Descriptive Summary
Access
Preferred Citation
Acquisition Information
History of the Citrus Label
Scope and Content of Collection
Indexing Terms
Descriptive Summary
Title: Riverside Public Library citrus label collection
Dates: Circa 1890-1950
Collection number: Consult library
Collector:
Riverside Public Library
Collection Size:
The collection is 2.5 linear feet contained in two boxes
140 online items
Repository:
Riverside Public Library
Abstract: The Citrus Label Collection consists of citrus labels (mostly orange, but some lemon and grapefruit examples) mainly from
the southern California counties of Riverside, San Bernardino, Los Angeles, and Orange. The collection ranges from early naturalistic
labels like Gypsy Queen (1891) to a later example of commercial art, Terra Bella (1952). The subjects featured on labels in
the collection vary widely and include sports ( Athlete); animal and floral designs ( Mallard and Camellia); architectural
and natural landscapes (Mission Bridge and Yosemite); portraits of women and children (Co-Ed and Vulture ); marine scenes
(Chinook); western and other historical images ( Yellow Aster); patriotic illustration (Columbia); and several depictions
of citrus fruit and orchards. The collection also includes a number of stock labels, items that were illustrated but never
printed. These labels were used to mark inferior fruit under another brand name or as an alternative to custom labels. As
well as the wide range of subject matter, a few of the brand labels vary in size, with some noticeably smaller for 1/2-size
boxes or larger than the standard. The collection includes some citrus related materials in the form of six printed orange
wrappers and a slide collection. The citrus label collection can provide researchers with examples of the evolution of art
advertising and local business history. But the collection is not limited to these two main subjects. For example, images
of the noble savage ( Prairie Belle) and other Native American stereotypes (such as Heap Good) could also provide information
for the researcher investigating the use of American Indians in advertising. Citrus labels were created as a way of grabbing
the eye of the buyer but their images endure.
Languages:
Languages represented in the collection:
English
Access
Due to the physical and fragile condition of the 193 labels, the collection has certain restrictions regarding access and
duplication of the materials. Please ask the local history librarian for further details.
Preferred Citation
Riverside Public Library citrus label collection. Consult library. ]Institution Name], [City, State].
Acquisition Information
Collected by Riverside Public Library.
History of the Citrus Label
Oranges originally were grown for local consumption. But the completion of the transcontinental railroad in the 1880s changed
the marketing of the fruit. A national network of transportation and the citrus friendly California climate encouraged more
people to migrate west. This resulted in the increased need to differentiate one grower's product from another, to capture
the attention of the wholesalers and customers back east.
Early identification on citrus boxes consisted of stenciling, stamping, or branding the wooden crates. The earlier paper examples
consisted of six inch round paper labels, pasted in the middle of a stenciled rectangular pattern. The 10" x 11" label (9"
x 13" for lemon labels) replaced these early efforts and between the mid 1880s and mid 1950s remained the industry standard.
The designs of California citrus labels can be divided into three stylistic periods. The naturalistic period, from the mid
1880s to the end of World War I, illustrated subjects in a realistic manner using stone lithography, which printed up to six
colors to make the final image. Labels showed local subjects like the southern California scenery, the groves, the growers'
homes, and orange harvesting. Tropical Queen is an example of a naturalistic label in the collection.
The advertising period in citrus labels (1920-1935) reflected two trends: the development of product advertising and the nation's
emphasis on youth and vitality. The rise of potential customers, as the population shifted to urban settings, resulted in
an increased use of advertising on labels made to appeal to the eastern buyer, a switch from labels reflecting the grower's
or packer's own interests. In 1918, a manager of the California Fruit Growers Association wrote a booklet recommending that
the labels be distinctive, simple, content oriented with short brand names. These suggestions were made to grab the wholesaler's
attention and to link the label with the product. The discovery of vitamins in 1915 fueled America's interest in health issues.
The citrus industry responded by heavily marketing the Vitamin C content in the produce. After 1918, all three major marketing
co-operatives marked their labels with grade standards, with the most aesthetically pleasing fruit receiving the top grade,
like Sunkist or Pure Gold. Blemished fruit had no grading on their labels. Some labels, like Peasant, encouraged buyers to
purchase the cosmetically flawed fruit despite their appearances. By the 1920s, most lithographic companies had phased out
the stone plates in preference for metal ones, using new ink formulations in their printings. The Fancia label, a colorful
label printed in 1932, shows some changes made during the advertising period. It retains the use of a landscape, but artists
updated the design by framing it with the human figure standing outside the frame. The figure's attire reflects the Hispanic
heritage of the region, another carry-over from the naturalistic period. But the inclusion of his smoking on the label was
a new design element reflecting the cultural changes during the 1920s.
The commercial art period (1935-1955) marks the final stage in the development of the citrus label. The use of offset photolithography
marked the major change in label designs. Airbrushing and color gradation had not been possible using the older techniques.
Photolithography also decreased advertising costs, a needed measure for businesses during the Depression. The Depression also
caused more competition between the various brands. Few new designs were introduced, as the citrus associations continued
to use older labels with some updating. Those labels introduced during the commercial art period used bold colors and block
letters to attract the buyer's attention. Sunny Heights (1930s) is a vivid example of the ubiquitous orange grove but with
the brand name formatted in block letters with color gradation in the title that gives it depth and dimension. The Circle
series (1938) also demonstrates the use of airbrushing developed at that time.
Scope and Content of Collection
The Citrus Label Collection consists of citrus labels (mostly orange, but some lemon and grapefruit examples) mainly from
the southern California counties of Riverside, San Bernardino, Los Angeles, and Orange. The collection ranges from early naturalistic
labels like Gypsy Queen (1891) to a later example of commercial art, Terra Bella (1952). The subjects featured on labels in
the collection vary widely and include sports ( Athlete); animal and floral designs ( Mallard and Camellia); architectural
and natural landscapes (Mission Bridge and Yosemite); portraits of women and children (Co-Ed and Vulture ); marine scenes
(Chinook); western and other historical images ( Yellow Aster); patriotic illustration (Columbia); and several depictions
of citrus fruit and orchards. The collection also includes a number of stock labels, items that were illustrated but never
printed. These labels were used to mark inferior fruit under another brand name or as an alternative to custom labels. As
well as the wide range of subject matter, a few of the brand labels vary in size, with some noticeably smaller for 1/2-size
boxes or larger than the standard. The collection includes some citrus related materials in the form of six printed orange
wrappers and a slide collection. The citrus label collection can provide researchers with examples of the evolution of art
advertising and local business history. But the collection is not limited to these two main subjects. For example, images
of the noble savage ( Prairie Belle) and other Native American stereotypes (such as Heap Good) could also provide information
for the researcher investigating the use of American Indians in advertising. Citrus labels were created as a way of grabbing
the eye of the buyer but their images endure.
Arrangement
The collection is divided into four series. Series I contains citrus labels from the 1880s to the 1950s almost exclusively
from the southern California region. Arranged alphabetically, this series is divided into eight folders: Folder 1 (Albion-College
Heights), Folder 2 ( Collegiate-Golden West), Folder 3 (Grove-Minnehaha), Folder 4 ( Mission Bridge-Poinsettia), Folder 5
( Prairie Belle-Superfine), and Folder 6 (Sweetheart-Young Sports). Folder 7 contains stock labels, commonly used when shipping
inferior fruit or as an alternative to using custom labels. Folder 8 has three over-sized labels, two of which are copies.
Series II, Folder 1, contains the citrus wrappers used to cover the fruit during shipment. Series III consists of two folders.
Folder 1 is a slide collection of most of the labels in the collection. It is not comprehensive as several labels do not have
slides, and a few of the labels on the slides are not found in the label collection. Series III, Folder 2, is the index for
the slide collection. Series IV, Folder 1, has a newspaper article regarding the publication, "The History of the Citrus Industry
in the Riverside Area," a typewritten index of the most labels in the collection, and a handwritten note regarding the accession
of an additional gift to the collection.
Several varieties exist in the collection. For example, the National labels are double-sided with different brand and company
names ( Standard and the Overland Orange & Lemon Company) on the reverse. This may indicate a change in ownership with the
new company reusing older labels. Hummingbird and Mountain, both from the Pachappa Orange Growers Association, are round circular
labels. Most of the labels are made from paper except for Squirrel and Golden Orange, which are made from cardboard. Some
labels appear to be similar, like Alpha. But different lithographers made the two labels. The lithographic company, which
appears on some labels, can help determine a relative date, as well as determining the art style of the label. Some design
elements like the Sunkist logo (developed in 1908) and the Red Ball logo (1911) can also help in dating a particular label.
One lithographic company, Western Litho. Co. put a three or four digit number after its name on some labels. This number gives
the month and year that the label was printed—not necessarily when it was designed.
Indexing Terms
The following terms have been used to index the description of this collection.
Riverside, Calif.
Citrus labels