In place of the virtuoso imitations of materials and textures created by seventeenth-century Dutch and Spanish painters, Gris relied on wood-grain wallpaper, a cutting from Le Matin, Scaferlati tobacco packaging, and the top of a box of matches. The fancy lettering of the “Vin Rosé” label was his own handiwork, however. Complementing the impression of a dimly lit table at night, the leading report in the newspaper concerns the strikes and power cuts that had formerly plunged Paris into darkness. Scaferlati tobacco was nicknamed “le cube gris” because of the cubic form of its grayish package; incorporated into his collages, it served as a punning substitute for Gris’s missing signature.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
This image cannot be enlarged, viewed at full screen, or downloaded.
This image cannot be enlarged, viewed at full screen, or downloaded.
Archival label
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Bottle of Rosé Wine
Artist:Juan Gris (Spanish, Madrid 1887–1927 Boulogne-sur-Seine)
Date:Paris, 1914
Medium:Collage of cut printed and painted papers with black and green crayon, charcoal, white, black and dark green opaque matte paints and selectively applied glaze, mounted on canvas
Dimensions:18 1/8 × 15 in. (46 × 38.1 cm)
Classifications:Paintings, Works on Paper
Credit Line:Leonard A. Lauder Cubist Collection, Gift of Leonard A. Lauder, 2021
Object Number:2021.395.5
Inscription: Signed (verso, upper center, in black paint): Juan Gris [underlined]
[Galerie Kahnweiler, Paris, 1914; photo no. 5080; sequestered Kahnweiler stock, December 12, 1914–21; second Galerie Kahnweiler sale, Hôtel Drouot, Paris, November 17, 1921, lot 140, as "Nature morte" (purchased for Fr 130, by the Kahnweiler syndicate, under the pseudonym “Grassat,” for Galerie Simon, one of the seven shareholders composing “Grassat”)];; [Galerie Simon (Daniel Henry Kahnweiler), Paris, from 1921, as "Le vin [parts illegible];" inv. no. 6882, photo no. 5080]; Vicomte Alain de Léché, Paris (by 1931–at least 1935); Bernard Poissonnier, Paris; James Johnson Sweeney, New York (by 1947–d. 1986); by descent to his son, Sean Sweeney (1986–97; sold in April 1997 to Beyeler); [Galerie Beyeler, Basel, 1997; inv. no. 13410; sold in July 1997 to Lauder]; Leonard A. Lauder, New York (1997–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–21; gift to MMA)
Paris. Galerie des Beaux-Arts. "Les Créateurs du Cubisme," March–April 1935, no. 57 (as "Nature morte").
New York. Buchholz Gallery. "Juan Gris," April 1–26, 1947, no. 4 (as "Le vin rosé").
Houston. Museum of Fine Arts. "The Heroic Years: Paris 1908–1914," October 21–December 8, 1965, no catalogue.
Basel. Galerie Beyeler. "Joie de vivre," June–September 1997, no. 32.
New York. The Metropolitan Museum of Art. "Cubism: The Leonard A. Lauder Collection," October 20, 2014–February 16, 2015, no. 27.
New York. The Metropolitan Museum of Art. "Cubism and the Trompe l'Oeil Tradition," October 17, 2022–January 22, 2023, unnumbered cat. (pl. 48).
"Échos de l'Hôtel Drouot. Liste Complète des prix atteints à la deuxième vente Kahnweiler." L'Esprit Nouveau: Revue internationale illustrée de l'activité contemporaine 15 (1921), p. 1827, as "Nature Morte" [possibly this picture].
Waldemar George. Juan Gris. Paris, 1931, pl. 31, as "Le vin rosé".
Les Créateurs du Cubisme. Exh. cat., Galerie des Beaux-Arts. Paris, 1935, unpaginated, no. 57.
Juan Gris. Exh. cat., Buchholz Gallery. New York, 1947, unpaginated, no. 4.
Juan Antonio Gaya-Nuño. Juan Gris. Barcelona, [1974], p. 243, no. 270, ill. p. 211, as "El vino rosado".
Juan Antonio Gaya-Nuño. Juan Gris. Boston, 1975, p. 247, no. 270, ill. p. 215, as "Vin Rosé".
Douglas Cooper with Margaret Potter. Juan Gris: Catalogue raisonné de l'oeuvre peint. Paris, 1977, vol. 1, p. 160, no. 100, ill. p. 161, as June 1914.
Ulrich Weisner et al. Zeichnungen und Collagen des Kubismus: Picasso, Braque, Gris. Exh. cat., Kunsthalle Bielefeld. Bielefeld, 1979, p. 274, pl. 211.
Malcolm Gee. Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930. PhD diss., Courtauld Institute of Art. New York, 1981, appendix F, p. 65, no. 16.
Lewis Kachur inJuan Gris (1887–1927). Ed. Gary Tinterow. Exh. cat., Salas Pablo Ruiz Picasso. Madrid, 1985, p. 38, fig. 7.
Joie de vivre. Exh. cat., Galerie Beyeler. Basel, 1997, p. 74, no. 32, ill. p. 35.
"Objects Promised to the Museum during the Year 2012–2013." The Metropolitan Museum of Art, One Hundred Forty-third Annual Report of the Trustees for the Fiscal Year July 1, 2012, through June 30, 2013 (2013), p. 46.
Douglas Cooper, with Margaret Potter, updated by Alan Hyman, and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvre peint/ Catalogue Raisonné of the Paintings. 2nd ed. (1st ed., 1977). San Francisco, 2014, vol. 1, pp. 182–83, no. 100, ill., as June 1914.
Elizabeth Cowling inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 121–23, 310(3)n. 22, no. 27, ill. p. 122 (color).
Anna Jozefacka and Luise Mahler inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, p. 263, fig. 27 (pl. 31 in Ref. George 1931).
"The Leonard A. Lauder Cubist Collection: A Conversation with Emily Braun and Pepe Karmel." IFAR Journal 16, no. 3 (2015), p. 44, fig. 20 (color).
Impressionist/Modern Evening Sale. Christie's, London. February 4, 2015, p. 29, ill. (color).
Mary Clare McKinley. Birds of a Feather: Joseph Cornell's Homage to Juan Gris. Exh. cat., The Metropolitan Museum of Art. New York, 2018, pp. 30, 33, 96, ill. (color, frontispiece), fig. 12 (color).
Emily Braun in Emily Braun and Elizabeth Cowling. Cubism and the Trompe l’Oeil Tradition. Exh. cat., The Metropolitan Museum of Art. New York, 2022, pp. 221, 262 n. 2, colorpl. 48.
Rachel Mustalish in Emily Braun and Elizabeth Cowling. Cubism and the Trompe l’Oeil Tradition. Exh. cat., The Metropolitan Museum of Art. New York, 2022, pp. 71, 76, 84, fig. 64b (color detail).
Elizabeth Cowling in Emily Braun and Elizabeth Cowling. Cubism and the Trompe l’Oeil Tradition. Exh. cat., The Metropolitan Museum of Art. New York, 2022, pp. 44, 144, 244.
Newspaper fragment from front page of Le Matin, June 1, 1914; French matchbox cover; fragment of tobacco tax label (vignette) for Scaferlati Ordinaire tobacco
Juan Gris (Spanish, Madrid 1887–1927 Boulogne-sur-Seine)
ca. 1927
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.
