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Ferrari 250 GTO – Chassis #3387GT

Quentin Martinez

Thirty-six Ferrari 250 GTOs were built. This is chassis #3387GT — one of the very first, hand-finished at Maranello in March 1962 and delivered new to Luigi Chinetti, the man who brought Ferrari to America.

Quentin Martinez photographs it at golden hour, the Blu Genziana bodywork catching the last light of the day against open sky and green grass. The composition is low and wide — the Kamm tail, the wire-spoke wheels, the hand-hammered aluminium curves exactly as they left the factory. Nothing added. Nothing removed.

A study in the chromatic elegance of a racing legend.

Limited edition archival aluminium print. Signed and numbered. Edition of 25. Made in Italy.

Looking for pure geometry? Discover the Black and White version of this icon 

Limited Edition (25 pcs)

Made in Italy

Archival Aluminum Print

Ready to Hang


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€596,00

Dispatched within 5–7 days · Free shipping Europe

100% Satisfaction Guarantee. Quality art, printed in Italy. Safe, insured shipping.

Ferrari 250 GTO chassis 3387GT in Blu Genziana photographed at golden hour showing Kamm tail and wire-spoke wheels on green grass
Ferrari 250 GTO – Chassis #3387GT Sale price€596,00

ALUMINIUM PRINT

Edition Details

Close-up of '01/25' engraved on a brushed metallic surface

ONLY 25 PRINTS

Each piece is part of a strictly limited edition of 25 — shared across both sizes combined. Every certificate reads 1 of 25. The edition is not divided by size or format. Every buyer owns the same piece.

A black and white photograph of a vintage silver Ferrari 250 GTO parked on grass.

ALUMINIUM PRINT

Printed on a 3mm aluminium panel with archival pigment inks. Deep colour saturation, crisp detail, and a soft satin surface with minimal glare. Lightweight, rigid, and built to last for decades without fading or degradation.

Porsche 917 classic racing car

FRAMELESS & READY

The aluminium panel arrives ready to display — no framing required. Lean it on a surface or hang it directly on the wall. The slim edges and clean surface work in any space.

Still Motion Signature

THIRTY-SIX FERRARI 250 GTOs WERE BUILT. CHASSIS #3387GT WAS THE SECOND COMPLETED. DELIVERED TO LUIGI CHINETTI IN MARCH 1962, IT BECAME THE FIRST 250 GTO TO RACE — FINISHING SECOND OVERALL AND FIRST IN CLASS AT SEBRING WITH PHIL HILL AND OLIVIER GENDEBIEN.

light blue Ferrari 250 GTO

THE SECOND CAR BUILT

The Ferrari 250 GTO was built for a single purpose: to win the FIA World Championship of Makes for Gran Turismo cars. Enzo Ferrari needed a minimum of 100 units for homologation. He built 36. The FIA accepted the car on the basis that it was an evolution of the 250 GT, not a new model — a creative interpretation of the rules that has become one of the most famous episodes in the history of motorsport regulation. The GTO designation stands for Gran Turismo Omologato: Grand Touring, Homologated.

Chassis #3387GT was the second Ferrari 250 GTO completed at Maranello. It was hand-finished in March 1962 and delivered to Luigi Chinetti — the Italian-American driver, dealer, and founder of the North American Racing Team (NART) who had won the 24 Hours of Le Mans three times and was responsible for importing Ferrari to the United States. The car was originally finished in Blu Genziana with a white central stripe, a colour combination specific to NART entries. Ferrari sold it to Chinetti for $9,700.

On 24 March 1962, chassis #3387GT became the first Ferrari 250 GTO to race. Entered at the 12 Hours of Sebring as a NART car, it was driven by Phil Hill — the reigning Formula One World Champion — and Olivier Gendebien. They finished second overall and first in the GT class. The car returned to Maranello for preparation and was then entered at the 24 Hours of Le Mans in June 1962, driven by Bob Grossman and George Roberts Jr. It finished sixth overall and third in class. Grossman continued to race the car through 1962 and into 1963, accumulating 27 races and 16 podium finishes.

The car’s subsequent history is as extraordinary as its racing career. In 1964, Mike Gammino crashed it during practice for the Daytona 2000 when a wheel collapsed on the banking. The rear frame and body were rebuilt by Vaccarri in Modena. In the 1970s, a new aluminium body was fabricated during a restoration in California. In 1989, the car was stolen by six men from the Savannah area — the mastermind was a motorcycle dealer who faxed potential buyers on his own fax machine. The FBI recovered the car the same day. In 2017, chassis #3387GT sold privately for $44 million, making it one of the most expensive cars ever traded.

The Ferrari 250 GTO is powered by a Colombo V12 engine — the Tipo 168/62 Comp — displacing 2,953 cc with six Weber 38 DCN carburettors, producing approximately 300 horsepower. The body was designed by Giotto Bizzarrini and Sergio Scaglietti, with wind tunnel testing at the University of Pisa under Bizzarrini’s direction. The result was a shape so aerodynamically efficient and so visually coherent that the Ferrari 250 GTO has been recognised as a work of art — literally. Chassis #3387GT was exhibited at the Frist Art Museum in Nashville in 2016 as part of a Ferrari exhibition.

This photograph captures chassis #3387GT at golden hour. The Blu Genziana bodywork — the original NART colour — catches the last light of the day. The composition is low, placing the viewer at the level of the car’s shoulder line, where the Kamm tail, the wire-spoke Borrani wheels, and the hand-hammered aluminium curves are visible exactly as they were when the car left Maranello sixty years ago.

Our Curation

This piece exists because of a friendship with Quentin Martinez, a photographer who has spent years gaining access to the most significant cars in private collections. The Ferrari 250 GTO chassis #3387GT was photographed at golden hour, in a setting chosen to isolate the car against open sky and grass — no studio, no artificial light, no distraction from the bodywork.

From a larger body of work, this frame was selected for the way the Blu Genziana paint responds to the last light of the day — a colour that shifts between blue and violet depending on the angle and the hour. The aluminium format was chosen because it gives this particular image something paper cannot: the depth and luminosity of the paint, the metallic quality of the bodywork, and a surface that responds to the light in the room the way the car responds to the light in the photograph.

The result is not a reproduction. It is a perspective.

GOING DEEPER

COLLECTING

What it means to own a Still Motion edition — the standard, the certificate, the care.

What collectors should know

committed

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

Our commitments

Why We Choose Aluminium

Vibrant & Luminous

Metal holds light differently. Colours reach a depth and intensity that paper cannot replicate — because aluminium doesn't just carry the image. It shares its DNA with the subject.

Built to Last

A 3mm archival panel, resistant to fading and built for real spaces. These are not posters. They are made to outlast the walls they hang on.

Modern & Frameless

No frame competes with the image. Slim edges, clean surface — leaned against a sideboard or mounted with spacers, the photograph owns the room.

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MAINTENANCE TIPS

CARING FOR YOUR ALUMINIUM PRINT

Aluminium panels were first developed for demanding outdoor use, then adopted for high-end photography and art prints. When handled with care and kept away from harsh chemicals and extreme sunlight, they are made to last for decades.
To keep your Still Motion piece at its best, dust it occasionally with a soft, dry microfiber cloth. Avoid glass cleaners, abrasive sponges, and direct sunlight or very humid spaces for long periods.