Nick Veasey 1988 Ferrari F40 GTE For Sale
Nick Veasey
1988 Ferrari F40 GTE
Framed Chromaluxe
65.6 x 23.5”
About this work
Nick Veasey has established himself as the foremost artist working with X-ray imaging, transforming industrial radiographic technology into a distinctive visual language that reveals the hidden architecture of everyday objects. His work resides in major collections worldwide and has been exhibited extensively across Europe, Asia, and the Americas, cementing his position as a singular voice in contemporary photography. Veasey's practice strips away surface aesthetics to expose the engineering and skeletal beauty beneath, offering viewers an unprecedented perspective on the manufactured world. The 1988 Ferrari F40 GTE represents a particularly significant subject within Veasey's automotive explorations. The F40 itself occupies a legendary position in motorsport history—the final Ferrari approved by Enzo Ferrari before his death and a dominant force in GT racing throughout the early 1990s. By subjecting this vehicle to his radiographic process, Veasey lays bare the mechanical complexity and purposeful design that made the F40 GTE a formidable competitor on circuits from Le Mans to Laguna Seca. Every tube of the space frame chassis, every component of the twin-turbocharged engine becomes visible, transforming automotive engineering into anatomical study. Presented as a framed Chromaluxe print measuring 65.6 x 23.5 inches, this work employs a dye-sublimation process that delivers exceptional color density and archival stability, suited to the luminous quality inherent in Veasey's X-ray imagery. The elongated format accommodates the vehicle's full profile while emphasizing the horizontal tension of its racing silhouette. For acquisition inquiries regarding this work, please contact Guy Hepner directly.
Price on Application
Edition & Provenance
- Medium
- Framed Chromaluxe
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About the X-Ray Works Series
Nick Veasey works across several distinct series, each applying his signature X-ray process to a different corner of the world we inhabit but rarely truly see.
His automotive works are among his most celebrated. Ferraris, Porsches, Land Rovers, and Volkswagen Campers are rendered in full radiographic detail, their engines, frames, and mechanical anatomy laid bare without a body panel in sight. These are not photographs of cars. They are portraits of what a car actually is underneath everything we are sold about it.
His collaboration with the Victoria and Albert Museum to X-ray Balenciaga couture produced some of the most forensically beautiful fashion images ever made. Garments that took hundreds of hours to construct are revealed stitch by stitch, their internal architecture as compelling as their exterior. His human figures carry the same quality — skeletal forms dressed, posed, and placed in scenes that are simultaneously clinical and deeply human.
A separate but equally significant strand of his practice uses lenticular printing — a ribbed lens technology that shifts the image depending on the viewing angle — to create works that move and transform as you walk past them. Clark Kent becomes Superman. A bartender shakes a cocktail. Batman and Superman collide. These pieces introduce humor, narrative, and kinetic energy into a practice that is otherwise defined by stillness.
His most recent series marks a departure into color. Silver silkscreen printed directly onto colored acrylic, the SilXscreens retain the X-ray aesthetic while introducing a vibrancy and warmth that opens the work to a new register entirely.
Flora, fauna, musical instruments, shoes, typewriters, and household objects appear throughout his catalog, each one transformed by the X-ray process from the familiar into something worth looking at properly for the first time. A flower becomes a diagram of itself. A pair of headphones becomes a study in engineering. The ordinary, made extraordinary simply by being seen from the inside out.
About Nick Veasey
Nick Veasey is a British artist born in London in 1962 whose practice occupies a space that no other artist has claimed quite so completely. Working from a custom-built, radiation-proof studio in Kent, England, he uses industrial X-ray equipment to expose the hidden interior of the world around us — cars, fashion, animals, instruments, the human body — producing images of extraordinary detail and haunting beauty that sit equally at home in science institutions and major fine art galleries.
His entry into the medium came by chance in 1996, when he was asked to X-ray a cola can for a television production. On the same day, he X-rayed the shoes he was wearing and showed the results to an art director. The response was immediate and galvanizing, and Veasey has never looked back. What followed was decades of relentless experimentation, collaboration with scientists, and the construction of a working practice that is as technically complex as it is visually compelling.
The work carries real conceptual weight. In a culture consumed by surface — by image, by appearance, by the carefully managed exterior — Veasey does the opposite. He strips it away entirely, revealing the inner architecture of things we think we know and exposing a beauty that exists only when the surface is removed. His X-rays do not create or transform. They reveal what was always there. The range of his subjects is broad and deliberate. Iconic automobiles including Ferrari and Porsche, Balenciaga couture from the Victoria and Albert Museum's permanent fashion collection, military hardware, musical instruments, flowers, and the human skeleton have all passed through his lead-lined studio. Each subject is treated with equal precision and equal curiosity. The result, across all of it, is work that manages to be simultaneously scientific and lyrical, factual and deeply strange.
His prints are produced on Chromaluxe, Diasec, and lenticular formats and issued in strict limited editions. His work has been acquired by the Victoria and Albert Museum as part of the British National Collection of Photography and has been exhibited across Europe, North America, and Asia. He is the recipient of awards from the IPA Lucie Awards, AOP, D&AD, Graphis, and Communication Arts, and was nominated for IPA Lucie International Photographer of the Year in 2008. Commercial collaborations have included Nike, Levi's, Adobe, Adidas, the BBC, and Porsche. His most recent work includes the SilXscreens series — silver silkscreen on colour acrylic — marking a significant new direction into colour after a practice long defined by monochromatic imagery.