Astral Inc.

Label History

As a collector of cigar-box labels, one of the more frequently asked questions is where were cigar labels found. This question has many answers. Cigar bands, because they were not attached to the box, have always been collected but, in 1900, only a few individuals were actively collecting cigar-box labels. Their collections have come to light in the estate sales of collectors, cigar-makers, and printers. Occasionally, the estates of the label artist or salesman would yield treasures of long-forgotten labels, but it was in the old cigar factories that the greatest quantity of labels were found. Ranging from a single copy to thousands of one image, these labels had gathered dust on closet shelves, in unused corners, and in the basements and attics of old buildings. Labels were also found in the copyright files of larger companies. These files might contain five or 10 samples of every brand packed.

A larger number of labels, however, came from the shelves of the cigar-box-makers. While the quantity of a particular label may be few, the variety of labels found was infinite. The reason for this type of distribution was simple. The cigar-box maker could not afford the storage necessary to house thousands of copies of each label for which he made boxes, and so it was up to the cigar manufacturer to house his own labels. When boxes were ordered, the manufacturer would send labels with the order. Usually, a few extras were also sent along to replace labels damaged or destroyed in box-making. It is this overage, saved from each order, that accounts for the large variety found in the old box companies. Box companies would also purchase large quantities of stock labels from the printers to sell to smaller cigar-makers and, using a letter press, would add a title of the cigar-maker's choice to the label. This gave the smallest cigar-maker his own personalized label and allowed the box company to make a few dollars from the resale of these labels. These stock labels, sold by the box-maker, were usually found in the largest quantities.

It was also in the box factories that the finest salesman's sample books were found. A label salesman, who may have represented several companies, would carry books of sample labels. These oblong books were merely a stack of one printer's samples bound on the left side. Paper-bound books would have eight to 10 sample labels, while the hardbound copies could contain 100 to 200 sample labels. Because the salesman was traveling, the variety of labels of each printer was restricted by size and weight. Cigar-box makers, however, had their own samples. Supplied by the label printers, box-makers sample label books were very large; each page contained all the labels of one brand necessary to cover a cigar-box. Whereas the salesman's book normally showed only the inner and outer labels, box-maker's books, ranging from three to eight inches in thickness, displayed the labels in complete sets, including the bands and edging; from these books, the box-maker could pick up the salesman's commission from the label printers. Box-maker sample books are the rarest of all the salesmen's samples. The largest variety of labels uncovered, however, came from the files of the printers. Their labels were found as regular runs, job-proofs, and proof labels, all of which were limited to one to 10 copies. A regular run label was a normal label from a printing run, used as a sample or copyright copy. A job-proof was a label from a regular run to which the printing date was applied to the obverse for record-keeping. Using a heavier-than-normal paper stock, the proof was the clearest example of the printer's work. Proofs were not embossed and they contained registration marks and color bars. Registration marks are small cross- shaped marks on the border of the label used to center and hold registration of each color used in a press run. The color bar appeared across the bottom of a proof reflecting the sequence and the number of colors used in printing the label. All proof labels are rare.

Generally speaking, the rarest labels were found in printer's files, copyright files, salesman's samples and those unique examples found in box companies and cigar factories. The semi-scarce items came from the box companies in limited quantities, while the more common labels were from the factories. Here, I might add a note of caution. The word common does not mean cheap and unattractive. It has to do with the quantity found. Labels such as "Round-Up," "Nebraska Girl," and "Red Cloud" could be considered common by the quantity discovered, but their desirability as a subject goes far beyond label collecting, and we are fortunate that they have survived. In review, a cigar factory could retain several thousand copies of eight or 10 brands, while a cigar-box maker may have had limited quantities of from 300 to 500 brands. Thus, the cigar-maker had greater depth of images but less variety, while the box-maker, with less depth per label, had the greatest variety.

These labels, however attractive, were a product of commercial printing and, as such, were not thought to have any value beyond the cost of printing. While representing some of the finest examples of lithography produced, they were not meant to be saved as souvenirs and advertising cards, and it is a tribute to man's laziness that they were not discarded years ago. Surviving the abuses of mankind, fire and flood for 100 years is remarkable in something as perishable as a paper label. These labels were not meant to be cared for in the way books were protected from the elements. However, many of these labels did survive, and now the collector has the good fortune to assemble a collection of these long-overlooked ephemeral pieces of Americana.

CIGAR-MAKING AND LABELS
Complete knowledge and understanding of cigar-box label graphics require some familiarity with cigar-making and the uniqueness of the problems which the industry faced. Revolution in graphics design and sales presentation reflects the economic, social and technological forces against which the cigar-maker had to struggle.

The tools necessary to make a cigar were quite simple. They consisted of a smooth-surfaced hardwood cigar board 10 to 15 inches in length; a semi-circular cigar knife called a Cuban blade or chaveta; a ring gauge to measure the length and thickness of each cigar; and a jar containing vegetable gum or paste with which the cap was attached to the head of the cigar. Using these few implements, a cigar-maker made what were commonly called "out and out" hand-made cigars.

The process began with the cigar-maker first making the "bunch." The bunch was composed of filler tobacco, usually unbroken pieces of long-leaf, in such quantity as he thought necessary to form the body of the cigar. These pieces of filler-leaf were arranged to lay in parallel lines with sufficient spacing and looseness to allow for a proper air draft.

After arranging these inner portions of filler, the maker enclosed them in a rolling movement with a leaf known as a binder. The binder served to hold the body of the cigar in form and gave it the outline of the cigar's final shape. The placement of the binder was critical since it had to provide the filler proper firmness with uniform and orderly distribution of the tobacco. Packed too tightly, the cigar would not draw properly, while looseness of the filler could cause the cigar to burn hot and unevenly. Finally, the outer, or wrapper leaf, was selected, cut, and wrapped around the cigar. The placement of the wrapper gave the cigar its appearance and, in large measure, its attractiveness. The cigar-maker finished the cigar by pasting on the head, trimming the cigar to its proper length, and making those minor changes he thought were necessary to enhance its appearance.

In the early years, the cigar-maker was considered a craftsman. The accurate judgment and skillful manipulation required in cigar-making were not easily mastered. He was required to serve from three to five years of apprenticeship and he jealously guarded his trade.

Around 1870, cigar-makers started to use a cigar mold. The cigar mold was a wooden block composed of an upper and lower half and, when assembled, measured roughly 18" long by 6" wide by 3" high. The lower half had a row of cigar-shaped cavities into which the fresh bunches were placed. The upper half had a similar number of cavities designed to fit tightly over the corresponding lower cavities.

Now, the cigar-maker could hire a worker to make the bunches and fill the mold, hence the beginning of the division of labor between the bunch-maker and the roller. To make a cigar by hand required three to five years of training, while a person of average ability could be taught to make "mold cigars" in about a year. By using a mold, the cigar-maker could complete about 400 cigars a day, while using the all-hand method, 200 cigars was an average day's work.

The bunch-maker took the filler and worked it to the approximate length and thickness desired. After applying the binder leaf, the bunches were placed into the mold. After the mold or "shaper" was filled, the upper-half was laid over the lower-half and the mold put into a hand-press to shape the bunches. These bunches were left in the mold until they became permanently shaped to the form of the mold. The bunches were then given to the rollers who applied the wrapper and finished the cigar.

The shapes of cigars during the early 1900's were varied and, unlike the cigarette, with its perfectly cylindrical form, did not lend themselves to being made by machine. With time, the development of equipment to increase production continued, but it remained a labor-intensive industry until well after 1910.

Because of the labor-intensive nature of the cigar-making industry, the number of factories rose in direct proportion to the increased demand. Economic and social unrest in Europe and Cuba brought about an increase in emigration, and among the immigrants were the skilled cigar-makers needed to supplement the American work force.

However, not all these immigrants went to work in established shops. With very little capital, a skilled cigar-maker could register his factory and buy tax stamps, tobacco, and boxes. Using only a knife and a cigar board, a person could make "out and out" hand-made cigars in a corner of his room. Through diligence and hard work, the cigar-maker would rent a larger room and hire an assistant. It was because of such small factories that the average shop in 1880 had two or three people, and this shop size remained stable for another 30 years. The number of factories rose steadily from 1,478 in 1860, to 7,145 in 1880, and to 14,539 in 1900. The steady increase in the number of factories was not stemmed until around 1910, when the effects of machine production and changes in advertising slowly forced the smaller volume cigar-makers to close their shops. The number of factories slowly dwindled as more and more business was directed to higher volume manufacturers. The period from 1860 to 1910 was the heyday of the small volume cigar-maker as his individual skill was pitted against larger competitors for a greater share of the marketplace.

The cigar-buying public was also becoming more discriminating in the 1880s and 1890s, and the variation in shape and color had become important. In 1900, Miller, Dubrul, and Peters, the largest maker of cigar-molds, issued a catalogue containing 458 different molds, 458 combinations of length, shape and thickness which clearly showed how individualized the industry had become. It would have been impossible, at least initially, to develop machinery to manufacture cigars. The demand for individuality could only be met by hand labor, and so the small volume cigar-maker entered the marketplace to sell his product.

THE NEED FOR CIGAR-BOXES
Prior to the Civil War, cigars were commonly sold in "wheels" or "bundles." A bundle is a group of 25 or 50 cigars tied together with a ribbon. Cigars could be bought singly or by the bundle at a shop or saloon and, with no brand names, what the smoker was purchasing was essentially the luck of the draw as to the cigar's quality. However, in the period of hand-made cigars, fine cigars had an aura of class and success.

The popularity of cigar-smoking suddenly surged during the Civil War with General U.S. Grant, the war's most visible smoker! While some may argue the class of General Grant, none can question his success. With large armies in the field and the general camaraderie of the soldiers, the men would spend long hours in bivouac around the campfire smoking cigars. This increase in popularity did not go unnoticed in Washington. As the number of manufacturers rose from 1,418 in 1850, to 1,478 in 1860, then to 4,631 by 1870, politicians closely watched this increase in the sale of untaxed tobacco. In an attempt to raise money to help cover war debts, the government decided to tax cigars. To do this, cigars were to be boxed and sealed with a tax stamp applied over the lid. This stamp was to be broken only when the box was opened. When some shopkeepers were found to be refilling the boxes with untaxed cigars, the government further decreed that a notice be applied to each box that forbade this practice and warned of the penalties involved in violation (see page 34 for precise language of the decree).

Wooden boxes containing 50 or 100 cigars were usually branded with the maker's name burned into the wood. Often, simple labels were applied to the end of the box to aid in identification. Some labels were ornate and well designed; most were simple affairs lacking color and imagination. Starting in 1870, cigars were generally sold singly in the shop with the box lid open to display the contents. As demand and competition increased, so did the number of open boxes on shelves and counters, hence identification of the product now became important. In an attempt to lure the smoker to sample his product, the cigar-maker added a colorful label to the inside of the lid of the open cigar-box. While the idea sounded good, there was one problem. The cost of designing and printing attractive labels was beyond the reach of most small volume manufacturers; without attractive labels, they could not hope to sell their product, and without money, they could not purchase labels. Into this void stepped the printer with a new idea.
PRINTING CIGAR-BOX LABELS
Cigar-box labels could be printed by any number of methods from steel and copper engravings to woodcuts and stone lithography. In fact, all these methods were commonly used before the Civil War. There was some color work, but it was costly, and most labels lacked color and artistic design. As the demand for color printing increased, however, lithographers came to the forefront. Working on Bavarian limestone, these printers and artists evolved single-color printing into a high art form.

In the limestone process, each color was a separate press run and, at the zenith of its demand, the average cigar-box label was printed in 10 colors. This meant that as the sheet of labels passed through the press, a new color was added; a label having 10 colors had to pass through the printing press 10 times. The problems of registration, and the correct alignment of a color on the print, were enormous. Stone lithography was a tedious and time-consuming process that was only offset by the size of the stones. Since the stones could measure 40" by 60," it was possible to run 50 to 100 label designs per sheet.

Throughout the 1880s, the quality of cigar-box labels improved with some finished labels being pressed between two textured steel rollers in an effort to give the label the appearance of being printed on cloth. The greatest change in cigar-box labels appeared in 1889 with the addition of embossing. The three-dimensional effect gave the women curves, made the children lifelike, and created coins and medals of value. The process swept throughout this cottage industry, and in a few years unembossed labels were unsaleable. Embossed labels became synonymous with cigar-boxes since no other industry approximated the love affair of a manufacturer and his labels. To the cigar-maker in 1890, labels were a source of beauty and pride.
BRONZING AND EMBOSSING CIGAR-BOX LABELS
Embossing had another effect on cigar-box labels. In the past, coins and medals were printed in yellows and highlighted in browns. With embossing, highlighting became unnecessary. Embossing provided a raised effect, giving definition to the labels. To enhance the appearance of labels, the Europeans used gold leaf, but in America, gold leaf was really a burnished bronze powder.

After the labels were printed, an adhesive called gold size was applied to areas to be gilded. The sheets were then fed directly into a bronzer, where bronze powder was spread over the labels. The powder adhered to the gold size and the excess was brushed off. The printed sheet then proceeded through a series of rollers where the bronze powder was pressed into the gold size and polished. Now the sheets were ready for embossing.

Embossing dies were first made of bronze. Bronze was easier to cut and machine, and later, copies were made through electroplating. Finished dies were laid into the bed of the embossing press and screwed down. Then, a sheet of moistened composition board was fed into the press and the press closed. The sheet of composition board was allowed to stand for several hours so that the board would set. After three or four hours, the press was opened to reveal a hardened board, or counter, to the embossing die. Now, the printer would proceed with embossing. This had to be done with caution, as the counter or board could stretch or shrink according to the amount of humidity in the air. If the board or counter stretched, it would mean that the first label would be embossed perfectly, but that each succeeding label on the sheet would be progressively farther out of registration. This could be corrected by readjusting the dies and possibly making a new counter. The embossing would proceed with inspection of the individual sheets of labels. Embossing was a difficult and tedious process. Severe weather conditions accounted for nearly 25 per cent spoilage of labels and, under normal conditions, an expected 10 per cent of the labels were ruined.

Embossing, however, had an unknown desirous effect. Most early labels were printed on short-fiber, cheaper paper often containing wood cellulose. With age, this paper yellows and becomes brittle. Embossed labels had to be printed on long-fiber, rag paper, since embossing requires the fibers to stretch and not break. This could not be done with a short-fiber paper. The result of this change is that a label printed 100 years ago on acid-free rag paper appears clean and bright with no signs of aging today.

Embossed labels led to drastic changes in the label printing industry also. Embossing presses were large and expensive, and if the cigar-maker only wanted embossed labels, the printers either had to buy the presses or abandon cigar-label printing. While some printers remained, others left the field and a few merged. The most important merger of this period was the formation of American Lithographic Company in New York in 1892.

The printing industry had now achieved the ability to produce high quality, color work and was set to meet the demand of thousands of small volume cigar-makers.
RISE OF SPECIALIZED LABEL COMPANIES
Since most cigar-makers were small businesses with limited capital, the larger printing firms, using staff artists, would cover the cost of printing large quantities of labels to be sold gradually in lots as small as 100 sets. These firms would draw a series of designs whose subject matter would be both pleasing to the eye and have universal appeal. They would avoid subjects of a restricted, or more local, interest. It was up to the cigar-maker to choose the right image. Where he sold his products dictated his label design. This was the age of the ethnic neighborhood and Irish poems would have no significance or importance in a Polish neighborhood; however, if the cigars were made by Germans in Brooklyn, Spanish images and phrases on the label were always a popular and safe choice.

In a period when image was used to attract a buyer's attention, the label artists were quick to seize upon important events and personages. Actors, actresses, writers, and poets were considered to have made it if their likeness graced a cigar-label. Events such as a world's fair supplied a multitude of designs, but the singular event that supplied the most labels was the Spanish-American War. Besides the usual array of generals, soldiers, admirals and sailors, there was Cuba, the home of the Havana Cigar and the world's finest tobaccos. Artists quickly turned all these motifs into labels and, with patriotic fervor, unleashed these designs on the public. The public loved it. These weren't foreign kings or queens, princes or rag-tag royalty. They were Americans, red, white, and blue; Uncle Sam freeing Cuba, Puerto Rico, and the Philippines; eagles and crossed American and Cuban flags. As time passed, however, the patriotic fervor lessened and label artists, in their never-ending quest for new designs, turned to new inventions. The automobile, the airplane, and the radio quickly appeared on labels.

After 1910, the demand for new labels was starting to shrink. The low volume cigar-makers were starting to feel the effects of machine production of cigars, and unable to compete with the cheaper cigars, they were slowly being forced out of business. At the same time, changes in label design and advertising were occurring. Previously, the image was all-important and the brand name occupied a secondary position. Now it was the quick, simple phrase on everyone's tongue that rose to prominence. Printed between 1910 and 1930, Sternberg & Son's "Guarantee" and "Good Luck," Nile's & Moser's "Very Best," and Malone & Hyde's "Live Wire," had one thing in common: they relied on a catchy phrase, not a picture, to get the cigar buyer's attention. Label designs were changing from image-based to the catchy phrase. They became the domain of advertising executives, not printers.
SELLING CIGAR-BOX LABELS
The label salesman, with his sample books, would travel from shop to shop showing the cigar men his wares. The cigar-maker would leaf through the samples and choose an image he liked. He could purchase the finest labels available in groups of as few as 100 sets of inside and outside labels. However, although his cost was small considering the quality of the product, he had to sacrifice exclusivity, for anyone could use these labels. If the business of the cigar-maker grew and he wanted to have exclusive use of a stock label in a certain area, some printers would accommodate the cigar-maker. Generally meant for the local trade, these labels could become exclusively his in a certain designated area, but they had to be purchased from the printer in sets of at least 500 labels. Called territorials, the number of labels purchased corresponded to the size of his exclusive territory.

When a cigar-maker wanted more individuality, he could choose a blank stock label. This label, which portrayed the design owned by the printer, would be supplied to the cigar-maker, and the cost of printing the cigar-maker's own titles would be extra depending on the quantity of labels imprinted and whether the work was done in color ink or gold. Thus, for a minimal price, a small cigar-maker could have his own personalized label.

Last, a cigar-maker could add more individuality by applying an embossed title to a blank label. The embossing was done by the manufacturer who sold more than most of his competitors, but who was still not large enough to offset the cost of his own label. Buyers usually purchased labels in lots of 1000 or more using a sketch of the title. A special price was then quoted and submitted to the cigar-maker. These labels gave the appearance of being private without the extra costs involved.
SPECIAL NAMES
The process of printing and embossing titles of the cigar-maker's choice to stock labels of the label company was referred to as "special names." Sales brochures of the period contained the following phrases:

Printing and embossing of special names estimates furnished on application, for 500 sets of labels and over.
Using gold and one other color, Koelle-Mueller Label Co. of St. Louis would furnish a colored sketch of your proposed label at no extra charge.
In the front of one sample book from American Lithographic appeared the following inscription:
All Labels Also Furnished Blank Unless Otherwise Marked.
For Labels In 500 To 1000 Lots With Stock Or PrivateTitles, Write Us For Special Prices.
For Embossed Private Titles On Labels In 1000 Lots Or More, Write For Sketch And Special Price.

Private labels are those used almost exclusively by high-volume cigar manufacturers. These labels were designed wholly or in part by the cigar-maker, and it was he who registered the design as well as the title for his exclusive use. In the case of a private design, the cigar-maker and the label-artist would design the label jointly. The artist, who was either a staff artist for the printer or a free-lance commercial artist, would interview the cigar-maker and submit a sketch incorporating all the cigar-maker's ideas into one design. The pencil sketch might be corrected or added, but once the final drawing was approved, a water color was made of the label. After this was approved by the cigar-maker, it went to the printer.

With private labels, it was the cigar-maker who had to bear the cost of the entire design process and art preparation, printing, and the manufacture of the embossing dies. The printing run was usually very large, and so it followed that only the largest cigar manufacturers would have the requisite demand and distribution to offset the large expense of producing such labels. TITLE AND DESIGN
The title and design of a label was all-important in the strategy of catching the eye of a potential buyer and would be copyrighted to prevent the use or misuse by parties other than those who owned the trademark.
A label might read:

TITLE AND DESIGN OWNED BY ST. LOUIS BOX CO., ST. LOUIS, MISSOURI
TITLE AND DESIGN OWNED BY PASBACH-VOICE LITHO. CO, CHICAGO, ILLINOIS
TITLE AND DESIGN OWNED BY CHICAGO CIGAR-BOX SUPPLY CO., CHICAGO, ILLINOIS

CAMPAIGN LABELS
Political labels depicted portraits of long-deceased presidents, and campaign labels depicted the portraits of those political candidates actively seeking office. The rarest and least-known labels portrayed politicians campaigning for local offices, while the common and more desirable labels were for national campaigns.

While some campaign labels were designed and printed for specific elections, most were printed as untitled stock labels containing two oval spaces into which the portraits of the candidates could be inserted. This label, when titled appropriately, would show the portraits of the presidential nominees or the presidential and vice presidential candidates from either party. There were labels for every campaign and every political persuasion.

In 1896, Witsch & Schmirt notified cigar-makers with the following:

During the Presidential Campaign Labels No. 2701-2 will be furnished with Portraits of either Republican or Democratic nominees and Title "Our Candidates" without any additional charge over prices quoted above.

At the same time, Louis E. Neuman advertised:

Campaign Labels Nos. 1074-75 with the portraits of Presidential Candidates,Republican or Democratic, will be ready right after nomination. Price $18.00 per WOO
SEASONAL LABELS
Although most holidays were pictured on cigar-box labels, Christmas and New Year's were by far the most common and now have great appeal. Christmas labels were appropriately covered with santas and elves, and others showed women and children giving boxes of cigars as gifts. A New Year's motif included scenes of drinking, dancing, merriment, and celebration. Carried as printer stock labels, they bore phrases such as "Merry Christmas," "Season's Greetings," "Happy New Year," and "Compliments of the Season." Cigar boxes with Christmas theme inner labels and trim were sold to individuals for gifts or to merchants who displayed the open boxes on counters and gave away the cigars.
VANITY LABELS
Labels containing the picture of the cigar-maker, his children, his pets, his factory, the local fire department, baseball teams, fraternal organizations, clubs, restaurants, or saloons are called vanity labels. They were printed as either private labels or as printer's untitled stock labels. Because of the large expense involved, private labels were usually well designed and used only by the larger cigar manufacturers, organizations, and businesses. Printer's stock labels were untitled and contained a blank area in their design. The desired image or text was printed in the blank area. By their very nature, most of the images had limited appeal and were not used outside the local area. Because of their low cost, however, there was almost no limit to their use. Their individuality made them popular, but because of the relatively limited printings, few have survived.
DEFINITIONS OF CIGAR-BOX LABELS
Inside Label- The very heart of cigar-box label graphics is the inside lid label. Commonly referred to as a 6 by 9, they were originally sold in 8" and 10" lengths, depending on their use in a box of either 50 or 100 cigars. Cigars were originally sold individually from a bundle of 50, and the boxes were referred to as one or two bundle boxes. The smaller label was placed on a box of 50, and the larger label was placed on a box of 100. Regardless of size, the early labels had one thing in common: the image remained a 4" square.

The 4" square design of the outside label was simply printed in the center of a sheet of label stock 8" or 10" wide and became the inside label. While this may not have been very imaginative or aesthetically pleasing, it served the purpose of identifying the brand of an open box and it could be printed inexpensively.

As cigar consumption increased, so did the competition, and an increasing number of open boxes of cigars appeared in shops and saloons. The inside label now became all important in drawing the attention of the prospective buyer away from a competitor's brand. The design and the color of the inside label could mean the survival or failure of the cigar-maker's business. The inside label contained the most complete and colorful designs, and all other labels on the box became secondary.

Outside Label- Square- Nearly all cigar labels followed the same basic design according to their appointed use. The exception was the outside label. In the early period of label development, there was no limit to the artist's imagination, and many unusual shapes appeared, as the following 10 designs evidence.

Those shown previously were some of the 10 shapes offered by Krueger & Braun, L.E. Neuman, and George S. Harris & Sons. The most prolific was Harris, and all his labels should be considered scarce. However, as label development continued, five basic designs, shown below became industry standards, although the design of the images did not. As a result, a label that delivered its message well on one size box might have been a failure on another box.

Outside Label - Square - Banded- The redesign of the outside label applying a band across the label 1/4 to 1/3 of the way up from its base allowed it to be effectively used on the 50 or 100 box. This redesign occurred after the turn of the century.

Outside Label-Rectangular- Measuring 2" by 6," this outside label was used exclusively on the flat 50s box. Although some were designed and used in the 1880s, most began to appear about 1910, and, within a few years, became the standard design.

Color Mark- The color mark, which describes the color of the wrapper leaf, was originally burned into the end of the box. It could have also been printed on a small label. With the evolution of a rectangular outer label to cover the entire end of the box, a blank space had to be incorporated into the design. Into this space, one of the following color examples would be added: Claro, Claro Colorado, Colorado Maduro, or Maduro.

Flaps- Flaps were originally just a plain sheet of paper glued along the inside of the front of the cigar-box and extended back over the top of the first layer of cigars. This was done principally to prevent the top layer of cigars from coming in contact with, and perhaps soiling or discoloring, the inside label, while the cigars were stored awaiting sale. As the other labels became more ornate, so did the flaps. Again, as with other labels, two styles of flaps appeared. The first was the flap corresponding to a specific label and usually carried a small abbreviated design that was in some way related to the inside label. These were most common among private labels or brands in which the printer owned the name. The second variety of flaps was the stock flaps carried by the printers. These contrived simple words or phrases such as:

HANDMADE, HAVANA, CUBAN HANDMADE, OUR FOREMAN'S CHOICE.
Spanish words, however, were the most common, and the following were typical phrases:

DELICATE HABANA, FLOR FINA, FRAGRANTE HABANA, FABRICA DE TOBACOS, LA PRIMERA, LA FLOR DE LA, HABANA PURA, SUPERIORES, HABANA DE LA VUELTA ABAJO, NON PLUS ULTRA These non-specific phrases would permit a printer to print a quantity of labels at a very low cost and sell them to cigar-makers whose production did not warrant the expenditure of large sums of money on labels.

A label owner could use an extravagant, mullet-colored flap, but if he did not have a proper flap, he would choose from printer's stock. Stock labels rarely contained more than one color. The same phrase, however, might be printed in several colors, and in that way, the user could color-coordinate the flap with the inside label.

Eventually, stock flaps evolved into gold-embossed lettering on a white background; two colors were common in nearly every inside label.

Back Flap or Tag- This was a small label that cited the brand name and was meant to be glued on the inside back of the box so that the brand name would lay over the top of the cigars. This was important because if space in a cigar case was cramped, the salesman would frequently break off the lid of the box to gain more room. From a distance, cigar bands were too small for identification, so the lid offered brand identification. This practice was countered by adding the back tag. Because of the removal of the lid, cigar-makers adopted a new style of inner label, one on which the brand name was repeated on a band across the bottom of the label. The "Christy Girl" label is a perfect example of this concept. The earlier variety, printed by George Schlegal, had no bottom band, while the later label, printed by Maryland Lithographic, included the bottom band. Both labels were applied to the inside of the lid, but the deeper banded variety extended down into the inside back of the box, and the band ran across the back just below the top edge. If the top of the box was removed after the sale of a few cigars, the band was visible and identified the remaining cigars. For this reason, back tags usually corresponded only to unbanded inside labels, i.e. , "Nebraska Girl."

Front Flap or Tag- Almost as long as the box itself, the front flap was designed so that the plain strip at the bottom was glued on the inside of the front of the box. The upper half contained the brand name and lay over the top layer of cigars. This label was designed to counter the practice of removing the lid, thereby having a box of an unknown brand name on display.

Seals, Nail Tags, Signatures- Known by all three names, all these small labels served the same purpose. After the box was nailed shut, a small label was placed over the nail; the lower half was glued on the front of the box, and the upper half was glued on the top of the box. The nail was now covered and the box was sealed.

Some of these earlier labels carried the phrase "Non Genuine Without My Signature" and signed by the manufacturer, thus the name "Signatures." These labels corresponded to the brand name and also appeared as generic stock labels. While the oval was the most common design, the signature appeared on almost any shape. However, all had one thing in common: size. Seals were rarely larger than 2" by 3" and were applied horizontally and vertically.

Cigar-box Tops- Originally, the tops of cigar-boxes were branded with the names burned into the wood. Because of difficulties in controlling the heat and design limitations, this method was replaced by ink-covered dies, and the brand name was printed on the surface of the wood. To make the top more attractive and to add a little individuality, a color insert was added to the top brand.

Top Brand Insert- The Top Brand Insert was a small color label without lettering, but it had a central design of the inside label printed on it. These were most commonly found when the inside label represented a portrait of a person. The center of this design was easily die cut and applied to the top. The top brand had already been applied to the lid and designed so that its center of the top brand was a blank area onto which the top brand insert was applied. As a result, a top brand's center was in color, and the design around it was printed in black on the wood surface.

Top Tag- In order to make the box more attractive and easier to assemble, the top brand and top brand inserts were eventually replaced by a specially designed paper label containing all the information of the top brand and the color of the top brand insert combined. Generally oval in shape, it normally measured 4" wide and 3" high. As with seals, its shape and borders were varied, but an oval with smooth borders was the general rule.

Top Labels- As the cost of wood increased in price, it was found that heavy cardboard could be used as the lid. To maintain the image of wood, a simulated wood-grained paper, with the top brand or top tag already printed on it, was applied to the lid.

Top Wraps- With the introduction of machine-made boxes, a larger sheet of paper came into use; the top wrap contained both the top label and the edging for the lid. The lid was wrapped in one operation.

Bottom or Body Wrap- Similar to the top wrap, the body wrap was, again, a single sheet of paper that contained the bottom, front, back, and end labels. The wrap also contained the edging, and the caution notice was already printed on the bottom. The blank box could be wrapped by machine in one operation.

Top Sheet- With the front flap applied to a box, it was not practical to attach a full flap. To protect the inside label, a top sheet was used. The top sheet could be many things. As onion-skin paper, it could have a spider web design printed on it. Often, it was just text describing a cigar-maker's products. Cigar felts were also used. These were rectangular pieces of felt cloth on which were printed flags, Indian rugs, sports figures, or college belles. Their variety was limitless. These felts became valued premiums and the smoker's wives sewed them together into quilts and pillow cases. No matter how they were made or what material they were made of, top sheets were all designed to be removed as soon as the box was open. The felts were saved and the others quickly discarded.

Edging- Edging or trim are thin strips of paper applied to all the edges of a cigar box and would cover small imperfections in construction, nails, and the muslin hinge on the back. In the case of colored edging, it gave the box a more decorative and eye-catching appearance. Edging was normally sold in reams. Edging could be of a strictly decorative pattern or carry the brand name. Some stock edging was imprinted with the generic Habana, Handmade, or any one of a number of like terms. The earliest type, called Spanish Edging was white and although plain, gave the box a clean appearance. Front and Back Labels- These would be used in just the position that the name denotes on the front or back of the box. Easily distinguishable from the rectangular cut by their design and length, the front label would frequently carry a front mark. The front mark, originally branded or printed on the front of the box, was a name given by the cigar-maker to the type of cigar that he had made. While the Cubans chose names like Corona, Londres, Delisciosos, or Concha Regalia, the Americans used Windsor's, Bankers, Imperials, or Invincibles. While the names were infinite, there were undoubtedly some lofty titles given to some common goods. This was the cigar-makers way of bragging.

Cautions- This label was usually glued on the bottom of the box and would contain the manufacturer's name and factory number. It also carried the following warning:

NOTICE The manufacturers of the cigars herein contained have complied with all of the requirements of law Every person is cautioned not to use either this box for cigars again, or the stamp thereon again, nor to remove the contents of this box without destroying said stamp, under penalties provided by law in such cases.