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In an era when the cigar was king and nearly nine out of ten men smoked at least once a week, a peculiar and beautiful accessory dangled from the watch chains and vest pockets of gentlemen: the cigar cutter. Yet, before the specialized cigar cutter came to prominence around 1860, the ritual of preparing a smoke was far less refined. Smokers often bit off the closed end of their cigars, used a fingernail, or a common pocket knife to open it up. As legendary tobacconist Zino Davidoff noted with characteristic disdain, "biting does not permit much precision".
The period from the mid-19th century up until the First World War is now recognized as the golden age of both cigar smoking and cutter design. As cigar sales boomed and the practice became deeply ingrained in the culture of wealth and masculinity, the cutter evolved from a simple tool into a masterpiece of pocket art. These objects were "manifestations of masculine identity", and a gentleman might have owned several: one for his pocket, another for the office, and a third for the home.
Craftsmen in major cities like London, New York, Berlin, and Vienna turned these small instruments into a "huge variety of figurative shapes and styles". The design of one's cigar cutter was a personal expression, reflecting the owner's values, aspirations, and tastes. The variety was staggering, ranging from discreet, jewel-like models worn on pocket-watch fobs to sculptural desktop contraptions that commanded attention. These cutters were often made from precious metals like gold and silver, as well as steel, iron, and fine wood.
These "pocket sculptures" came in an endless array of themes:
Gentlemanly Pursuits: Many cutters celebrated the sporting life, taking the form of hunting dogs, yachts, ship's wheels, or fishing gear.
Everyday Objects and Novelties: Some were whimsical, shaped like champagne bottles, pistols, ballerinas, or even a pot-bellied pig.
Status and Sophistication: Others were emblems of affluence, such as those depicting golfing gear, polo mallets, or insignia for exclusive yacht clubs.
Not all designs were politically correct by modern standards. Some cutters featured "exotic, erotic or bawdy portraits of women" that, while reflecting the objectifying attitudes of their time, now serve as a stark reminder of the era's social dynamics.
The artistry wasn't just in the form, but also in the function. The golden age saw the creation of ingenious mechanical systems. While the Frenchman Pierre Lacour is credited with inventing the "guillotine" cutter in the 1860s, other styles flourished. You could find elegant cigar scissors for a precise snip, punch cutters favored by Winston Churchill (who famously used a wooden match), and the distinctive V-cutters that remove a wedge from the cigar's head.
The desire for beautiful cutters has never truly faded, and today a new generation of artisans carries the torch.
Legacy of German Engineering: The Wolfertz family company in Solingen, Germany, is a prime example of enduring craftsmanship. For over nine decades, they have specialized in cutters, with Hans-Werner Wolfertz developing the first double-blade cutter for Zino Davidoff some 30 years ago. This innovation was so significant it was widely copied and remains in production today. Wolfertz cutters are renowned for using steel hardened to a Rockwell rating of 57, a standard that surpasses even that of some combat knives.
The Italian Touch: Modern masters like Coltelleria Saladini keep ancient traditions alive. Their cutters are handmade by skilled Tuscan craftsmen, blending natural materials with blades sharpened to surgical precision.
Resurrecting an American Classic: The Boston Cigar Cutter, a beloved tabletop model known for its unique "cat's eye" incision, nearly died out due to competition in 1999. However, brothers Chris and Nick Ferland purchased the company in 2002 and revived it, crafting the wooden bodies in their Massachusetts workshop from exotic woods like black walnut, mahogany, and cocobolo, often trimmed in brass or sterling silver.
The world of antique cigar cutters is now a vibrant and exciting field for collectors. As collector Benjamin Rapaport notes, these objects are "an elusive collectible" that represent "a whole new world" for enthusiasts to explore. Values can vary wildly based on material, rarity, and artistic merit. While a silver-plated model might sell for modest sums, an antique brass wheel cutter from the estate of a noted collector can carry an estimate of $600-$700. High-end examples, such as a 9-carat gold cutter by S. J. Rose & Son, can command prices of £170 or more at auction. The market is buoyed by works from legendary makers like Mappin & Webb, whose sterling silver cutters are highly sought after, and Ignatius Taschner, whose artistic cutters are treated as miniature sculptures.
Whether it was a finely cast brass piece shaped like a pair of hunting hounds, a delicate gold model attached to a watch fob, or a whimsical cutter shaped like a champagne bottle, each cutter was a statement. As the Wolfsonian-FIU museum's exhibition "Smoke Signals" demonstrated, these objects offer a surprisingly clear glimpse into the culture, values, and contradictions of their age, proving that even the most functional item can transcend its purpose to become art.

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