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THE BLACK BOOK

Early access to new editions, The Vault, and everything the House keeps for those who understand why.

Ferrari 121 LM (1955) — The Nose

QUENTIN MARTINEZ

Only four Ferrari 121 LMs were ever built. Aurelio Lampredi designed the 4.4-litre straight-six specifically to defeat Mercedes-Benz at the 1955 24 Hours of Le Mans. Eugenio Castellotti recorded 291 km/h on the Mulsanne Straight in practice — the fastest of any car that weekend. All three factory entries retired before the finish.

This photograph isolates the nose of the Ferrari 121 LM at close range. The Scaglietti bodywork, the blue centre stripe, the geometry of a car built to outrun everything on the circuit. After 1955, Ferrari abandoned the inline-six configuration entirely and never returned to it.

A study in the aerodynamic aggression of the Lampredi era.

Limited edition fine art photograph. Signed and numbered. Printed on museum-grade paper. Made in Italy.

Limited Edition (49 pcs)

Museum-Grade Paper

Made in Italy

Shipped Protected and Insured


Format:
Size:
SIZE GUIDE & MATERIAL SPECIFICATIONS

FINE ART PAPER PRINTS We use Hahnemühle Photo Rag 308gr — a 100% cotton, museum-grade paper from one of the world’s oldest fine art paper mills (founded in 1584). Every piece is Giclée printed with archival pigment inks to ensure deep, stable tones that will last for generations.

  • A3 (30 × 42 cm): Framed in a slim, elegant pine profile.

  • A2 (42 × 60 cm): Framed in a Premium Tiglio (lime wood) profile, hand-painted black.

  • Statement Piece (85 × 60 cm): Framed in a Premium Tiglio (lime wood) profile, hand-painted black.

All framed prints are finished with museum-grade acrylic glazing (plexiglass), the standard material used by galleries worldwide for safe transport, superior clarity, and lasting protection. The framed option adds a small, refined outer border beyond the print size.

ALUMINUM PRINTS Offered in two large-scale formats:

  • Collector’s Piece (approx. 100 cm wide)

  • Statement Piece (approx. 140 cm wide)

Printed on a 3 mm aluminum panel, finished on a white or brushed aluminum base (depending on what best elevates the image). Height varies by artwork — please refer to the specific product images for exact dimensions.

Aluminum Display Notes: For large formats, we recommend leaning the piece. If wall-mounted, use professional hardware suitable for the weight and surface.

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Sale price€149,00

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Ferrari 121 LM 1955 fine art photograph unframed on Hahnemühle museum-grade cotton paper
Ferrari 121 LM (1955) — The Nose Sale price€149,00

FINE ART

Edition Details

A framed photograph of a vintage red Alfa Romeo P2 race car, numbered 30

ONLY 49 PRINTS

Each photograph is part of a strictly limited edition of 49 — shared across all sizes and formats combined. Every certificate reads 1 of 49. The edition is not divided by size or format. Every buyer owns the same piece.

Hahnemühle Photo Rag Metallic paper

FINE ART PHOTOGRAPH

Printed on Hahnemühle Photo Rag 308gr — a 100% cotton museum-grade paper from one of the world's oldest paper mills, founded in 1584. Rich tones, crisp detail, and a calm matte surface that holds the photograph without reflection.

Two framed posters of a vintage red race car with the number 30

PRINT OR FRAMED

Unframed prints ship flat in rigid protective packaging, ready for your chosen frame. Framed editions are presented in a hand-painted black gallery frame with plexiglass glazing — the standard used by galleries worldwide for safe transport.

STILL MOTION SIGNATURE

ONLY FOUR FERRARI 121 LMs WERE EVER BUILT. AURELIO LAMPREDI’S 4.4-LITRE STRAIGHT-SIX PRODUCED 330 BRAKE HORSEPOWER AND 291 KM/H ON THE MULSANNE STRAIGHT. AFTER 1955, FERRARI ABANDONED THE INLINE-SIX AND NEVER RETURNED TO IT.

Ferrari 121 LM

THE SIX-CYLINDER WEAPON

By 1955, the battle for endurance racing supremacy had become a three-way arms race between Ferrari, Mercedes-Benz, and Jaguar. Mercedes had won Le Mans in 1952 with the W194. Jaguar had taken it back in 1953 with the C-Type, and again in 1954 with the D-Type was waiting in the wings. Ferrari had answered with the 375 Plus, winning the 1954 24 Hours of Le Mans. But the 1955 season demanded something new. Both Mercedes and Jaguar were running straight-six engines — reliable, powerful, proven. Enzo Ferrari, who had built his legend on the V12, made an extraordinary decision: he commissioned engineer Aurelio Lampredi to design a straight-six.

Lampredi took the four-cylinder engine from the 750 Monza and added two cylinders. The result was the Tipo 121 — a 4,412 cc twin-overhead-cam unit with twin-spark ignition and three Weber 50 DCOA/3 carburettors, producing 330 brake horsepower at 5,800 rpm. It was mounted in a Tipo 509 chassis clothed in Scaglietti bodywork — a body so well proportioned that it has been called one of the most aggressive shapes of its era. The aerodynamic fin behind the driver echoed the Jaguar D-Type. The nose, low and purposeful, was designed to cut through air at speeds no other Ferrari had reached.

Only four Ferrari 121 LMs were built. For the 1955 24 Hours of Le Mans, Scuderia Ferrari entered three of them. Eugenio Castellotti and Paolo Marzotto drove car number four. Phil Hill and Umberto Maglioli took number three. Maurice Trintignant and Harry Schell were in number five. In practice, Castellotti set the fastest time of any driver and recorded 291 km/h on the Mulsanne Straight — faster than the Jaguar D-Type, faster than the Mercedes-Benz 300 SLR. The Ferrari 121 LM was the quickest car at Le Mans that year.

The race told a different story. Castellotti’s engine failed after five hours and 52 laps. Hill and Maglioli retired with overheating and clutch problems after 76 laps. Trintignant and Schell lasted the longest — ten hours and 107 laps — before their clutch gave out. All three factory Ferrari 121 LMs were out before midnight. The 1955 Le Mans was won by Jaguar, but the race is remembered above all for the catastrophic accident involving Pierre Levegh’s Mercedes-Benz, which remains the deadliest incident in motorsport history.

After Le Mans, new regulations imposed a 2.5-litre capacity limit. The Tipo 121 engine became obsolete overnight. Ferrari returned to the V6 Dino engine and never built another inline-six. All four Ferrari 121 LM chassis survive today in private collections. Chassis 0546 LM — driven by Taruffi at the 1955 Mille Miglia and by Trintignant at Le Mans — sold at RM Sotheby’s in Monterey in 2017 for $5.72 million after a five-year restoration by Ferrari Classiche to its exact 1955 Le Mans specification.

This photograph captures the nose of the Ferrari 121 LM at close range — the Scaglietti bodywork, the blue centre stripe that marks this car as a product of international endurance racing, the sculptural form of a machine that was faster than anything else on the straight and too fragile to last the night.

Our Curation

This piece exists because of a friendship with a photographer who understands that the surface of a racing car carries as much history as its result sheet. The Ferrari 121 LM was photographed at close range, isolating the nose section — the Scaglietti curves, the centre stripe, the geometry of a body shaped for speed above all else.
From a larger body of work, this frame was selected for what it reveals about the relationship between form and function in 1950s endurance racing. The refinement process brought forward the depth of the paintwork and the texture of the bodywork without altering the character of what was captured.
The result is not a reproduction. It is a perspective.

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The principles behind every piece we produce and every decision we make.

Our commitments
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MAINTENANCE TIPS

CARING FOR YOUR FINE ART PRINT

Giclée prints on archival cotton paper are made to last for generations when treated with care. Handle by the edges only. Keep away from direct sunlight, humidity, and heat sources. If displaying unframed, mount behind glass or plexiglass to protect the surface. To clean, dust the frame or glazing only with a soft, dry microfibre cloth. Never touch the print surface directly.