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Wifredo Lam (1902 - 1982)
The Encounter [La Rencontre]
(El Encuentro), 1944
oil on paper laid down on canvas
25 5/8 x 38 5/8 inches
To be illustrated in the upcoming catalog IMPORTANT CUBAN ARTWORKS,
Volume Twenty-Two, Cernuda Arte, Coral Gables, Florida, December 2026.
Provenance:
Pierre Matisse Gallery, New York;
Blanche Fabry Teze, New York;
Private collection, Geneva;
Private collection, Key Biscayne, FL.
Exhibited in Lam Paintings, Pierre Matisse Gallery,
New York, NY,
1944, and illustrated in the accompanying
catalog
on a non-numbered page.
Exhibited in Important Latin American Paintings,
Christies, New York, May 28 - 29, 1997, and illustrated
in the corresponding auction catalog, Lot no. 23.
Exhibited in Wifredo Lam: The Imagination at Work, Pace Gallery, New York,
Nov. 9 – Dec. 21, 2021, and illustrated in the accompanying catalog,
pages 76 and 77.
Illustrated in Lam, by Michel Leiris, Fratelli Fabbri, Milano, 1970, n. 58.
Illustrated in Wifredo Lam, 1st edition, Max-Pol Fouchet, Poligrafa-Cercle d’Art,
Barcelona-Paris, 1976, as page 233, no. 385. Also illustrated in Wifredo Lam,
Max-Pol Fouchet, 2nd Ed., Editiones Poligrafa, Barcelona, 1989, as page 253, no. 417.
Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Vol. I,
(1923-1960), Lou Laurin-Lam & Eskil Lam, Acatos, Paris, 1996, page 348, no. 44.30.
Wifredo Lam’s sublime oil-on-paper composition, The Encounter, reimagines the tradition
of still-life painting as a collision of European modernism and Afro-Cuban culture.
Painted in 1944, three years after the artist fled war-torn Paris for Cuba, The Encounter
channels the dissonance of exile into a cubist tableau of fruits and wine, covered in
tropical foliage and populated by Lam’s bestiary of spectral figures: part human, part
animal, and part botanical. The work’s restrained yet kaleidoscopic palette demonstrates
the unique sophistication of Lam’s best experimentations with color in the 1940s. While
the influence of his years in Europe is evident, Lam’s visual language is unmistakably
his own, charged with the symbols
of Caribbean myth.
The Encounter (1944) belongs to the same moment as La Jungla, Lam’s masterpiece
acquired by the New York MoMA that same year and placed beside Picasso’s
Les Demoiselles d’Avignon.
NICO HOUGH
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Wifredo Lam (1902 - 1982)
Untitled [Femme Cheval, Eleguas and Bird]
(Sin Título [Mujer Caballo, Eleguas y Pájaro]), 1973
oil on canvas
23 1/2 x 31 1/4 inches
Signed and dated on the reverse.
Illustrated in IMPORTANT CUBAN ARTWORKS,
Volume Twenty-One, page 29.
Provenance:
Galleria del Naviglio, Milan, Italy.
This painting is accompanied by a
Photo-Certificate of Authenticity,
signed by Eskil Lam, numbered
24-07, and dated April 20, 2024.
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Wifredo Lam (1902 - 1982)
Untitled [The Family]
(Sin Título [La Familia]), 1978
mixed media and pastel laid down on board
11 3/4 x 16 1/2 inches
signed, inscribed and dated right
WLAM, St. Gallen 1 Oct 1978.
Provenance:
Erker Galerie, St. Gallen, Switzerland.
Illustrated in IMPORTANT CUBAN ARTWORKS,
Volume Twenty-One, page 32.
This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Eskil Lam, numbered 24-31.
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Wifredo Lam (1902 - 1982)
Portrait
(Retrato), 1969
oil on canvas
25 3/4 x 21 1/4 inches
signed and dated on the reverse.
Illustrated in IMPORTANT CUBAN ARTWORKS,
Volume Twenty-One, page 25.
Provenance:
Private Collection, Paris, France;
Galeria Fabien Boulakia, Paris, France;
Private Collection, Switzerland.
This painting was exhibited in Wifredo Lam,
L'Oiseau Du Possible (1930-1975), Galerie Boulakia, Paris,
France, 2004, and illustrated in the exhibition catalog,
pages 98-99.
Exhibited in Baroque de la Superposition,
Musée des Beaux-Arts André Malraux,
Le Havre, France, 1977, and illustrated
in the exhibition catalog on page 24,
and listed on page 35, no. 76.
Illustrated in Lam, M. Leiris, Fratelle Fabbri, Milan,
Italy & Harry N. Abrams Inc. Publisher, New York, 1970,
no. 170 and no. 174.
Illustrated in Wifredo Lam, Max-Pol Fouchet, First
Edition, 1976, page 241, no. 523, and in Wifredo Lam,
Max-Pol Fouchet, Second Edition, 1989, page 261, no. 555.
Illustrated in Wifredo Lam, Lucien Curzi,
Edizioni Bora, Bologna, Italy, 1978, page 40, no. 47.
Illustrated twice in Wifredo Lam:
Catalogue Raisonné of the Painted Work, Volume II,
1961-1982, Project Director: Eskil Lam, Acatos 2002,
on page 82, no. 3 and again on page 319, no. 69.46.
This painting is accompanied by a Certificate of Authenticity
signed and dated by Madame Lou Laurin-Lam, Paris, Feb. 21,
2011, no. 11-05.
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Wifredo Lam (1902 - 1982)
Apostroph' Apocalypse #6630 [Series XVIII of XXV],1967
acquatint on Japanese paper
20 x 15 inches
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Wifredo Lam (1902 - 1982)
Apostroph' Apocalypse #6625 [Series XVIII of XXV],1967
acquatint on Japanese paper
20 x 15 inches
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Manuel Mendive (b. 1944)
Red
(Rosso), 1994
oil on canvas
30 3/4 x 40 5/8 inches
Illustrated in IMPORTANT CUBAN ARTWORKS, Volume Fifteen, page 132.
Provenance:
Private Collection, Italy.
Exhibited in A Surrealist Century / Un Siglo Surrealista,
Cernuda Arte, Coral Gables, FL, Aug. 2024 – Jan. 2025,
and illustrated digitally on cernudaarte.com, exhibitions.
This work is accompanied by a Photo-Certificate of Authenticity
signed by Dr. Guillermina Ramos Cruz. Dr. Ramos Cruz is the author
of the book Lam y Mendive, Arte Afrocubano, Linkgua Ediciones,
Barcelona, Spain, 2009.
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Manuel Mendive (b. 1944)
The Family and The Ancestors
(La Familia y Los Antepasados), 1997
mixed media on heavy paper laid down on board
12 3/4 x 19 1/2 inches
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Manuel Mendive (b. 1944)
Offerings
(Ofrendas), 1993
oil on heavy paper laid down on canvas
15 x 19 1/2 inches
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Manuel Mendive (b. 1944)
Magical Heads 6/9
(Cabezas Mágicas 6/9), 2007
bronze sculpture
40 1/2 x 20 1/2 x 10 1/2 inches
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Manuel Mendive (b. 1944)
Mask [from the series “The Eye that Looks”]
(Máscara [de la serie “Para el Ojo que Mira”]), 1987
acrylic on papier maché
11 x 6 1/2 inches
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René Portocarrero (1912 – 1985)
Carnival Dance
(Baile de Carnaval), 1970
mixed media on heavy paper
laid down on board
19 1/2 x 25 3/4 inches
As was stated by Portocarrero, “The series of the Carnivals is the one that I most love and prefer among
my paintings. All my [other] pictures are dispersed in the world, living their own lives…
but I like to conserve my Carnivals… for me, to paint is the
realization of my life. When I don't paint, I am out
of orbit, I don’t exist."
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René Portocarrero (1912 – 1985)
Seven Carnival Figures
(Siete Figuras de Carnaval), 1970
mixed media on heavy paper
laid down on board
19 3/4 x 25 3/4 inches
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Gina Pellón (1926 – 2014)
Lady in her Chamber
(Dama en su Habitación), 1978
mixed media on canvas
50 3/4 x 38 1/4 inches
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Gina Pellón (1926 – 2014)
Mandatory Escape
(Obligada Escapatoria), 2010
mixed media on canvas
44 3/4 x 34 1/4 inches
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Juan Roberto Diago (b. 1971)
Eternal Presence
(Presencia Eterna), 2024
bronze sculpture, Artist's Proof
37 x 28 3/4 x 23 1/4 inches
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Juan Roberto Diago (b. 1971)
The Chosen One
(El Elegido), 2018
mixed media on canvas
78 1/2 x 59 inches
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Juan Roberto Diago (b. 1971)
I Like Myself
(Me Gusto Como Soy), 2019
mixed media and collage on canvas
49 1/4 x 35 inches
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Juan Roberto Diago (b. 1971)
Eating Knives
(Comiendo Cuchillo), 2002
mixed media and collage on canvas
78 3/4 x 59 inches
Exhibited in Comiendo Cuchillo, National Museum of Fine Arts,
Havana, Cuba, June 6 – July 10, 2002, and illustrated
in the corresponding exhibition catalog, pages 22 - 23.
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Juan Roberto Diago (b. 1971)
My Hands
(Mis Manos), 1998
mixed media and heavy paper laid down on canvas
27 1/2 x 19 3/4 inches
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Juan Roberto Diago (b. 1971)
Untitled [I'm Here Without You]
(Sin Título [Aquí Estoy Sin Ti]), 2004
mixed media on canvas
51 1/4 x 39 1/4 inches
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Agustín Cárdenas (1927 - 2001)
Small Jucambe
(Pequeño Jucambe), 1957
Metal and wooden sculpture
22 1/2 x 4 3/4 x 8 3/4 inches
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Agustín Cárdenas (1927 - 2001)
The Couple
(La Pareja), 1988
bronze sculpture 2/6
9 1/4 x 8 1/2 x 8 inches
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Agustín Cárdenas (1927 - 2001)
The Family
(La Familia), 1989
bronze sculpture AP 3/4
10 7/8 x 4 7/8 x 5 1/8 inches
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Agustín Cárdenas (1927 - 2001)
Residence of the Past
(Residencia del Pasado), 1989
bronze sculpture 1/8
5 1/8 x 9 1/2 x 8 1/4 inches
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Danuel Méndez (b. 1989)
Aleph
(Aleph), 2024
oil on canvas
40 x 40 inches
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Danuel Méndez (b. 1989)
Ivy's Garden
(Jardín de Hiedras), 2024
oil on canvas
60 x 48 inches
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Danuel Méndez (b. 1989)
The Impossible Flower Vase
(El Florero Imposible), 2024
oil on canvas
60 x 48 inches
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Yasiel Elizagaray (b. 1987)
A Growing Concern
(Preocupación Creciente), 2024
mixed media on canvas
78 1/2 x 70 1/2 inches
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Yasiel Elizagaray (b. 1987)
The Intruder
(La Intrusa), 2024
mixed media on canvas
39 1/4 x 31 1/2 inches
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Yasiel Elizagaray (b. 1987)
The Influencer
(La Influyente), 2024
mixed media on canvas
59 x 19 1/2 inches
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Jorge Luis Santos (b. 1973)
Feast of Colors
(Banquete de Colores), 2020
mixed media on canvas
57 x 53 inches
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Jorge Luis Santos (b. 1973)
Blue Flower
(Flor Azul), 2020
acrylic on canvas
58 x 59 inches
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Jorge Luis Santos (b. 1973)
Flower Vase
(Jarron de Flores), 2020
mixed media on canvas
49 x 49 inches
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Roberto Fabelo (b. 1950)
We Are Not Animals
(No Somos Animales), 2011
oil on canvas
60 1/4 x 30 3/4 inches
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Joel Besmar (b. 1968)
The Soul of the Universe
(Anima Mundi), 2017
oil on canvas
78 1/2 x 57 1/2 inches
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Irina Elén González (b. 1978)
Vestiges
(Vestigios), 2025
acrylic on canvas
47 1/4 x 35 1/2 inches
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Joel Besmar (b. 1968)
The Art of Reading
(El Arte de Leer), 2019
oil on canvas
55 x 51 1/4 inches
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Enrique Casas (b. 1976)
Divine Brilliancy
(Divino Fulgor), 2024
oil on canvas
60 x 40 inches
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Enrique Casas (b. 1976)
Boats, Light and Waves
(Barcas, Luz y Oleaje), 2023
oil on canvas
28 3/4 x 39 1/4 inches
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Enrique Casas (b. 1976)
Serene Blues
(Azules Serenos), 2023-24
oil on canvas
51 x 67 inches
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Lilian García-Roig (b. 1966)
North Florida Palm Brush: Cumulative Nature Series
(Palmeras del Norte de la Florida: Serie Naturaleza Acumulativa), 2019
oil on canvas, diptych
48 ¼ x 72 inches
Exhibited in the Wiregrass Biennial 2020, Wiregrass Museum,
Dothan AL, where it won the People’s Choice Award.
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Lilian García-Roig (b. 1966)
Extended Fauve Forest I
(Bosque Fauve Extendido I), 2004
oil on canvas
30 x 24 inches
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Lilian García-Roig (b. 1966)
Extended Fauve Forest II
(Bosque Fauve Extendido II), 2004
oil on canvas, diptych
30 x 24 inches
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Miguel Florido (b. 1980)
Here I am Without You
(Aquí Estoy Sin Ti), 2005
oil on canvas
23 1/2 x 31 1/2 inches
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Miguel Florido (b. 1980)
Love Signals
(Señales de Amor), 2016
acrylic on canvas
70 1/2 x 50 3/4 inches
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Miguel Florido (b. 1980)
Inner Peace
(Paz Interior), 2024
oil on canvas
78 1/2 x 39 inches
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Giosvany Echevarría (b. 1971)
Blissful Sunset
(Feliz Atardecer), 2024
oil on canvas
33 1/2 x 62 inches
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Giosvany Echevarría (b. 1971)
Early Morning Light
(Temprana Luz de la Mañana), 2014
oil on canvas
9 3/4 x 13 3/4 inches
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Giosvany Echevarría (b. 1971)
Interlude
(Interludio), 2016
oil on canvas
9 3/4 x 13 3/4 inches
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Vicente Hernández (b. 1971)
The Burial of Electricity
(El Entierro de La Luz), 2024
oil on canvas
39 ¾ x 51 ½ inches
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DEMI (b. 1955)
Boy with Florida Oranges
(Niño con Naranjas de Florida), 1987
acrylic on canvas
38 x 26 inches
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DEMI (b. 1955)
Liquid Life #3
(Vida Líquida #3), ca 1987
oil and collage on canvas
16 x 12 inches
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Clara Morera (b. 1944)
John the Apostle and The Book of the Seven Seals,
(Juan El Apóstol y El Libro
de los Siete Sellos), 2024
mixed media on canvas
42 x 28 3/4 inches
Morera’s John the Apostle and The Book of the Seven Seals (2024)
takes its inspiration from Revelation 10:8-10. In this passage, the Apostle John
is confronted by an angel who instructs him to eat a scroll fastened with seven seals,
each seal representing a catastrophe. The scroll is sweet to taste but bitter to the stomach.
John’s act of consuming the scroll symbolizes the internalization of a message despite its
troubling
content. In our media-saturated age, “consuming the scroll” assumes a new meaning:
processing the daily barrage of information and misinformation.
NICO HOUGH
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Clara Morera (b. 1944)
Elegua, Pretty Boy
(Elegua, Niño Bonito), ca 2008
mixed media on wood
23 ½ x 15 inches
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Clara Morera (b. 1944)
Malevolent Eyes Don't Look at Me
(Malos Ojos no Me Miran), 2005
mixed media on canvas
52 x 26 inches
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