
Le bonheur du jour
dessin aux trois crayons sur papier
Catalogue period : 2016-12-12
Published result : 220 CHF
Fees not specified in the available data
Estimate : CHF 300–500
View the lot at the auction house ↗SwissArtGallery · Documented identity
Fred Pailhès (1902–1991) developed a body of paintings and drawings attentive to everyday places and people. Harbour and maritime landscapes, including views of Le Havre, Marseille and Cannes, appear alongside portraits of bistro patrons and people of modest means. He worked in gouache, watercolour and charcoal, as well as several drawing techniques.
Humour and situational comedy have a place in this visual world without excluding a melancholy tone, particularly in his depictions of the circus and its backstage life. Femmes au bar, dated around 1925, combines charcoal and watercolour. Le bonheur du jour, dated 1945, is a drawing in three chalks on paper. These examples demonstrate the range of graphic means he used to observe familiar figures and scenes.
This profile brings together identity references for Fred Pailhès and paintings, drawings and works on paper documented in auction catalogues.
Piguet
References include catalogue entries and available results; they do not all represent completed sales. Attributed works and special lots are excluded from the priced results.

dessin aux trois crayons sur papier
Catalogue period : 2016-12-12
Published result : 220 CHF
Fees not specified in the available data
Estimate : CHF 300–500
View the lot at the auction house ↗
Charcoal
Les musiciens
fusain
Catalogue period : 2018-12-10
Catalogue reference — sale not confirmed
Estimate : CHF 300–500
View the lot at the auction house ↗
Charcoal
Les musiciens
fusain
Catalogue period : 2018-09-24
Catalogue reference — sale not confirmed
Estimate : CHF 300–500
View the lot at the auction house ↗SwissArtGallery documentary note based on the cited sources. Titles, media and qualifications are provided in the profile language; the original catalogue wording remains available in each record.
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