As we have never kept a register of labels, excepting those numbered from 1967 onwards, the dates during which different designs have been used are impossible to determine.
There will be gaps In the following document, in so far as there are labels in existence which do not figure here. Also, some of the dates may not be exact (although they are not far out) especially in the case of those used by José Ramírez I and the early days of José Ramírez II. The end of his time coincided with the beginning of that of José Ramírez III, who was the first to number and sign the labels. My brother José Ramírez IV and I have continued to use the labels designed by my father.
The following information has been compiled by Miguel Martiínez, the oldest serving member of this company. Although he is now retired, he continues to offer his memories and knowledge of the traditions of this guitar making family.
Labels from 1957 to the middle of 1967
Ordinary Studio Labels
We started to use this round label as a substitute to nº 4 around 1957. It is printed on ordinary paper, with a dark blue background and text in white. The entire name is not printed, only Ramírez, forming a quarter of a circle around the border. In the centre you can read: “Instrumentos para rondalla*”. Diameter, 72 mm. It is still in use.
Quality Studio Labels
Glossy paper, white background, dark blue ink, with the legend “Guitarras de estudio” clearly visible at the top.Size 55 x 83 mm. Still in use. It replaced nº 5 in 1957.
Labels for Handmade Guitars
label nº9:
Size 55 x 82 mm.
Matte paper, with a cream coloured background and the text in black ink. The border is light blue, almost grey. This label defines the guitar as being of the very highest quality.
label nº10:
The format and colour are similar to the one before, but the border around it is of a gold colour, and the initials (not the name) are in red. This defines that the guitar is not of the very best quality. Normally they are made by artisans who are still learning their craft and are at the point of receiving the approval of the maestro, José Ramírez, to become fully fledged artisans. The woods used are perfectly cured, but are not of the highest quality, perhaps having a knot or stain.