When you think about corporate social responsibility – i.e., good corporate citizenship – the cigar industry probably isn't the first that comes to mind. The cigar business is small and only appeals to a handful of customers. Though I've been a cigar smoker for close to 15 years and was a consumer business strategist for a major consulting firm, I'd never thought about the possibility of corporate social responsibility in the cigar world – it jest never occurred to me.

While I was walking the Drew Estate factory in Esteli, Nicaragua, though, I began to hear the cues that signal an effort to be a valuable member of the community. The company – which produces the Acid and Java cigar lines, along with newer products such as the T9 and T52 – pays twice the region's prevailing wage for its positions. There are healthcare facilities on the premises. Wood for cigar boxes comes only from approved sources with environmentally friendly practices, and the company makes it a point to hire people with disabilities.

Jonathan Drew, one of the company's owners, spoke with me at length about Drew Estate's commitment to the surrounding community, which involves several measures intended to benefit not just the factory's employees but the people of Esteli.

While the holiday celebrations that involve the entire neighborhood, healthcare for employees and pregnancy leave are prominent aspects of Drew's informal philosophy of corporate social responsibility, I was struck by two rather unusual aspects: food and art.

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All secrets eventually come out. At the recent London auctions, in which both Sotheby's and Christie's saw several lots set records, Russian collectors poured some money back into the art market, and Laurence Graff, chairman of Graff Diamonds, parted with a healthy dose of cash. It's this action that caused a combined tally of £258.9 million (including fees), more than double the result a year earlier.

The UK-based diamond dealer sunk £8.1 million into Pablo Picasso's "Tete de Femme (Jacqueline) at the Christie's auction, spending 100 percent more than the high-end presale estimate for the piece. According to Bloomberg News, Graff confirmed the acquisition by e-mail.

Russian billionaires got back into the game, as well, and they exercised better judgment than they did during the art boom, when prices for artists such as Damien Hirst were propelled to absurd levels.

The Impressionist sector has held on rather well, by comparison. "The market for Impressionist and modern art hasn't been as frothy and speculative as contemporary," said Guy Jennings, partner in the London-based dealership Theobald Jennings. "Last year, prices might have slipped five or 10 percent, but since then there's been some asset inflation. That might not be the case in six months' time if there's a double-dip recession."

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There's a new show at the Eden Rock Gallery on St. Barths this month ... and it represents a bit of a departure from past exhibitions. Doubtless, some considerable talent has moved through the resort's art gallery, with names such as Richard Prince not to be taken lightly. And, the relationship with the New York Academy of Art has ensured that the artists in residence have been unmatched in talent.

The latest show is not short on talent and remains consistent with the reputation the Eden Rock Gallery has defined for itself, but the artist comes from a little closer to home. Jane Matthews will be showing her work in an exhibition entitled "Between Places and People," which features simple but direct subject matter in a fluid style slightly reminiscent of Gaugin (just a hint).

Jane owns Eden Rock with her husband, David Matthews, and it's their commitment to the arts that led to the gallery and the careful selection of pieces to hang in the property's various villas (such as Villa Rockstar).

With "Between Places and People," Jane proves that she doesn't just know how to pick art – she can create it, too. The photos alone caused me to fall in love with this show.

Until last week, the closest I'd been to the cigar rolling process was to see on-site demonstrations at cigar shops. Even then, I understood that it wasn't easy, and that the speed with which the rollers worked was the result of years invested in their chosen career. My appreciation for this activity multiplied, however, when I stepped onto the rolling floor at Pepin Garcia's My Father Cigars factory in Esteli, Nicaragua and saw what felt like endless rows of cigar rollers, each taking a specific piece of the process: filler and binder, wrapper and cap. They worked quickly and quietly, each completing hundreds of cigars a day.

To see the operation at work was impressive, but to feel it was totally different. Even trying something as seemingly simple as wrapping and capping a cigar, I learned just how much craftsmanship goes into what we cut, light and smoke.

The leaf for the wrapper is delicate. Every cigar smoker knows this, but when it's waiting to be wound around the binder, the tobacco feels downright flimsy. I worried, appropriately, that the slightest stupid move would tear it and force me to start over. As I sat in the seat belonging to Jaime Garcia, Pepin's son, to roll a cigar, I was a little nervous. So many people around me were making it look so easy, and I knew that the reality, for me at least, would be far different.

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When I asked Eddie Ortega what new cigars he has coming out this year, I wasn't surprised by his response. The man behind the 601 line doesn't have anything new hitting the shelves this year, and I'm pretty happy about that. So is he. Eddie – and Ron Melendi of De La Concha and Israel Markevitz of Uptown Cigar, with whom I spoke about this issue – believes that there isn't much need for new brands right now. Retailers have plenty of product in their stores, and consumers have no shortage of choices.

The cigar market is jammed right now. Every year, more than a handful of people get the brilliant idea that retailers need another line of cigars to pitch to cash-strapped consumers, and the established players tend to bring a steady stream of new concepts, exacerbating the situation. Of course, we need this: we can't let the cigar market go stale. But, we have to cope with a lot of bad ideas to get the good ones (I'm pretty excited about the Tatuaje vintage, for example).

The decision not to venture back into the market with a new line can be intimidating: it's a break from convention, which can always be unsettling. So, it's a bit gutsy not to follow the herd, but Eddie's air of confidence is hard to ignore ... as is the fact that he's right.

Through 2010, Eddie will focus on the cigars he already has on the market and ensure that as many people as possible realize that they should puff on a 601 at least occasionally (his personal preference is for the blue label). Even without a new product this year, Eddie has enough on his plate – and we have plenty to enjoy.

The NoKo Jeans Museum is now closed.

Well, it's not really a museum – that's just what the company called its space at Vartoftagatan 47 in Stockholm ... but that's irrelevant. NoKo Jeans is now closed for good. For NoKo Jeans, just coming into existence was difficult, and the company never really got the traction it needed. It's relationship with Swedish department store PUB ended swiftly and badly, and now it's closed its other location.

The reason for all the difficulty is that NoKo Jeans are made exactly where you'd guess: North Korea. Sweden is one of the few western countries the only western country that maintains diplomatic relations with the isolated state, which made it easier for a Swedish country to get the venture off the ground.

If you still want a pair of the People's Jeans (as I do), you can still order them online. The museum may be gone, but you still can show your solidarity with the workers of the world.

This is Our Factory from Noko Jeans on Vimeo.

I met with Pete Johnson, the man behind the Tatuaje cigar line, after he and I met at Jose "Pepin" Garcia's cigar factory in Esteli, Nicaragua. His right arm, sleeved with ink, made Pete easy to pick out of a crowd. Since Tatuajes are among my favorites when I'm away from home, I was excited to learn what's on tap for 2010. Unsurprisingly, Pete has something in mind that's a bit different form the norm in the cigar industry.

Tobacco manufacturers strive for consistency above all else. They want the cigar you smoke next year to taste like the one you're smoking today. This is a sentiment I've heard from Pepin's operation and across the cigar industry. And, this makes sense. If you manufactured a high-quality product of any kind and sought repeat business, wouldn't you strive for consistency?

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The art market's biggest question turned out to have a $200 million answer at Sotheby's on Wednesday night. Led by Alberto Giacometti's "L'Homme Qui Marche I," which an anonymous bidder picked up for more than $104 million, the auction house realized a total take of $235.7 million on 31 sold lots. Nobody expected this outcome, not even the most optimistic art market spectators, let alone a committed pessimist like me. Of course, my first instinct is to suggest that we wait for the contemporary art sales next week, but it's hard to deny that this week's outcome is both promising and exciting.

The Giacometti set a new record for the artist, sailing past the $27.5 million picked up by "Grand femme debout II" at a Christie's sale in May 2008. In driving nearly half the auction's sales, this piece made it clear that the art market comeback is more than the wishful thinking of collectors who have spent more than a year and a half watching their pieces lose value. A year from now, we'll be looking at "Homme" as the symbol of the art market's recovery, much as we've come to see that final $85 million Francis Bacon sale in May 2008 as the peak before the decline.

Eight lots failed to sell at the Sotheby's Impressionist and Modern evening sale, but this hardly matters when considered against the auction's overall performance. Presale expectations were beat by more than 100 percent, thanks in large part to the fact that 17 of the lots sold for more than £1 million each. Three lots crossed the £10 million threshold. Works by Georges Seurat, Paul Cezanne, Gustav Klimt and Camille Pissarro easily pushed into seven-figure territory.

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Of course, you don't have to stick to the gender stereotypes on this one. Men do enjoy chocolate, and I've met more than a handful of ladies who are happy to cut and light a double corona. So, feel free to mix and match as you see fit. You'll have all the tools you'll need to make the best choices, thanks to chocolate and cigar recommendations from Vin Lee, CEO of the Beverly Hills Cigar Club.

Some of the selections aren't surprising, according to Lee. "Obvious choices are the fine selections from Godiva, Lindt and Ghiradelli, but we thought we'd suggest some exotic chocolate indulgences you might not be aware of." He continues, "Chocolatiers can now be reached from anywhere around the globe. Our advisers did an exhaustive search, and the choices prove it was well worth it."

Let's start with eight chocolate recommendations that are sure to make your evening fantastic.

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While many Detroit businesses are looking for the exits, La Casa del Habana decided it was time to enter the beleaguered city. The Michigan-based collection of tobacconists offers an upscale alternative to traditional lounge smoking with its private clubs. In Detroit, between the Opera House and Music Hall, you can enjoy a touch of luxury until 2 AM every day (except Sunday, when it closes at 9 PM) at a destination that features the city's largest walk-in humidor.

To access the second floor VIP lounge, the fee is $100 a month, and you are required to buy a box of cigars up front. But, you receive a private humidor that can accommodate up to 20 boxes of cigars, full use of the club facilities at any La Casa De La Habana location and two premium cigars every month. Members get the first shot at hard to find cigars when they become available and can enjoy special events not open to the public.

Detroit may need a bit of help, but it's great to know that it already has its own oasis.

[Photo via La Casa De La Habana]