Sandra Fabara Paintings & Artwork for Sale | Sandra Fabara Art Value Price Guide

Mar. 20, 2024
Lady Pink "Bomber Girls" Colored Pencil on Vellum
Est: $2,000 - $4,000
Lady Pink (Ecuadorian American, b. 1964). Colored pencil on vellum titled "Bomber Girls" depicting two caricatures of young women dressed in blues and pinks, smoking and graffitiing a brick wall while a male shadow looms in the background against an urban landscape, 2001. Pencil signed and dated along the lower right. Provenance: Private Minnesota Collection. Lot Essay: Born as Sandra Fabara in Ecuador and raised in New York City, Lady Pink emerged as a prominent figure in the burgeoning graffiti art movement during the late 1970s. Tiptoeing around train yards and subway cars, she honed her skills, and undeterred by the predominantly male landscape, Lady Pink's distinct style and tenacity quickly set her apart, earning her recognition as one of the pioneering female graffiti artists. By the 1980s, Lady Pink's impact reverberated beyond streets and subway walls. Museums and galleries, including the pivotal "GAS: Graffiti Art Success for America" show in New York at Fashion Moda, embraced her work and cemented her virtuosity while she was merely in her twenties. In 1983, she also solidified her position in the cultural zeitgeist and starred in the iconic cult film "Wild Style" (dir. Charlie Ahearn, 1983), which was renowned for capturing the dynamic hip hop and graffiti scene of New York at the time by seamlessly blending narrative, documentary, and musical. It is still widely recognized today for immortalizing the emergence and subsequent development of hip hop culture. Throughout her career, Lady Pink has been a trailblazer, using her art as a platform to challenge norms and advocate for social change. She founded one of the first all-female graffiti crews in 1980 and maintained a consistent commitment to sociopolitical themes in her art. This included frequent depictions of strong, empowered female figures, reflecting her unflinching feminist attitude. "Bomber Girls" exemplifies these sentiments through a fusion of brilliant colors and bold aerosol strokes. Blues and pinks permeate the scene through clothing and spray paint script, amplified against the banal brick wall. The colors evoke a traditional female and male binary but lack any clear-cut organization. They are scattered throughout the image, clashing with one another in each woman's outfit or on the wall, suggesting that the artist rejects the rigidity of social gender hierarchies, much in the same vein as her proudly feminine moniker (Lady Pink) emphasized her identity when she was an up-and-coming graffiti artist creating within a mainly masculine scene. The duo of confident young women in the foreground, adorned in hyper feminine dress—gold hoop earrings, accentuated cerise lips, and shadowy satellite eyes—also behave "unladylike." The woman on the left carelessly dangles a cigarette from the corner of her mouth while the other defaces a public brick wall with phrases like "muck". With an expression of faux apology, the woman on the left curls her arm to her chest and raises her hand to her chin, indicating that she recognizes the rebelliousness of her behavior, yet she persists. In the boldness of their conduct, the women offer an attitude of defiance, further reinforcing the artist's rejection of gendered conventions and etiquette. Behind them, the juxtaposed shape of a male figure evokes the looming presence of masculine authority over the temerity and creativity of the feminine figures, not unlike the "boys club" of street artists that the artist herself has competed against throughout a career spanning over four decades. Over the course of this time, Lady Pink's contributions to the street art movement have left an indelible mark, and "Bomber Girls" serves as a noteworthy testament to her enduring artistic legacy.
Revere Auctions
Mar. 20, 2024
LADY PINK, UNDER THE BROOKLYN BRIDGE FROM BULLET SPACE, YOUR HOUSE IS MINE, SCREENPRINT
Est: $1,200 - $1,500
Artist: Lady Pink, Ecuardorian/American (1964 - ) Title: Under the Brooklyn Bridge from Bullet Space, Your House is Mine Year: 1988-1992 Medium: Screenprint, signed in pencil Edition: 150 Image Size: 22 x 18 inches Size: 23 in. x 20 in. (58.42 cm x 50.8 cm)
RoGallery
Apr. 19, 2023
LADY PINK (née en 1964)
Est: €5,000 - €7,000
LADY PINK (née en 1964) SUGAR SKULL, 2019 Technique mixte sur toile Signée et datée Mixed media on canvas; signed and dated 94 X 94 CM - 37 X 37 IN.
Tajan
Nov. 18, 2022
LADY PINK (B. 1964) Second Ave acrylic on canvas 24 1/8 x 34 5/8 in. (61.3
Est: $15,000 - $20,000
LADY PINK (B. 1964) Second Ave acrylic on canvas 24 1/8 x 34 5/8 in. (61.3 x 88 cm.)
Christie's
May. 14, 2022
LADY PINK [SANDRA FUBARA] (AMERICAN B. 1964)
Est: $7,500 - $10,000
Queen Matilda 2008 acrylic on four panels 173 x 452 cm (68 x 178 in.) unframed signed lower right PROVENANCE Acquired at Graffiti Gone Global Exhibition by SUSHISAMBA EXHIBITION Woodward Gallery Project Space, NYC, Lady Pink mural, June August 2009. [stamp on verso] Graffiti Gone Global by SUSHISAMBA, Miami, December 3-6, 2009 LITERATURE James and Karla Murray Graffiti Gone Global by SUSHISAMBA (2009), ex. cat., p. 27 (illustrated) LOT NOTES Queen Matilda by Lady Pink is not only a visually vibrant work in the artists quintessential style for which she is most known, synopsistic of Sandra Fubaras oeuvre, but the painting is also a window into the life of the artist, her values, and her life as a young artist in the emerging street art movement in New York City in 1980s. To be more specific, the street art movement was centered in New York City's East Village neighborhood of Manhattan. The East Village is represented in the painting through use of the logos from some of the city's most popular hangouts among counterculture youth -- fertile breeding grounds for creativity that were frequented by the likes of Harring, Basquiat, and a litany of punk and folk musicians. In Queen Matilda, one can see the logos of -- among others -- CBGB, one of the city's most iconic music clubs, the birthplace of punk music and previously a biker bar, and Gem Spa, perhaps the East Village's most iconic corner store, located on St. Marks Place since the 1920s selling newspapers, candy, and one of the pioneers of the Egg Cream, a beverage synonymous with New York City. The logos of such establishments, and the East Village-scaled street seen in the bottom half of the painting, demonstrate the cultural mecca that this neighborhood came to be, and its influence on Lady Pink. Lady Pink often depicts architectural forms in her work. Occasionally, these forms personify a female figure like that of the large form made of pink brick that can be seen as the centerpiece in Queen Matilda. Lady Pinks artistic journey started with graffiti; she became a known member of the tagging scene in New York City and gained acclaim for her work. At the time, there were very few female graffiti artists. In her work, the female form and an overall message of female empowerment can be often seen. In Queen Matilda the architectural, female form shows the city itself as a living, nurturing entity - and emphasizes the role the city played for Lady Pinks upbringing, and the role women play as the backbone of societies overall. One can also see a train running through the city, emerging from behind the female figure on the right side of the work -- an allusion to her artistic beginnings tagging subway trains prior to her finding fame in the fine arts world. This painting showcases Lady Pinks roots, like the roots seen tangled over the head of the female figure the painting is centered around. This work, like the neighborhood Lady Pink hails from, is colorful, fertile, and magical. Perhaps most notably, it is hard to discern whether the work should be seen as solely an ode to the neighborhood the artist calls home, or something of a self portrait as well. As is true with so many now-ubiquitous artists, there would likely not be a Lady Pink were it not for New York Citys East Village. CONDITION The group appears in good condition. Minor scattered scuffing to the lower right of the panels with lettering Mendel. Minor cracking and lifting along of the lower edges of the one with the lettering Spa. Each with minor losses to the corners and edges consistent with age. Inspection under UV shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Shapiro Auctions LLC
Jul. 31, 2021
LADY PINK [SANDRA FUBARA] (AMERICAN B. 1964)
Est: $15,000 - $20,000
LADY PINK [SANDRA FUBARA] (AMERICAN B. 1964) Queen Matilda,2008 acrylic on four panels 173 x 452 cm (68 x 178 in.) signed lower right PROVENANCE Acquired at Graffiti Gone Global Exhibition by SUSHISAMBA EXHIBITION Woodward Gallery Project Space, NYC Lady Pink mural, June – August 2009. [stamp on verso] Graffiti Gone Global by SUSHISAMBA, Miami, December 3-6, 2009 LITERATURE James and Karla Murray Graffiti Gone Global by SUSHISAMBA (2009), ex. cat., p. 27 (illustrated) LOT NOTES Queen Matilda by Lady Pink is not only a visually vibrant work in the artists quintessential style for which she is most known, synopsistic of Sandra Fubaras oeuvre, but the painting is also a window into the life of the artist, her values, and her life as a young artist in the emerging street art movement in New York City in 1980s. To be more specific, the street art movement was centered in New York City's East Village neighborhood of Manhattan. The East Village is represented in the painting through use of the logos from some of the city's most popular hangouts among counterculture youth -- fertile breeding grounds for creativity that were frequented by the likes of Harring, Basquiat, and a litany of punk and folk musicians. In Queen Matilda, one can see the logos of -- among others -- CBGB, one of the city's most iconic music clubs, the birthplace of punk music and previously a biker bar, and Gem Spa, perhaps the East Villages most iconic corner store, located on St. Marks Place since the 1920s selling newspapers, candy, and one of the pioneers of the Egg Cream, a beverage synonymous with New York City. The logos of such establishments, and the East Village-scaled street seen in the bottom half of the painting, demonstrate the cultural mecca that this neighborhood came to be, and its influence on Lady Pink. Lady Pink often depicts architectural forms in her work. Occasionally, these forms personify a female figure like that of the large form made of pink brick that can be seen as the centerpiece in Queen Matilda. Lady Pinks artistic journey started with graffiti; she became a known member of the tagging scene in New York City and gained acclaim for her work. At the time, there were very few female graffiti artists. In her work, the female form and an overall message of female empowerment can be often seen. In Queen Matilda the architectural, female form shows the city itself as a living, nurturing entity - and emphasizes the role the city played for Lady Pinks upbringing, and the role women play as the backbone of societies overall. One can also see a train running through the city, emerging from behind the female figure on the right side of the work -- an allusion to her artistic beginnings tagging subway trains prior to her finding fame in the fine arts world. This painting showcases Lady Pinks roots, like the roots seen tangled over the head of the female figure the painting is centered around. This work, like the neighborhood Lady Pink hails from, is colorful, fertile, and magical. Perhaps most notably, it is hard to discern whether the work should be seen as solely an ode to the neighborhood the artist calls home, or something of a self portrait as well. As is true with so many now-ubiquitous artists, there would likely not be a Lady Pink were it not for New York City’s East Village. CONDITION Unframed, the group appears in good condition. Minor scattered scuffing to the lower right of the panels with lettering Mendel. Minor cracking and lifting along of the lower edges of the one with the lettering Spa. Each with minor losses to the corners and edges consistent with age. Inspection under UV shows no apparent signs of restoration. unframed unframed N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Shapiro Auctions LLC
Jul. 23, 2021
Lady PINK (Sandra Fabara alias), Américaine, née en 1964 Angry La
Est: €12,000 - €18,000
Lady PINK (Sandra Fabara alias), Américaine, née en 1964 Angry Lady Of The Leaf, 2013 Diptyque Acrylique sur toile 122 x 122 cm Certificat
Boule
Jul. 20, 2018
LADY PINK (B. 1964) AND TOM WARREN (B. 1954) | Untitled, 1984
Est: $4,000 - $6,000
spray paint on photograph; signed twice and dated twice '1984'
Sotheby's
May. 24, 2017
Lady Pink, Under the Brooklyn Bridge from Bullet Space, Your House is Mine, Silkscreen
Est: $2,000 - $2,500
Artist: Lady Pink, Ecuardorian/American (1964 - ) Title: Under the Brooklyn Bridge from Bullet Space, Your House is Mine Year: 1988-1992 Medium: Silkscreen, signed in pencil Edition: 150 Image Size: 22 x 18 inches Size: 23 in. x 20 in. (58.42 cm x 50.8 cm)
RoGallery