Humorous 1950s French advertising poster in flat gouache of a coral-red electric city car with a plump white hen sitting proudly on its transparent roof, a freshly laid egg rolling down the windshield, against a bright canary-yellow background. Leaning out of the lowered driver's window, a chic Parisienne in her early thirties with fair skin, a glossy black bob, bold red lips and a striped blue-and-white sailor top catches the egg in one red-gloved hand, laughing with her eyes squeezed shut. The car is a small, rounded electric city car in glossy coral-red paint with a bulbous, friendly body, a short domed hood covered in fine horizontal ribs, round black headlight pods at the front corners each ringed by a white horseshoe-shaped light, a silver oval badge with two stacked chevrons at the center of the nose, a slim brushed-aluminium bar bumper with black end brackets across the lower front holding a small blank white plate, black wheel-arch trims and a black sill, four doors with small chrome handles, small black side mirrors, tall windows, white aerodynamic wheel covers ringed by fine radial slots with four small center bolts, and a transparent roof panel with a black canvas roll-top bunched at its rear edge, its doors shut flush, drawn in simplified, rounded shapes with thick, confident brush outlines in a front three-quarter view, its round headlight rings turned into wide, delighted cartoon eyes and its bar bumper curved into a smile. The hen sits on the roof with its chest puffed out, a red comb, a yellow beak and one eye winking at the viewer, a few white feathers floating in the air. Across the top, big hand-painted black brush letters read "Roule ma poule !", filling the full width of the poster and clearly readable. In the lower right corner, "2CV" is painted in small blue, white and red letters, readable. The rest of the background is a single flat field of canary yellow with one small white cloud and a short grey line of road beneath the wheels. Flat frontal view of the printed poster under even light. Matte gouache with visible brush texture, crisp flat shapes and generous empty space, the paper slightly warm and soft at the edges. Palette of canary yellow, coral red, hen white, black, red and a touch of blue, cheerful, bold mid-century poster finish.
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Quiet pastel color photograph of a young Italian woman standing beside a tiny two-tone city car on an empty Adriatic beach at Rimini on an off-season morning, rows of closed beach umbrellas behind them. She is in her late twenties with light olive skin and a short dark bob, wearing a pale blue vintage one-piece swimsuit with a deep low back and high-cut legs, a white rubber bathing cap held loosely in her right hand. She stands with her back three-quarters to the camera, weight on one leg, looking out at the flat sea, the line of her spine and shoulder blades catching the soft light. A few metres to her left the car stands on the hard, damp sand facing the water in a front three-quarter view; it is a tiny, upright cube-shaped electric city car with very short overhangs, a glossy saffron-yellow lower body, a cream-white roof and pillars whose cream color wraps down over the front as a rounded brow above the face, a large wraparound windshield, tall side windows with a thin black rail across the front side glass, a round chrome ball mirror on the door, a grey canvas soft-top rolled up at the back of the roof, slim black wheel arches and small wheels with large saffron-yellow hubcaps ringed in cream and capped with domed chrome centers. On its rounded front face, slim LED headlights with white light strips sit just under the cream brow, chrome block letters reading "FIAT" sit at the center, medium-sized and clearly readable, and below them the word "MULTIPLINA" is embossed in thin, rounded dark-grey letters across the lower panel, small but readable. Behind them run long, even rows of closed umbrellas with faded pastel stripes in mint, pink and cream, a white wooden lifeguard tower with a blue rail and a small painted board reading "SALVATAGGIO" in faded blue capitals, readable, and a sky and sea that meet in the same milky blue-grey haze at the center of the frame. Centered, straight-on medium wide shot at standing eye level from about eleven metres, 50 mm lens, deep focus, the horizon exactly halfway up the frame and wide empty space around the figure and the car. Soft, shadowless overcast light. Pale pastel palette of powder blue, mint, cream and soft saffron, low contrast, fine grain and a calm, slightly washed-out print look.
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