Picasso’s The Scallop Shell:“Notre Avenir est dans l’Air” (1912) bears a label from Daniel-Henry Kahnweiler’s gallery located at 28, rue Vignon, Paris, a small space that the twenty-three-year-old dealer initially rented in February 1907. Kahnweiler tended to adhere his labels to the center of the wooden cross-bars on the backs of canvases. The labels are all printed with inventory numbers. Kahnweiler also used photo labels, an oval stamp (one appears on the back of Léger’s Houses under the Trees, 1913), and an oval label (examples have been found inside casts of Picasso’s The Absinthe Glass, 1914). In the months following the completion of The Scallop Shell: “Notre Avenir est dans l’Air,” Kahnweiler signed exclusive contracts with Braque (November 30, 1912), Picasso (December 17, 1912), Gris (February 1913), and Léger (October 1913) with the intention of securing the future of his gallery and the development of Cubism.