Wifredo Lam Value: Top Prices Paid at Auction

This painting achieved Lam's current auction record when it sold at Sotheby's New York in June 2020, after inclusion in private collections and exhibitions in Havana, Washington, Paris, Madrid, and Barcelona. It was created during a critical period after Lam's return to Cuba from Europe after two decades away, in the same year as La Jungla (1942-43) (now in MoMA's permanent collection). Omi Obini (which means “woman” in the Yoruba language) (1943), depicts interwoven hybrid figures that combine human, animal, and plant elements against a vibrant, colourful background reminiscent of the lush tropical landscape of Cuba. As Lam later explained: “My return to Cuba meant, above all, a great stimulation of my imagination, as well as the exteriorisation of my world. I responded always to the presence of factors which emanated from our history and our geography, tropical flowers, and black culture.” Lam wanted to “act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.”

This substantial 2.2 metre oil painting sold at Sotheby's Paris in December 2017, out of the collection of Alain and Candice Fraiberger. Trois Centimètres De La Terre (1962) showcases Lam's seemingly effortless handling of line and form through a complex composition of abstracted, angular figures. The figures, being conjoined in places and similar in size and shape, are possibly iterations of the same figure moving through time - a visual representation of spiritual transformation. The title itself (Three Centimetres From Earth) reinforces this concept, suggesting a liminal space between the earthly and spiritual realms, a common theme in Lam's work that reflects the Santería belief in the interconnectedness of the physical and supernatural worlds. Throughout the composition, there is a deliberate tension between Lam's abstraction and his figuration, with each approach seeming to obscure the intent of the other, creating a visual puzzle. This sophisticated interplay demonstrates the artistic maturity Lam had achieved by this period, reflecting his continued exploration of Afro-Cuban spirituality and his ongoing development of a distinctive fusion of European Modernist techniques with Caribbean cultural references.

This work from 1944 achieved $1 million above its high estimate at Sotheby's New York in May 2012. The work is rich in Afro-Cuban religious iconography, specifically referencing Oya, the Santería deity associated with winds, lightning, and guarding the gates between life and death. It combines oil and charcoal techniques to create a mysterious, spectral finish - but with strikingly prominent eyes - that embodies the liminal nature of the deity it represents. Having spent several years reconnecting with the cultural heritage of his homeland following his return from Europe, Lam was particularly interested in how the spiritual traditions of Santería and Afro-Cuban religions had preserved African cultural elements despite the brutal history of slavery and colonisation. The painting's exhibition history is particularly notable, having been shown at numerous prestigious institutions, including MoMA, the Hirshhorn Museum in Washington D.C., the Palais des Papes in Avignon in 1947, and the Hayward Gallery in London.

This imposing oil painting, measuring almost 2.5 metres tall, sold at Sotheby's Paris in December 2012. This piece is one of the largest canvases in Lam's oeuvre to come to auction, and is unusual in Lam's catalogue for being executed on paper mounted on canvas rather than directly on canvas. The title, which translates as “Painting, we are waiting for it,” suggests a self-referential commentary on the length of the artistic process itself, reflecting Lam's sophisticated engagement with Modernist ideas about the nature of representation, inspiration, and creation. In typical Lam style, the work features angular, golden-brown figures that are at once rich in personality and unidentifiable. They exemplify Lam's mature style, with its synthesis of Cubist fragmentation and Surrealist biomorphism.

This prime of Lam's “femme cheval,” or “horse woman,” imagery sold at Christie's Paris in June 2019, exceeding its high estimate by 90%. Je Suis (1949), (I Am), depicts a seated figure with a horse-like head against a vibrant red background. Lam's iconic hybrid figures, blending human, animal, and mythological elements, seem to exist between worlds, becoming unsettling but oddly familiar. The title references René Descartes' famous philosophical proposition “I think, therefore I am,” but truncates it to simply “I am,” suggesting a more fundamental assertion of existence beyond the need for thought. Lam sustained an interest in challenging Western philosophy, posing alternatives drawn from Afro-Cuban spiritual practices. The painting features several significant elements of Lam's iconography, including the distinctive emblem of Elegua, a deity in Santería associated with crossroads and fate, which appears at the top of the composition. The contrast between the figure’s static pose and the flowing green “mane” of hair hints at the idea of spiritual possession or transformation - a reference to the Santería concept of being “mounted” or possessed by an orisha (deity).

This eponymous example of Lam's most celebrated motif sold at Christie's New York in July 2020. Femme Cheval (1950) exemplifies the hybrid female-equine figures that became Lam's signature subject matter, now considered the cornerstone of his artistic legacy. The “femme cheval” figure first appeared in Lam's illustrations for André Breton's Surrealist poem Fata Morgana in 1940-41, but reached its most sophisticated expression in works like this from 1947-50. The figure represents the concept of spiritual possession in Santería, where devotees become the “horse” of a deity who “mounts” them during ritual ceremonies. This painting was created during a particularly successful period in Lam's career, following solo exhibitions at Pierre Matisse Gallery in New York in 1944 and at Havana's Parque Central. Femme Cheval (1950) was held in the artist’s own collection until 1983, when it was sold by Sotheby’s in the first of only two sales of the piece.

This perfectly square canvas sold at Phillips New York in May 2015, in a sale that celebrated the art of Latin America. Présages (1947) (Omens) demonstrates Lam's skill at creating dynamic, energetic compositions that suggest emotive, often aggressive, spiritual forces in motion. This piece in particular has an ominous, otherworldly effect - the title itself suggests prophetic visions, warnings, or supernatural signs. This theme connects to Lam's belief in art's capacity to reveal hidden truths and challenge dominant narratives; through his art, he sought to capture a reflection of the human spirit and tell stories that viewers could respond to in a visceral way. The painting itself has a distinguished exhibition history, having been shown at several important galleries and museums, including the Galleria Civica di Arte Moderna in Turin and the Villa Medici in Rome. Its strong provenance and institutional recognition contributed to its significant performance at auction.

This ethereal, atmospheric painting sold at Christie's London in February 2016. Chant de la Forêt (1946) (Song of the Forest) captures a mysterious Cuban landscape through a fusion of plant and anthropomorphic forms. It shows Lam's ability to infuse natural settings with spiritual presence, creating hybrid creatures that seem to emerge organically from their environment. The forest was a particularly significant motif for Lam, as it represented both the distinctive landscape of his homeland and a site of spiritual power in Afro-Cuban traditions. Like many Surrealists, Lam was fascinated by the forest as a space of mystery and transformation, but he approached this theme from a specifically Caribbean perspective, infusing it with references to local spiritual practices and beliefs. The sound and music referenced by the work’s title are elements that were central to Santería ceremonies, while the subject’s shadowy forms evoke the sense of hidden presences and forces that Lam believed inhabited the Cuban landscape. This work represents Lam's desire to portray what he considered the true Cuba, in contrast to the sunny beaches promoted to tourists.

This large-scale painting, measuring almost 2.5 metres across, sold at Sotheby's New York in November 2010, setting what was at the time a new auction record for the artist, and remained so until the December 2012 sale of Peinture, Nous L'Attendons (1951). The title translates to “The Abalochas Dance For Dhambala, God Of Unity”, reflecting its complex arrangement of interwoven figures engaged in a ritual dance. The painting references specific elements of Afro-Caribbean religious practices, with “Abalochas” referring to priests or practitioners of Vodou, while Dhambala (or Damballah) is a major serpent deity associated with creation, rain, and fertility in Haitian Vodou. The scene is a deeply religious one, showing Dhambala intermingling with other figures in a state of ecstatic movement, motion, and transformation. This sale took place just months after Sotheby's had set a previous record for Lam with the $1.2 million sale of Sur Les Traces (1945), demonstrating the rapidly growing market appreciation for his work.

This captivating example of Lam's “femme cheval” motif sold at Sotheby's New York in November 2019, exceeding its high estimate and rounding off this list. Femme Avec Un Oiseau (1949) (Woman With A Bird) depicts a seated female figure with hybrid, hores-like features accompanied by a bird that resembles a sort of dragon. The “femme cheval” motif already represents female power and spiritual transformation in Lam’s work; here, with the addition of the bird, the symbolism is deepened still. In Afro-Cuban traditions, birds often represent messengers between the human and spirit worlds, suggesting the central female figure is at once in chosen by the gods and the recipient of some divine intervention. The painting has an interesting provenance, having been in the private collection of Gabriel García Márquez.