go further to produce a car exclusively for road use but with nothing else but sheer performance. A total of 1,311 cars were manufactured.

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.

THE FERRARI F2002 was one of the most successful Formula One designs of all time raced by Ferrari for the 2002 & 2003 Formula One season. The car was much lighter than the F2001 and was powered by a 3.0-litre V10 engine which had a very low centre of gravity and therefore excellent handling. The majority of the conceptual design work was by Ferrari's legendary South African chassis designer Rory Byrne together with the engine design by Ferrari's Paolo Martinelli and overseen by the team's technical director Ross Brawn. Schumacher finished every race on the podium, never finishing lower than second which took him to his 5th drivers title!

AUTHENTICITY : Each drawing is limited to 10 signed and numbered prints regardless of size and comes together with a certificate & 10SERIE 'medallion'

PAPER : Professionally ink printed onto 350gsm Hahnemühle Museum Etching paper to achieve the best color & light fastness.

FRAME :

Profile : A 14 x 34mm (0,55 x 1.33inch) beveled profile made from Obeche (African Maple) which is depended upon for its stability and relative resistance to warping once machined. It is offered in either color black or white.

GLASS :

'Museum Glass' is 'non-reflective' and absorbs damaging UV light to allow over 98% transmission allowing only the best vibrant colors to translate and is advised for all the limited & signed prints.

'Standard' picture framing glass is a 2mm clear float glass. It is inexpensive and will protect your artwork from dust and physical damage.

BACKING :

Full archival acid-free board with 10mm deep-sunk (spacer) in same to create depth and set the artwork back off the glass.