Le Yack - The Elevator - Hand-signed






Holds a master’s in art and culture mediation with extensive gallery assistant experience.
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TheYack, The Elevator - Hand-signed, a 2022 limited-edition digital painting on canvas in a 60 x 40 cm format, signed by the artist in France and sold directly by the artist, depicting a portrait in a realism style with the piece titled and hand-signed.
Description from the seller
A woman from the back, headscarf tied, black dress, heels, a caramel leather bag at her feet. She leans on a red Alfa Romeo Spider convertible parked on a dirt path overlooking the sea. The chalky cliffs, the parasol pines, the absolute blue of the Mediterranean — it's the Côte d'Azur of the 1960s, that of Godard films and Sagan's holidays.
Le Yack paints the back as a territory of the imaginary. You won't see her face — and that's exactly what makes this painting for everyone. She could be anyone. She could be you, the day you decided to leave.
Characteristics of the work:
Signature: Hand-signed by the artist on the front and back of the work.
Technique: Giclée print on canvas, using a high-quality pigment print to faithfully reproduce details and colors.
Edition: Limited to 20 copies, individually numbered.
Dimensions: 60 x 40 cm.
Framing: Delivered ready to be framed, according to your preferences.
Authenticity: Comes with a certificate of authenticity signed by the artist.
Shipping: Shipped from France, with secure packaging to ensure delivery in perfect condition.
About the artist:
LeYack (born in 1972) is a contemporary artist whose work blends modern narrative with pictorial heritage. Drawing inspiration from photography and cinema, he distorts the codes of realism to inject palpable emotional tension. Each work tells a frozen moment, inviting the viewer to immerse themselves in the suggested story.
Keywords: digital painting, Le Yack, An Elevator of Grand Hotel, 1940s — golden woodwork, red velvet, a single light bulb on the ceiling. Four still figures: the valet in a violet uniform who holds the door, a woman in black with pearls on her clasped hands, a young woman in an ivory negligee with lowered eyes, a man in a dark suit consulting his watch. And in the center, a white cat looking straight ahead — the only one who seems to know where it is going.
Le Yack creates a genre scene worthy of a Patricia Highsmith novel. Four solitudes in 2 square meters of red velvet. The cat is the only free character. Each of the others is prisoner to something — service, mourning, youth, time.
Seller's Story
A woman from the back, headscarf tied, black dress, heels, a caramel leather bag at her feet. She leans on a red Alfa Romeo Spider convertible parked on a dirt path overlooking the sea. The chalky cliffs, the parasol pines, the absolute blue of the Mediterranean — it's the Côte d'Azur of the 1960s, that of Godard films and Sagan's holidays.
Le Yack paints the back as a territory of the imaginary. You won't see her face — and that's exactly what makes this painting for everyone. She could be anyone. She could be you, the day you decided to leave.
Characteristics of the work:
Signature: Hand-signed by the artist on the front and back of the work.
Technique: Giclée print on canvas, using a high-quality pigment print to faithfully reproduce details and colors.
Edition: Limited to 20 copies, individually numbered.
Dimensions: 60 x 40 cm.
Framing: Delivered ready to be framed, according to your preferences.
Authenticity: Comes with a certificate of authenticity signed by the artist.
Shipping: Shipped from France, with secure packaging to ensure delivery in perfect condition.
About the artist:
LeYack (born in 1972) is a contemporary artist whose work blends modern narrative with pictorial heritage. Drawing inspiration from photography and cinema, he distorts the codes of realism to inject palpable emotional tension. Each work tells a frozen moment, inviting the viewer to immerse themselves in the suggested story.
Keywords: digital painting, Le Yack, An Elevator of Grand Hotel, 1940s — golden woodwork, red velvet, a single light bulb on the ceiling. Four still figures: the valet in a violet uniform who holds the door, a woman in black with pearls on her clasped hands, a young woman in an ivory negligee with lowered eyes, a man in a dark suit consulting his watch. And in the center, a white cat looking straight ahead — the only one who seems to know where it is going.
Le Yack creates a genre scene worthy of a Patricia Highsmith novel. Four solitudes in 2 square meters of red velvet. The cat is the only free character. Each of the others is prisoner to something — service, mourning, youth, time.
