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Fine Art Paper
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12 x 8 in ($40)
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White ($80)
Commissioned by Henry Ford, the car was designed specifically to beat Ferrari at Le Mans, in part as a pay-back after Ferrari turned down Ford’s offer to buy the famous Italian marque in 1963. Indeed, the GT40 did beat Ferrari at Le Mans in 1966, then again in 1967, ’68 and ’69, dominating endurance sports car racing over the entire period. GT40 #8 Drivers: Sir John Whitmore/ Frank Gardner In Europe one of the powerhouse teams of the 1960s was Alan Mann Racing. With the full support of Ford Europe, the team dominated the British and European Touring Car Championships among others. For this reason, Ford supplied the team with two of the astonishing new GT40 MkIIs to contest the 1966 Le Mans. The number 8 car was modified with some highly experimental light weight parts and given over to Sir John Whitmore and Frank Gardner.
Print:Giclee on Fine Art Paper
Size:12 W x 8 H x 0.1 D in
Size with Frame:17.25 W x 13.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Born 8 1/2 months after his father died in a California courtroom shootout, Jonathan was forced to relocate more than 50 times before turning 17. His solo debut "Yesterday's News" in 2005 reflected his perseverance and determination in overcoming the very difficult circumstances from which he came. Vibe Magazine recognized his penetrating originality, naming him a: "Rising Star in the Art World" Jonathan's expressive brush stroke and subtle color sense conjures visions ranging from Renaissance, thru Impressionism, to the Contemporary. With degrees in the arts from UC Berkeley, Cornell and Columbia Universities, Jonathan has exhibited in Asia, the Middle East, Europe (incl. Venice Biennale), North Africa, as well as throughout the US and his adopted hometown, New York City. Jonathan is known for the physicality of surface and the contrast of vulnerability and strength throughout his work. Prominent art critic Paul Oppenheimer (Rubens: A Portrait) has recently written about his current work: Voluptuously colored, wonderfully suggestive and lively post-Mondrian. With just the right sense of hopeful desolation to suggest the times we live in. With his upcoming 2016 exhibitions, Jonathan is establishing himself as the leading voice of New Century Impressionism.
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