{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64341\u0026view=list","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64340\u0026view=list","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64342\u0026view=list","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767\u0026view=list"},"meta":{"pages":{"current_page":64341,"next_page":64342,"prev_page":64340,"total_pages":65767,"limit_value":10,"offset_value":643400,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"13b92e9d4e3a67c52a75915f_aspace_113289","type":"File","attributes":{"title":"White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/13b92e9d4e3a67c52a75915f_aspace_113289#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_113289","ref_ssm":["aspace_113289","aspace_113289"],"id":"13b92e9d4e3a67c52a75915f_aspace_113289","title_filing_ssi":"White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots","title_ssm":["White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots"],"title_tesim":["White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots"],"normalized_title_ssm":["White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots"],"text":["White, Robert C. - Columbus, Ohio Medical Center for Navy Pilots","World War II letters collection, Date acquired: 07/00/1995","Letters: S - Z","Folder 55","/repositories/2/archival_objects/75288","box 5","folder 55"],"component_level_isim":[2],"parent_ids_ssim":["13b92e9d4e3a67c52a75915f","13b92e9d4e3a67c52a75915f_aspace_113234"],"parent_unittitles_ssm":["World War II letters collection, Date acquired: 07/00/1995","Letters: S - Z"],"parent_unittitles_tesim":["World War II letters collection, Date acquired: 07/00/1995","Letters: S - Z"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Folder 55","/repositories/2/archival_objects/75288"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["World War II letters collection, Date acquired: 07/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":322,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 5","folder 55"],"_nest_path_":"/components#4/components#54","_nest_parent_":"13b92e9d4e3a67c52a75915f_aspace_113234","_root_":"13b92e9d4e3a67c52a75915f","timestamp":"2026-07-11T04:13:35.853Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"13b92e9d4e3a67c52a75915f","title_ssm":["World War II letters collection"],"title_tesim":["World War II letters collection"],"ead_ssi":"13b92e9d4e3a67c52a75915f","unitdate_ssm":["Date acquired: 07/00/1995"],"unitdate_other_ssim":["Date acquired: 07/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-10","/repositories/2/resources/388"],"text":["MS-1995-10","/repositories/2/resources/388","World War II letters collection, Date acquired: 07/00/1995","World War, 1939-1945 -- Personal Narratives","World War, 1939-1945 -- Florida","This collection is arranged Alphabetically:","1. Letters: A - C","2. Letters: D - G","3. Letters: H - L","4. Letters: M - R","5. Letters: S - Z","World War II Photographs, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","World War II Remembered 1939-1945 . Verplanck, N.Y: Historical Briefs, Inc, 1991. Print.","World War II: A Listing of Resources \u0026 Information . Crystal City, VA 1213 Jefferson Davis Highway, Crystal Gateway 4, Suite 702, Crystal City 22202: 50th Anniversary of World War II Commemoration Committee, 1993. Print.","Lyons, Michael J.  World War II: A Short History . Englewood Cliffs, N.J: Prentice Hall, 1989. Print.","This collection contains letters in response to an article in the St. Petersburg Times in the Summer of 1995 asking for individuals to share their memories of the end of World War II. There are 334 letters in the collection, and they cover many different aspects of the end of the war, including: celebrations around the world, childhood memories, personal narratives of involvement in the war, and recollections regarding the Atomic Bombing of Hiroshima and Nagasaki. Also included is a diary of Richard Delmar Hunter.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","A collection of letters and narratives about individual experiences at the close of the Second World War.","USF Libraries - Tampa Special Collections","St. Petersburg Times ","English"],"unitid_tesim":["MS-1995-10","/repositories/2/resources/388"],"normalized_date_ssm":["Date acquired: 07/00/1995"],"normalized_title_ssm":["World War II letters collection, Date acquired: 07/00/1995"],"collection_title_tesim":["World War II letters collection, Date acquired: 07/00/1995"],"collection_ssim":["World War II letters collection, Date acquired: 07/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["St. Petersburg Times "],"creator_ssim":["St. Petersburg Times "],"creator_corpname_ssim":["St. Petersburg Times "],"creators_ssim":["St. Petersburg Times "],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["St. Petersburg Times","Donation"],"access_subjects_ssim":["World War, 1939-1945 -- Personal Narratives","World War, 1939-1945 -- Florida"],"access_subjects_ssm":["World War, 1939-1945 -- Personal Narratives","World War, 1939-1945 -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["2.09 Linear Feet","5 boxes"],"extent_tesim":["2.09 Linear Feet","5 boxes"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged Alphabetically:\u003c/p\u003e\n","\u003cp\u003e1. Letters: A - C\u003c/p\u003e\n","\u003cp\u003e2. Letters: D - G\u003c/p\u003e\n","\u003cp\u003e3. Letters: H - L\u003c/p\u003e\n","\u003cp\u003e4. Letters: M - R\u003c/p\u003e\n","\u003cp\u003e5. Letters: S - Z\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is arranged Alphabetically:","1. Letters: A - C","2. Letters: D - G","3. Letters: H - L","4. Letters: M - R","5. Letters: S - Z"],"prefercite_html_tesm":["\u003cp\u003eWorld War II Letters Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["World War II Letters Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eWorld War II Photographs, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003eWorld War II Remembered 1939-1945\u003c/emph\u003e. Verplanck, N.Y: Historical Briefs, Inc, 1991. Print.\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"italic\"\u003eWorld War II: A Listing of Resources \u0026amp; Information\u003c/emph\u003e. Crystal City, VA 1213 Jefferson Davis Highway, Crystal Gateway 4, Suite 702, Crystal City 22202: 50th Anniversary of World War II Commemoration Committee, 1993. Print.\u003c/p\u003e\n","\u003cp\u003eLyons, Michael J. \u003cemph render=\"italic\"\u003eWorld War II: A Short History\u003c/emph\u003e. Englewood Cliffs, N.J: Prentice Hall, 1989. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["World War II Photographs, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","World War II Remembered 1939-1945 . Verplanck, N.Y: Historical Briefs, Inc, 1991. Print.","World War II: A Listing of Resources \u0026 Information . Crystal City, VA 1213 Jefferson Davis Highway, Crystal Gateway 4, Suite 702, Crystal City 22202: 50th Anniversary of World War II Commemoration Committee, 1993. Print.","Lyons, Michael J.  World War II: A Short History . Englewood Cliffs, N.J: Prentice Hall, 1989. Print."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains letters in response to an article in the St. Petersburg Times in the Summer of 1995 asking for individuals to share their memories of the end of World War II. There are 334 letters in the collection, and they cover many different aspects of the end of the war, including: celebrations around the world, childhood memories, personal narratives of involvement in the war, and recollections regarding the Atomic Bombing of Hiroshima and Nagasaki. Also included is a diary of Richard Delmar Hunter.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains letters in response to an article in the St. Petersburg Times in the Summer of 1995 asking for individuals to share their memories of the end of World War II. There are 334 letters in the collection, and they cover many different aspects of the end of the war, including: celebrations around the world, childhood memories, personal narratives of involvement in the war, and recollections regarding the Atomic Bombing of Hiroshima and Nagasaki. Also included is a diary of Richard Delmar Hunter."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_933b238dcc06cecc9dac5a1d040b2293\" label=\"Abstract\"\u003eA collection of letters and narratives about individual experiences at the close of the Second World War.\u003c/abstract\u003e"],"abstract_tesim":["A collection of letters and narratives about individual experiences at the close of the Second World War."],"names_ssim":["USF Libraries - Tampa Special Collections","St. Petersburg Times "],"corpname_ssim":["USF Libraries - Tampa Special Collections","St. Petersburg Times "],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":340,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"13b92e9d4e3a67c52a75915f","timestamp":"2026-07-11T04:13:35.853Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/13b92e9d4e3a67c52a75915f_aspace_113289"}},{"id":"236a3c88b766327883b2e155_aspace_e54e89bf8dc6caa84a68716139567f0b","type":"Item","attributes":{"title":"\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee, 1933 September 24","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/236a3c88b766327883b2e155_aspace_e54e89bf8dc6caa84a68716139567f0b#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e54e89bf8dc6caa84a68716139567f0b","ref_ssm":["aspace_e54e89bf8dc6caa84a68716139567f0b","aspace_e54e89bf8dc6caa84a68716139567f0b"],"id":"236a3c88b766327883b2e155_aspace_e54e89bf8dc6caa84a68716139567f0b","title_filing_ssi":"\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee","title_ssm":["\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee"],"title_tesim":["\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee"],"unitdate_inclusive_ssm":["1933 September 24"],"normalized_date_ssm":["1933 September 24"],"normalized_title_ssm":["\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee, 1933 September 24"],"text":["\"White Rock from divide between Guyot and Tricorner Knob\", Tennessee, 1933 September 24","Joy Postle papers, 1910-2015","Art, 1921","Watercolors","Tennessee","Tennessee [3 of 3], 1933","/repositories/4/archival_objects/87806","/repositories/4/archival_objects/91540"],"component_level_isim":[5],"parent_ids_ssim":["236a3c88b766327883b2e155","236a3c88b766327883b2e155_aspace_5ab8dfb4bc9fc42fe4ab81752f8bfe14","236a3c88b766327883b2e155_aspace_5ba98316e64b6229c924a90139478d14","236a3c88b766327883b2e155_aspace_448687e863f4ecf26ecadaa3adbbcfaa","236a3c88b766327883b2e155_aspace_4aab130b03e902d896117a21d721a8f2"],"parent_unittitles_ssm":["Joy Postle papers, 1910-2015","Art, 1921","Watercolors","Tennessee","Tennessee [3 of 3], 1933"],"parent_unittitles_tesim":["Joy Postle papers, 1910-2015","Art, 1921","Watercolors","Tennessee","Tennessee [3 of 3], 1933"],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["/repositories/4/archival_objects/87806","/repositories/4/archival_objects/91540"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Joy Postle papers, 1910-2015"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":163,"parent_access_restrict_tesm":["The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1933],"_nest_path_":"/components#0/components#2/components#11/components#2/components#2","_nest_parent_":"236a3c88b766327883b2e155_aspace_4aab130b03e902d896117a21d721a8f2","_root_":"236a3c88b766327883b2e155","_version_":1881008257660616704,"timestamp":"2026-11-05T09:01:04.268Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"236a3c88b766327883b2e155","title_ssm":["Joy Postle papers"],"title_tesim":["Joy Postle papers"],"ead_ssi":"236a3c88b766327883b2e155","unitdate_ssm":["1910-2015"],"unitdate_inclusive_ssm":["1910-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC066","/repositories/4/resources/185"],"text":["SC066","/repositories/4/resources/185","Joy Postle papers, 1910-2015","Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)","The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs.","Materials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title.","Katherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.","Postle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Albín Polasek, Guy Beatty, and Andre Smith.","Blackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose.","Collection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025.","Joy Postle's publications have been cataloged and may be found in the  university's online catalog .","Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.","Series I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.","Series II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.","Series III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.","Series IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings.","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation.","UCF Special Collections","Postle, Joy","English"],"unitid_tesim":["SC066","/repositories/4/resources/185"],"normalized_date_ssm":["1910-2015"],"normalized_title_ssm":["Joy Postle papers, 1910-2015"],"collection_title_tesim":["Joy Postle papers, 1910-2015"],"collection_ssim":["Joy Postle papers, 1910-2015"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"creator_ssm":["Postle, Joy"],"creator_ssim":["Postle, Joy"],"creator_persname_ssim":["Postle, Joy"],"creators_ssim":["Postle, Joy"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Gifted by Denise Hall in 2005, Judy Johnson in 2013 (CFM2013_03), Pam Bennett in 2015 (CFM2015_10), and Douglas Wesson in 2016 (CFM2016_04), 2017 (CFM2017_04), and 2021 (CFM2021_02).","Purchased from Mike Caruso in 2006 (CFM2006_07), John Goodlin and Gloria Ellis in 2008 (CFM2008_04), and Judy Johnson in 2011 (CFM2011_04)."],"access_subjects_ssim":["Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)"],"access_subjects_ssm":["Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["9.25 Linear Feet 11 Boxes, 96 Art Pieces, 13 Murals, 1 Easel"],"extent_tesim":["9.25 Linear Feet 11 Boxes, 96 Art Pieces, 13 Murals, 1 Easel"],"genreform_ssim":["drawings","paintings (visual works)"],"date_range_isim":[1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research, although framed paintings are in storage so may only be seen in photographs.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs."],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Materials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title."],"bioghist_html_tesm":["\u003cp\u003eKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.\u003c/p\u003e\n","\u003cp\u003ePostle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Alb\u0026#xED;n Polasek, Guy Beatty, and Andre Smith.\u003c/p\u003e\n","\u003cp\u003eBlackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Katherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.","Postle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Albín Polasek, Guy Beatty, and Andre Smith.","Blackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose."],"prefercite_html_tesm":["\u003cp\u003e[Identification of Item],Joy Postle papers, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["[Identification of Item],Joy Postle papers, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eJoy Postle's publications have been cataloged and may be found in the \u003cextref href=\"https://library.ucf.edu/\"\u003euniversity's online catalog\u003c/extref\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Joy Postle's publications have been cataloged and may be found in the  university's online catalog ."],"scopecontent_html_tesm":["\u003cp\u003eJoy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\u003c/p\u003e\n","\u003cp\u003eSeries I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.\u003c/p\u003e\n","\u003cp\u003eSeries II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.\u003c/p\u003e\n","\u003cp\u003eSeries III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.\u003c/p\u003e\n","\u003cp\u003eSeries IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.","Series I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.","Series II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.","Series III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.","Series IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement "],"userestrict_tesim":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f14f0b1d750943f8b3e1b6c34b411fce\" label=\"Abstract\"\u003eJoy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation.\u003c/abstract\u003e"],"abstract_tesim":["Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation."],"names_ssim":["UCF Special Collections","Postle, Joy"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Postle, Joy"],"persname_ssim":["Postle, Joy"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":432,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1881008257660616704,"_root_":"236a3c88b766327883b2e155","timestamp":"2026-11-05T09:01:04.268Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/236a3c88b766327883b2e155_aspace_e54e89bf8dc6caa84a68716139567f0b"}},{"id":"f8f446b15f81524e15fa326b_aspace_133678","type":"File","attributes":{"title":"White, Roger K.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/f8f446b15f81524e15fa326b_aspace_133678#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eVeteran: No (correspondent is granddaughter, Leigh White)\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f8f446b15f81524e15fa326b_aspace_133678#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_133678","ref_ssm":["aspace_133678","aspace_133678"],"id":"f8f446b15f81524e15fa326b_aspace_133678","title_filing_ssi":"White, Roger K.","title_ssm":["White, Roger K."],"title_tesim":["White, Roger K."],"normalized_title_ssm":["White, Roger K."],"text":["White, Roger K.","Tom Brokaw collection, 1941-1997, bulk 1998-2007","War Correspondence","Folder 016","/repositories/10/archival_objects/10048","box 60","folder 16","Veteran: No (correspondent is granddaughter, Leigh White)","Subject: Roger K. White","Theater: North African \u0026 Mediterranean","Branch: Army","Unit/Ship/Squadron: N/A","Dates covered in folder: 1942-1944","POW: No","Description of folder contents: Three \"books\" (photocopies of self-published books) of transcribed letters from Roger White to his family and friends during the war. He was KIA at Anzio."],"component_level_isim":[2],"parent_ids_ssim":["f8f446b15f81524e15fa326b","f8f446b15f81524e15fa326b_aspace_101692"],"parent_unittitles_ssm":["Tom Brokaw collection, 1941-1997, bulk 1998-2007","War Correspondence"],"parent_unittitles_tesim":["Tom Brokaw collection, 1941-1997, bulk 1998-2007","War Correspondence"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Folder 016","/repositories/10/archival_objects/10048"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Tom Brokaw collection, 1941-1997, bulk 1998-2007"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1234,"parent_access_restrict_tesm":["This collection is open to all researchers."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"containers_ssim":["box 60","folder 16"],"scopecontent_html_tesm":["\u003cp\u003eVeteran: No (correspondent is granddaughter, Leigh White)\u003c/p\u003e","\u003cp\u003eSubject: Roger K. White\u003c/p\u003e","\u003cp\u003eTheater: North African \u0026amp; Mediterranean\u003c/p\u003e","\u003cp\u003eBranch: Army\u003c/p\u003e","\u003cp\u003eUnit/Ship/Squadron: N/A\u003c/p\u003e","\u003cp\u003eDates covered in folder: 1942-1944\u003c/p\u003e","\u003cp\u003ePOW: No\u003c/p\u003e","\u003cp\u003eDescription of folder contents: Three \"books\" (photocopies of self-published books) of transcribed letters from Roger White to his family and friends during the war. He was KIA at Anzio.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Veteran: No (correspondent is granddaughter, Leigh White)","Subject: Roger K. White","Theater: North African \u0026 Mediterranean","Branch: Army","Unit/Ship/Squadron: N/A","Dates covered in folder: 1942-1944","POW: No","Description of folder contents: Three \"books\" (photocopies of self-published books) of transcribed letters from Roger White to his family and friends during the war. He was KIA at Anzio."],"_nest_path_":"/components#1/components#134","_nest_parent_":"f8f446b15f81524e15fa326b_aspace_101692","_root_":"f8f446b15f81524e15fa326b","timestamp":"2026-07-14T02:47:00.113Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f8f446b15f81524e15fa326b","title_ssm":["Tom Brokaw collection"],"title_tesim":["Tom Brokaw collection"],"ead_ssi":"f8f446b15f81524e15fa326b","unitdate_ssm":["1941-1997","1998-2007"],"unitdate_bulk_ssim":["1998-2007"],"unitdate_inclusive_ssm":["1941-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["01.0171","/repositories/10/resources/37"],"text":["01.0171","/repositories/10/resources/37","Tom Brokaw collection, 1941-1997, bulk 1998-2007","This collection is open to all researchers.","The Tom Brokaw Collection is arranged within ten separate series. Series one through seven and nine and ten are arranged alphabetically while series eight is arranged chronologically and alphabetically within the series.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022.","Originally donated to the Institute on World War II and the Human Experience at FSU in 2001, the Tom Brokaw Collection is comprised of material sent to Tom Brokaw by World War II veterans before, during and after the publishing of his books,  The Greatest Generation  (1998) and  The Greatest Generation Speaks  (1999).\n Contained within the Tom Brokaw Collection are reminiscences from World War II veterans and those who were alive during the conflict, correspondence written to families back home during the war years, publications from various World War II veterans associations, poems written by veterans and their families commemorating their service in the war, photographs as well as artifacts and ephemera from the war years.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Tom Brokaw","English"],"unitid_tesim":["01.0171","/repositories/10/resources/37"],"normalized_date_ssm":["1941-1997, bulk 1998-2007"],"normalized_title_ssm":["Tom Brokaw collection, 1941-1997, bulk 1998-2007"],"collection_title_tesim":["Tom Brokaw collection, 1941-1997, bulk 1998-2007"],"collection_ssim":["Tom Brokaw collection, 1941-1997, bulk 1998-2007"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Tom Brokaw"],"creator_ssim":["Tom Brokaw"],"creator_persname_ssim":["Tom Brokaw"],"creators_ssim":["Tom Brokaw"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"has_online_content_ssim":["false"],"extent_ssm":["120.00 Linear Feet"],"extent_tesim":["120.00 Linear Feet"],"date_range_isim":[1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers."],"arrangement_html_tesm":["\u003cp\u003eThe Tom Brokaw Collection is arranged within ten separate series. Series one through seven and nine and ten are arranged alphabetically while series eight is arranged chronologically and alphabetically within the series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The Tom Brokaw Collection is arranged within ten separate series. Series one through seven and nine and ten are arranged alphabetically while series eight is arranged chronologically and alphabetically within the series."],"custodhist_html_tesm":["\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Tom Brokaw collection, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/02-01-0171\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Tom Brokaw collection, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/02-01-0171"],"scopecontent_html_tesm":["\u003cp\u003eOriginally donated to the Institute on World War II and the Human Experience at FSU in 2001, the Tom Brokaw Collection is comprised of material sent to Tom Brokaw by World War II veterans before, during and after the publishing of his books, \u003cemph render=\"italic\"\u003eThe Greatest Generation \u003c/emph\u003e(1998) and \u003cemph render=\"italic\"\u003eThe Greatest Generation Speaks \u003c/emph\u003e(1999).\n\u003cbr\u003e\u003cbr\u003eContained within the Tom Brokaw Collection are reminiscences from World War II veterans and those who were alive during the conflict, correspondence written to families back home during the war years, publications from various World War II veterans associations, poems written by veterans and their families commemorating their service in the war, photographs as well as artifacts and ephemera from the war years.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Originally donated to the Institute on World War II and the Human Experience at FSU in 2001, the Tom Brokaw Collection is comprised of material sent to Tom Brokaw by World War II veterans before, during and after the publishing of his books,  The Greatest Generation  (1998) and  The Greatest Generation Speaks  (1999).\n Contained within the Tom Brokaw Collection are reminiscences from World War II veterans and those who were alive during the conflict, correspondence written to families back home during the war years, publications from various World War II veterans associations, poems written by veterans and their families commemorating their service in the war, photographs as well as artifacts and ephemera from the war years."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_ssim":["FSU Special Collections \u0026 Archives","Tom Brokaw"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"persname_ssim":["Tom Brokaw"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8743,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f8f446b15f81524e15fa326b","timestamp":"2026-07-14T02:47:00.113Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f8f446b15f81524e15fa326b_aspace_133678"}},{"id":"456875eab9536e3707a4b04f_aspace_02c702ffb2aad24e019b19931b5c3779","type":"File","attributes":{"title":"White Rose","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_02c702ffb2aad24e019b19931b5c3779#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_02c702ffb2aad24e019b19931b5c3779","ref_ssm":["aspace_02c702ffb2aad24e019b19931b5c3779","aspace_02c702ffb2aad24e019b19931b5c3779"],"id":"456875eab9536e3707a4b04f_aspace_02c702ffb2aad24e019b19931b5c3779","title_filing_ssi":"White Rose","title_ssm":["White Rose"],"title_tesim":["White Rose"],"normalized_title_ssm":["White Rose"],"text":["White Rose","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida","/repositories/3/archival_objects/45455","box 9","folder 59"],"component_level_isim":[2],"parent_ids_ssim":["456875eab9536e3707a4b04f","456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540"],"parent_unittitles_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_unittitles_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/3/archival_objects/45455"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":843,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 9","folder 59"],"_nest_path_":"/components#3/components#658","_nest_parent_":"456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540","_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"456875eab9536e3707a4b04f","title_ssm":["Tom Mack Citrus and Vegetable Label Collection"],"title_tesim":["Tom Mack Citrus and Vegetable Label Collection"],"ead_ssi":"456875eab9536e3707a4b04f","unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT1000-1","/repositories/3/resources/145"],"text":["CIT1000-1","/repositories/3/resources/145","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia","Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.","In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.","The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. ","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. 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It was transferred to the archives via the library upon his retirement."],"access_subjects_ssim":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"access_subjects_ssm":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"has_online_content_ssim":["false"],"extent_ssm":["2.3 Linear Feet"],"extent_tesim":["2.3 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. 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Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. 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These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.\u003c/p\u003e\n","\u003cp\u003eBy the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.\u003c/p\u003e\n","\u003cp\u003eAlso notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.\u003c/p\u003e\n","\u003cp\u003eMost labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":949,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_5856cae3f07c8f805f01acea32c613a8"}},{"id":"456875eab9536e3707a4b04f_aspace_6afe35fa3faf8e5ab4377e1c8d79e09a","type":"File","attributes":{"title":"White Rose","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_6afe35fa3faf8e5ab4377e1c8d79e09a#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6afe35fa3faf8e5ab4377e1c8d79e09a","ref_ssm":["aspace_6afe35fa3faf8e5ab4377e1c8d79e09a","aspace_6afe35fa3faf8e5ab4377e1c8d79e09a"],"id":"456875eab9536e3707a4b04f_aspace_6afe35fa3faf8e5ab4377e1c8d79e09a","title_filing_ssi":"White Rose","title_ssm":["White Rose"],"title_tesim":["White Rose"],"normalized_title_ssm":["White Rose"],"text":["White Rose","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida","/repositories/3/archival_objects/45457","box 9","folder 61"],"component_level_isim":[2],"parent_ids_ssim":["456875eab9536e3707a4b04f","456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540"],"parent_unittitles_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_unittitles_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/3/archival_objects/45457"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":845,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 9","folder 61"],"_nest_path_":"/components#3/components#660","_nest_parent_":"456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540","_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"456875eab9536e3707a4b04f","title_ssm":["Tom Mack Citrus and Vegetable Label Collection"],"title_tesim":["Tom Mack Citrus and Vegetable Label Collection"],"ead_ssi":"456875eab9536e3707a4b04f","unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT1000-1","/repositories/3/resources/145"],"text":["CIT1000-1","/repositories/3/resources/145","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia","Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.","In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.","The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. ","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT1000-1","/repositories/3/resources/145"],"normalized_date_ssm":["1900-1970"],"normalized_title_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_title_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"geogname_ssm":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"geogname_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"places_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was created by Professor Tom Mack as part of his efforts to document the history of the citrus industry. It was transferred to the archives via the library upon his retirement."],"access_subjects_ssim":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"access_subjects_ssm":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"has_online_content_ssim":["false"],"extent_ssm":["2.3 Linear Feet"],"extent_tesim":["2.3 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eCitrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name."],"bioghist_html_tesm":["\u003cp\u003eIn the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.\u003c/p\u003e\n","\u003cp\u003eTo ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.\u003c/p\u003e\n","\u003cp\u003eWhile all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.\u003c/p\u003e\n","\u003cp\u003eCalifornia was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.\u003c/p\u003e\n","\u003cp\u003eBecause the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.\u003c/p\u003e\n","\u003cp\u003eFlorida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.\u003c/p\u003e\n","\u003cp\u003eCommon motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de Le\u0026#xF3;n and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.\u003c/p\u003e\n","\u003cp\u003eThe Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.\u003c/p\u003e\n","\u003cp\u003eTexas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything\u0026#x2014;including the marketing\u0026#x2014;was bigger and bolder in Texas.\u003c/p\u003e\n","\u003cp\u003erizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.\u003c/p\u003e\n","\u003cp\u003eArizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.\u003c/p\u003e\n","\u003cp\u003eBy the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.\u003c/p\u003e\n","\u003cp\u003eAlso notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.\u003c/p\u003e\n","\u003cp\u003eMost labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. 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For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 9","folder 62"],"_nest_path_":"/components#3/components#661","_nest_parent_":"456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540","_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"456875eab9536e3707a4b04f","title_ssm":["Tom Mack Citrus and Vegetable Label Collection"],"title_tesim":["Tom Mack Citrus and Vegetable Label Collection"],"ead_ssi":"456875eab9536e3707a4b04f","unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT1000-1","/repositories/3/resources/145"],"text":["CIT1000-1","/repositories/3/resources/145","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia","Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century","This collection is open for research. 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Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.","The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. 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It was transferred to the archives via the library upon his retirement."],"access_subjects_ssim":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"access_subjects_ssm":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"has_online_content_ssim":["false"],"extent_ssm":["2.3 Linear Feet"],"extent_tesim":["2.3 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eCitrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name."],"bioghist_html_tesm":["\u003cp\u003eIn the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.\u003c/p\u003e\n","\u003cp\u003eTo ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.\u003c/p\u003e\n","\u003cp\u003eWhile all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.\u003c/p\u003e\n","\u003cp\u003eCalifornia was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.\u003c/p\u003e\n","\u003cp\u003eBecause the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.\u003c/p\u003e\n","\u003cp\u003eFlorida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.\u003c/p\u003e\n","\u003cp\u003eCommon motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de Le\u0026#xF3;n and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.\u003c/p\u003e\n","\u003cp\u003eThe Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.\u003c/p\u003e\n","\u003cp\u003eTexas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything\u0026#x2014;including the marketing\u0026#x2014;was bigger and bolder in Texas.\u003c/p\u003e\n","\u003cp\u003erizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.\u003c/p\u003e\n","\u003cp\u003eArizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.\u003c/p\u003e\n","\u003cp\u003eBy the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.\u003c/p\u003e\n","\u003cp\u003eAlso notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.\u003c/p\u003e\n","\u003cp\u003eMost labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":949,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_2c9fbd7528033ad1c0ad3b392a283db8"}},{"id":"cf3038e22b52cf62b89ef6d9_aspace_4618c2b502bd9bcfecd68f4cf20baa64","type":"File","attributes":{"title":"White Rose","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/cf3038e22b52cf62b89ef6d9_aspace_4618c2b502bd9bcfecd68f4cf20baa64#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4618c2b502bd9bcfecd68f4cf20baa64","ref_ssm":["aspace_4618c2b502bd9bcfecd68f4cf20baa64","aspace_4618c2b502bd9bcfecd68f4cf20baa64"],"id":"cf3038e22b52cf62b89ef6d9_aspace_4618c2b502bd9bcfecd68f4cf20baa64","title_filing_ssi":"White Rose","title_ssm":["White Rose"],"title_tesim":["White Rose"],"normalized_title_ssm":["White Rose"],"text":["White Rose","Haskins Family Label Collection, 1920-1959","Box 2","Citrus Labels","/repositories/3/archival_objects/12559","folder 30"],"component_level_isim":[3],"parent_ids_ssim":["cf3038e22b52cf62b89ef6d9","cf3038e22b52cf62b89ef6d9_aspace_9439b84c894663012ce61c4f5ae619bf","cf3038e22b52cf62b89ef6d9_aspace_c061d187181a433164ebf6153cae9234"],"parent_unittitles_ssm":["Haskins Family Label Collection, 1920-1959","Box 2","Citrus Labels"],"parent_unittitles_tesim":["Haskins Family Label Collection, 1920-1959","Box 2","Citrus Labels"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["/repositories/3/archival_objects/12559"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Haskins Family Label Collection, 1920-1959"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":163,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["Permission to publish material from the Haskins Family Label Collection must be obtained from the appropriate copyright holder. Please inquire if you have questions archives@flsouthern.edu."],"containers_ssim":["folder 30"],"_nest_path_":"/components#1/components#0/components#29","_nest_parent_":"cf3038e22b52cf62b89ef6d9_aspace_c061d187181a433164ebf6153cae9234","_root_":"cf3038e22b52cf62b89ef6d9","_version_":1879186906859700224,"timestamp":"2026-10-16T06:31:28.796Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"cf3038e22b52cf62b89ef6d9","title_ssm":["Haskins Family Label Collection"],"title_tesim":["Haskins Family Label Collection"],"ead_ssi":"cf3038e22b52cf62b89ef6d9","unitdate_ssm":["1920-1959"],"unitdate_inclusive_ssm":["1920-1959"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT3010","/repositories/3/resources/35"],"text":["CIT3010","/repositories/3/resources/35","Haskins Family Label Collection, 1920-1959","Haskins, Harold","Labels--Florida","Fruit--Labels--Florida","Vegetables--Labels--Florida","Cigar boxes--Labels--Florida","Tobacco--Labels--Florida","Advertising--Labels--Florida","Antiques--Florida--Collectors and collecting","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","Calling himself the \"Florida Label Man,\" Harold Haskins and his wife Geraldine ran an antique shop for many years in Micanopy, Florida before moving to Tallahassee, Florida. The Haskins collected and sold a variety of labels, including fruit and vegetable crate labels and cigar box labels. Later, their daughter Mary also collected and sold labels as the \"Florida Label Ma'am.\"","The date range for this collection is based on the usage of citrus crate labels as the labels in this collection are all undated.\nSome labels included in this collection have previously been digitized as part of other collections and are available to view online as part of the McKay Archives' Fruit and Vegetable Labels Collection at https://archives.flsouthern.edu/digital/collection/labels.","The collection contains the following types of labels: Canning, Citrus, Fruit and Vegetable, Glass, and Tobacco. There are also postcards collected by the family.","Permission to publish material from the Haskins Family Label Collection must be obtained from the appropriate copyright holder. Please inquire if you have questions archives@flsouthern.edu.","Thomas B. Mack Florida Citrus Archives","Haskins, Harold ","English"],"unitid_tesim":["CIT3010","/repositories/3/resources/35"],"normalized_date_ssm":["1920-1959"],"normalized_title_ssm":["Haskins Family Label Collection, 1920-1959"],"collection_title_tesim":["Haskins Family Label Collection, 1920-1959"],"collection_ssim":["Haskins Family Label Collection, 1920-1959"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"creator_ssm":["Haskins, Harold "],"creator_ssim":["Haskins, Harold "],"creator_persname_ssim":["Haskins, Harold "],"creators_ssim":["Haskins, Harold "],"access_terms_ssm":["Permission to publish material from the Haskins Family Label Collection must be obtained from the appropriate copyright holder. Please inquire if you have questions archives@flsouthern.edu."],"acqinfo_ssim":["The labels were brought to the McKay Archives in 2021."],"access_subjects_ssim":["Haskins, Harold","Labels--Florida","Fruit--Labels--Florida","Vegetables--Labels--Florida","Cigar boxes--Labels--Florida","Tobacco--Labels--Florida","Advertising--Labels--Florida","Antiques--Florida--Collectors and collecting"],"access_subjects_ssm":["Haskins, Harold","Labels--Florida","Fruit--Labels--Florida","Vegetables--Labels--Florida","Cigar boxes--Labels--Florida","Tobacco--Labels--Florida","Advertising--Labels--Florida","Antiques--Florida--Collectors and collecting"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eCalling himself the \"Florida Label Man,\" Harold Haskins and his wife Geraldine ran an antique shop for many years in Micanopy, Florida before moving to Tallahassee, Florida. The Haskins collected and sold a variety of labels, including fruit and vegetable crate labels and cigar box labels. Later, their daughter Mary also collected and sold labels as the \"Florida Label Ma'am.\"\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Calling himself the \"Florida Label Man,\" Harold Haskins and his wife Geraldine ran an antique shop for many years in Micanopy, Florida before moving to Tallahassee, Florida. The Haskins collected and sold a variety of labels, including fruit and vegetable crate labels and cigar box labels. Later, their daughter Mary also collected and sold labels as the \"Florida Label Ma'am.\""],"odd_html_tesm":["\u003cp\u003eThe date range for this collection is based on the usage of citrus crate labels as the labels in this collection are all undated.\nSome labels included in this collection have previously been digitized as part of other collections and are available to view online as part of the McKay Archives' Fruit and Vegetable Labels Collection at https://archives.flsouthern.edu/digital/collection/labels.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["The date range for this collection is based on the usage of citrus crate labels as the labels in this collection are all undated.\nSome labels included in this collection have previously been digitized as part of other collections and are available to view online as part of the McKay Archives' Fruit and Vegetable Labels Collection at https://archives.flsouthern.edu/digital/collection/labels."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains the following types of labels: Canning, Citrus, Fruit and Vegetable, Glass, and Tobacco. There are also postcards collected by the family.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection contains the following types of labels: Canning, Citrus, Fruit and Vegetable, Glass, and Tobacco. There are also postcards collected by the family."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from the Haskins Family Label Collection must be obtained from the appropriate copyright holder. Please inquire if you have questions archives@flsouthern.edu.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish material from the Haskins Family Label Collection must be obtained from the appropriate copyright holder. Please inquire if you have questions archives@flsouthern.edu."],"names_ssim":["Thomas B. Mack Florida Citrus Archives","Haskins, Harold "],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"persname_ssim":["Haskins, Harold "],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":226,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879186906859700224,"_root_":"cf3038e22b52cf62b89ef6d9","timestamp":"2026-10-16T06:31:28.796Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/cf3038e22b52cf62b89ef6d9_aspace_4618c2b502bd9bcfecd68f4cf20baa64"}},{"id":"a3c341768c547290e3a4757a_aspace_d9d3e0ae1b9ad5f0f234a45baa278bff","type":"File","attributes":{"title":"White Rose Brand","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a3c341768c547290e3a4757a_aspace_d9d3e0ae1b9ad5f0f234a45baa278bff#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_d9d3e0ae1b9ad5f0f234a45baa278bff","ref_ssm":["aspace_d9d3e0ae1b9ad5f0f234a45baa278bff","aspace_d9d3e0ae1b9ad5f0f234a45baa278bff"],"id":"a3c341768c547290e3a4757a_aspace_d9d3e0ae1b9ad5f0f234a45baa278bff","title_filing_ssi":"White Rose Brand","title_ssm":["White Rose Brand"],"title_tesim":["White Rose Brand"],"normalized_title_ssm":["White Rose Brand"],"text":["White Rose Brand","Florida Citrus Processors Association Records, 1931-2021","Box 14","Labels","Canning","/repositories/3/archival_objects/11240","folder 46"],"component_level_isim":[4],"parent_ids_ssim":["a3c341768c547290e3a4757a","a3c341768c547290e3a4757a_aspace_84ee12d12939489f4afd92a6f057dd7e","a3c341768c547290e3a4757a_aspace_2424a7e9acc9d0b9df5a6a5a8ccf8109","a3c341768c547290e3a4757a_aspace_8af56a30d38b3d2af223cc0b22ef2e0e"],"parent_unittitles_ssm":["Florida Citrus Processors Association Records, 1931-2021","Box 14","Labels","Canning"],"parent_unittitles_tesim":["Florida Citrus Processors Association Records, 1931-2021","Box 14","Labels","Canning"],"parent_levels_ssm":["collection","Box","Series","Subseries"],"unitid_ssm":["/repositories/3/archival_objects/11240"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Florida Citrus Processors Association Records, 1931-2021"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":411,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials."],"parent_access_terms_tesm":["Permission to publish material from the Florida Citrus Processors Association Records must be obtained from Sarah D. and L. Kirk McKay, Jr. Archives Center or the appropriate copyright holder. Please inquire if you have questions at 863-680-4453."],"containers_ssim":["folder 46"],"_nest_path_":"/components#13/components#0/components#0/components#45","_nest_parent_":"a3c341768c547290e3a4757a_aspace_8af56a30d38b3d2af223cc0b22ef2e0e","_root_":"a3c341768c547290e3a4757a","_version_":1870852057850707968,"timestamp":"2026-07-16T06:32:37.362Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a3c341768c547290e3a4757a","title_ssm":["Florida Citrus Processors Association Records"],"title_tesim":["Florida Citrus Processors Association Records"],"ead_ssi":"a3c341768c547290e3a4757a","unitdate_ssm":["1931-2021"],"unitdate_inclusive_ssm":["1931-2021"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT2085","/repositories/3/resources/28"],"text":["CIT2085","/repositories/3/resources/28","Florida Citrus Processors Association Records, 1931-2021","Florida Citrus Processors Association","Citrus industry--Florida--History","Citrus industry--Florida--Societies, etc.--Records and correspondence","Citrus fruits--Processing--Florida","Agricultural associations--Florida--History","Florida Grapefruit Canners Association","Florida Citrus Commission","Florida. Department of Citrus","Citrus canker--Florida","Fruit--Diseases and pests","Hurricanes--Florida","newsletters","Statistics","Photographs","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials.","Florida Grapefruit Canners Association (ca. 1926-1937):","The Florida Citrus Processors Association (FCPA) began around 1926 as a loose affiliation of canning associations and companies under the guidance of Claude Everett \"C.E.\" Street of the Florida Grapefruit Canning Company. On December 7, 1931, the Florida Grapefruit Canners Association (FGCA) was officially established during its first meeting. C.E. Street was named President and Clifford Charles \"C.C.\" Rathbun was named permanent Secretary after having\nserved the group for four years. At this time, the organization was based in Tampa, Florida. In 1932, FGCA began working with the U.S.D.A. Citrus Products Station, which was established in 1931 in Winter Haven, Florida, to establish standards on canned grapefruit. This cooperation would extend beyond the establishment of these standards as the FGCA financially supported and advocated for the laboratory. The Florida Citrus Commission (FCC), established in 1935, would also join FGCA in supporting the laboratory.","Florida Canners Association (1937-1978):","In 1937, FGCA changed its name to Florida Canners Association (FCA); the organization was chartered and incorporated on August 13. During the 1940s, FCA continued to support the USDA laboratory in Winter Haven alongside the FCC, including Dr. L.G. MacDowell's research into packing citrus products in glass. In 1950, under President C. Howard Sweatt, FCA reached 100% participation from all canning companies within the state of Florida. In 1951,\nFCA took over the Canners League of Florida, which had been established in 1948, as well as that organization's informational services. In 1956, FCA moved their headquarters to Winter Haven, Florida after the city had donated land to the Association. In 1961, the Food and Drug Administration (FDA) held hearings regarding the standards of orange juice. Director Marvin H. Walker (President, 1951-1952) provided testimony and Secretary C.C. Rathbun was also present for these hearings. In 1962, the long-serving C.C.\nRathbun retired as Executive Vice President after having served the organization since its beginning. He remained as a consultant to the organization and served as Chairman on the Board of Directors. Warren E. Savant succeeded Rathbun as the Executive Secretary for FCA and later became Executive Vice President himself.","Citrus Processors Association (1941-1964):","In 1941, the Citrus Processors Association (CPA) was formed, and by 1950, the organization was based out of Lakeland, Florida. However, while at first independent from FCA, the two organizations began working closely together in 1951 when FCA took over the reporting of statistics regarding citrus processing and citrus processing by-products. FCA Executive Secretary C.C. Rathbun also served as the Manager of CPA. By 1952, CPA had moved their\norganization over to Tampa, where FCA was based at the time. When FCA made the move to Winter Haven in 1956, CPA followed and was housed in the same building as FCA. On April 16, 1964, CPA and its activities were fully absorbed into the Florida Canners Association. At the same time as this merger, the Citrus By-Products Committee was formed out of the directors of CPA to continue serving the citrus pulp industry and its interests. ","Florida Citrus Processors Association (1978 – Present):","On May 25, 1978, the Florida Canners Association changed its name to Florida Citrus Processors Association in order to better reflect the members of the organization. In 1984, Executive Vice President Savant retired and Clifford C. Beasley, Jr. assumed the role. In 1999, Lisa Young Rath became the Executive Vice President following Beasley's resignation. Rath would hold the position until she resigned from the organization in 2006. In 2000, Florida Citrus Processors Association II (FCPA II) submitted its first state corporation\nfiling, and in 2001, FCPA merged with FCPA II. In 2006, FCPA II reverted to its original name of Florida Citrus Processors Association and Kristen Carlson became Executive Director of the newly merged organization. However, in the same year, FCPA lost most of its staff and its building due to spending cuts. In 2013, Ansley Watson, Jr., the son of former FCA President Ansley Watson, Sr. (1955-1956), took over as Executive Director. He served until 2018, when\nKristen Carlson resumed her role as Executive Director. As of 2021, the organization is currently housed in the Tampa offices of MacFarlane, Ferguson, \u0026 McMullen where Executive Director Carlson is an attorney.\nThroughout the years, FCPA has worked with various state and federal organizations, including, but not limited to, the Florida Citrus Commission (now the Florida Department of Citrus), Florida Citrus Mutual, the Citrus Experiment Station (now known as the Citrus Research Experiment Center) in Lake Alfred, the US Department of Agriculture, the Food and Drug Administration, and the National Canners Association. Also affiliated with FCPA was the now defunct Florida Citrus Processors for Good Government, Inc. campaign finance committee. As of 2021, FCPA works in collaboration with the Florida Citrus Hall of Fame each year to host the Florida Citrus Processors Association \"O.J. Meet and Greet\" at the Hall of Fame's annual induction ceremony luncheon hosted at Florida Southern College. ","\nAdditional Sources:\nBouffard, Kevin. \"High Prices for Orange Juice Send Sales Down.\" The Ledger (Lakeland, Florida), March 14,\n2006.\n\"Florida Canners Consolidate Trade Groups.\" The Orlando Sentinel (Orlando, Florida), December 16, 1951.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION, INC.\" Florida Department of State, Division of Corporations.\nhttp://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION II, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS FOR GOOD GOVERNMENT, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\nPower, Paul, Jr. \"Rath Getting New Job; The Insider.\" The Ledger (Lakeland, Florida), February 10, 1999.\n\"Trade Group Gets New Chief; Citrus Agency Wins.\" The Ledger (Lakeland, Florida), May 19, 2006","As of April 2024, the canning and glass labels in this collection have not yet been digitized. Please see the following collections for further information on individuals who were affiliated with FCPA as well as on citrus processing in general:","Individuals Affiliated with FCPA:\n• C.C. Rathbun Papers: C.C. Rathbun was the Executive Secretary and later Executive Vice President of FCA.\n• C. Howard Sweatt Papers: C. Howard Sweatt was the President of FCA from 1949-1950.","Citrus Processing:\n• Citrus Processors Meetings Records: The University of Florida's Citrus Research and Education Center hosted these meetings with the Florida Citrus Commission, and FCA, CPA, and FCPA attended the meetings some years. Please note, however, that while the organizations all collaborate with one another, FCPA is independent of both CREC and FDOC.","This collection contains the following materials from the Florida Citrus Processors Association:","Annual Statistical Reports:","This series contains the annual statistical reports produced by the Association as well as the bimonthly statistical reports produced by CPA from 1950-1952. In 2000, the Florida Department of Citrus (FDOC) began producing annual statistical reports, and in 2006, the Department officially took over the task of producing the annual statistical reports for citrus processing due to an organizational restructure of FCPA. This series is arranged chronologically.","Correspondence:\nThis series contains correspondence primarily between Emory Cocke of SuniCitrus Products and both the Citrus Processors Association and the Florida\nCanners Association. This series is arranged chronologically.","Directories:\nThis series consists of membership directories for both FCA and FCPA. These\ndirectories may also include statistical information for the year that is also\navailable in the Annual Reports. This series is arranged chronologically.","Labels:\nCanning: The labels in this subseries are those for orange, grapefruit, tangerine,\nand citrus blend juice products as well as grapefruit segments and citrus fruit\nsalads. This sub-series is arranged alphabetically.\nGlass: The labels in this subseries are those for orange and grapefruit juice\nproducts. This sub-series is arranged alphabetically.","Legislation:\nThis series contains the entire 27 volumes of the Food and Drug Administration\nHearings in 1961 in regards to Orange Juice Standards. Also included are impact analysis reports as well as litigation in regards to federal and state legislation passed. This series is arranged chronologically within each sub-series.","Meeting Programs:\nThis series contains programs for the 24th and the 43rd-45th Annual Meetings for FCA as well as the 50th and 52nd-57th Annual Meetings for FCPA. This series is arranged chronologically.","Photographs: This series includes photographs taken or used by FCPA. This series is arranged chronologically.","Marketing:\nThis series contains ephemera from FCPA presumably used for marketing\npurposes including tie clips, brochures, and magazine articles. This series is\narranged chronologically","Permission to publish material from the Florida Citrus Processors Association Records must be obtained from Sarah D. and L. Kirk McKay, Jr. Archives Center or the appropriate copyright holder. Please inquire if you have questions at 863-680-4453.","Thomas B. Mack Florida Citrus Archives","Florida Citrus Processor's Association","English"],"unitid_tesim":["CIT2085","/repositories/3/resources/28"],"normalized_date_ssm":["1931-2021"],"normalized_title_ssm":["Florida Citrus Processors Association Records, 1931-2021"],"collection_title_tesim":["Florida Citrus Processors Association Records, 1931-2021"],"collection_ssim":["Florida Citrus Processors Association Records, 1931-2021"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"creator_ssm":["Florida Citrus Processor's Association"],"creator_ssim":["Florida Citrus Processor's Association"],"creator_corpname_ssim":["Florida Citrus Processor's Association"],"creators_ssim":["Florida Citrus Processor's Association"],"access_terms_ssm":["Permission to publish material from the Florida Citrus Processors Association Records must be obtained from Sarah D. and L. Kirk McKay, Jr. Archives Center or the appropriate copyright holder. Please inquire if you have questions at 863-680-4453."],"acqinfo_ssim":["In April 1994, FCPA Executive Vice President Clifford C. Beasley, Jr. donated some of the annual statistical reports (1931-1993) as well as the compilation of the 1961 FDA hearings to the Thomas B. Mack Citrus Archives. Clifford C. Beasley, Jr. also donated some citrus glass and canning labels that he received around 1975; however, it is unknown when this donation arrived at the Archives. As part of his donation to the Thomas B. Mack Citrus Archives in 1979, Emory Cocke included materials concerning FCA, CPA, and FCPA, including annual statistical reports and correspondence. The FDOC 2000-2020 Annual Statistical Reports were printed by McKay Archives staff and included with this collection. It is unknown when the rest of the materials in this collection were donated to the Citrus Archives. The Thomas B. Mack Citrus Archives were transferred to the Roux Library in 2005 then to the McKay Archives Center in 2009."],"access_subjects_ssim":["Florida Citrus Processors Association","Citrus industry--Florida--History","Citrus industry--Florida--Societies, etc.--Records and correspondence","Citrus fruits--Processing--Florida","Agricultural associations--Florida--History","Florida Grapefruit Canners Association","Florida Citrus Commission","Florida. Department of Citrus","Citrus canker--Florida","Fruit--Diseases and pests","Hurricanes--Florida","newsletters","Statistics","Photographs"],"access_subjects_ssm":["Florida Citrus Processors Association","Citrus industry--Florida--History","Citrus industry--Florida--Societies, etc.--Records and correspondence","Citrus fruits--Processing--Florida","Agricultural associations--Florida--History","Florida Grapefruit Canners Association","Florida Citrus Commission","Florida. Department of Citrus","Citrus canker--Florida","Fruit--Diseases and pests","Hurricanes--Florida","newsletters","Statistics","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["7.50 Linear Feet"],"extent_tesim":["7.50 Linear Feet"],"genreform_ssim":["newsletters","Statistics","Photographs"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eFlorida Grapefruit Canners Association (ca. 1926-1937):\u003c/p\u003e\n","\u003cp\u003eThe Florida Citrus Processors Association (FCPA) began around 1926 as a loose affiliation of canning associations and companies under the guidance of Claude Everett \"C.E.\" Street of the Florida Grapefruit Canning Company. On December 7, 1931, the Florida Grapefruit Canners Association (FGCA) was officially established during its first meeting. C.E. Street was named President and Clifford Charles \"C.C.\" Rathbun was named permanent Secretary after having\nserved the group for four years. At this time, the organization was based in Tampa, Florida. In 1932, FGCA began working with the U.S.D.A. Citrus Products Station, which was established in 1931 in Winter Haven, Florida, to establish standards on canned grapefruit. This cooperation would extend beyond the establishment of these standards as the FGCA financially supported and advocated for the laboratory. The Florida Citrus Commission (FCC), established in 1935, would also join FGCA in supporting the laboratory.\u003c/p\u003e\n","\u003cp\u003eFlorida Canners Association (1937-1978):\u003c/p\u003e\n","\u003cp\u003eIn 1937, FGCA changed its name to Florida Canners Association (FCA); the organization was chartered and incorporated on August 13. During the 1940s, FCA continued to support the USDA laboratory in Winter Haven alongside the FCC, including Dr. L.G. MacDowell's research into packing citrus products in glass. In 1950, under President C. Howard Sweatt, FCA reached 100% participation from all canning companies within the state of Florida. In 1951,\nFCA took over the Canners League of Florida, which had been established in 1948, as well as that organization's informational services. In 1956, FCA moved their headquarters to Winter Haven, Florida after the city had donated land to the Association. In 1961, the Food and Drug Administration (FDA) held hearings regarding the standards of orange juice. Director Marvin H. Walker (President, 1951-1952) provided testimony and Secretary C.C. Rathbun was also present for these hearings. In 1962, the long-serving C.C.\nRathbun retired as Executive Vice President after having served the organization since its beginning. He remained as a consultant to the organization and served as Chairman on the Board of Directors. Warren E. Savant succeeded Rathbun as the Executive Secretary for FCA and later became Executive Vice President himself.\u003c/p\u003e\n","\u003cp\u003eCitrus Processors Association (1941-1964):\u003c/p\u003e\n","\u003cp\u003eIn 1941, the Citrus Processors Association (CPA) was formed, and by 1950, the organization was based out of Lakeland, Florida. However, while at first independent from FCA, the two organizations began working closely together in 1951 when FCA took over the reporting of statistics regarding citrus processing and citrus processing by-products. FCA Executive Secretary C.C. Rathbun also served as the Manager of CPA. By 1952, CPA had moved their\norganization over to Tampa, where FCA was based at the time. When FCA made the move to Winter Haven in 1956, CPA followed and was housed in the same building as FCA. On April 16, 1964, CPA and its activities were fully absorbed into the Florida Canners Association. At the same time as this merger, the Citrus By-Products Committee was formed out of the directors of CPA to continue serving the citrus pulp industry and its interests. \u003c/p\u003e\n","\u003cp\u003eFlorida Citrus Processors Association (1978 \u0026#x2013; Present):\u003c/p\u003e\n","\u003cp\u003eOn May 25, 1978, the Florida Canners Association changed its name to Florida Citrus Processors Association in order to better reflect the members of the organization. In 1984, Executive Vice President Savant retired and Clifford C. Beasley, Jr. assumed the role. In 1999, Lisa Young Rath became the Executive Vice President following Beasley's resignation. Rath would hold the position until she resigned from the organization in 2006. In 2000, Florida Citrus Processors Association II (FCPA II) submitted its first state corporation\nfiling, and in 2001, FCPA merged with FCPA II. In 2006, FCPA II reverted to its original name of Florida Citrus Processors Association and Kristen Carlson became Executive Director of the newly merged organization. However, in the same year, FCPA lost most of its staff and its building due to spending cuts. In 2013, Ansley Watson, Jr., the son of former FCA President Ansley Watson, Sr. (1955-1956), took over as Executive Director. He served until 2018, when\nKristen Carlson resumed her role as Executive Director. As of 2021, the organization is currently housed in the Tampa offices of MacFarlane, Ferguson, \u0026amp; McMullen where Executive Director Carlson is an attorney.\nThroughout the years, FCPA has worked with various state and federal organizations, including, but not limited to, the Florida Citrus Commission (now the Florida Department of Citrus), Florida Citrus Mutual, the Citrus Experiment Station (now known as the Citrus Research Experiment Center) in Lake Alfred, the US Department of Agriculture, the Food and Drug Administration, and the National Canners Association. Also affiliated with FCPA was the now defunct Florida Citrus Processors for Good Government, Inc. campaign finance committee. As of 2021, FCPA works in collaboration with the Florida Citrus Hall of Fame each year to host the Florida Citrus Processors Association \"O.J. Meet and Greet\" at the Hall of Fame's annual induction ceremony luncheon hosted at Florida Southern College. \u003c/p\u003e\n","\u003cp\u003e\nAdditional Sources:\nBouffard, Kevin. \"High Prices for Orange Juice Send Sales Down.\" The Ledger (Lakeland, Florida), March 14,\n2006.\n\"Florida Canners Consolidate Trade Groups.\" The Orlando Sentinel (Orlando, Florida), December 16, 1951.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION, INC.\" Florida Department of State, Division of Corporations.\nhttp://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION II, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS FOR GOOD GOVERNMENT, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\nPower, Paul, Jr. \"Rath Getting New Job; The Insider.\" The Ledger (Lakeland, Florida), February 10, 1999.\n\"Trade Group Gets New Chief; Citrus Agency Wins.\" The Ledger (Lakeland, Florida), May 19, 2006\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Florida Grapefruit Canners Association (ca. 1926-1937):","The Florida Citrus Processors Association (FCPA) began around 1926 as a loose affiliation of canning associations and companies under the guidance of Claude Everett \"C.E.\" Street of the Florida Grapefruit Canning Company. On December 7, 1931, the Florida Grapefruit Canners Association (FGCA) was officially established during its first meeting. C.E. Street was named President and Clifford Charles \"C.C.\" Rathbun was named permanent Secretary after having\nserved the group for four years. At this time, the organization was based in Tampa, Florida. In 1932, FGCA began working with the U.S.D.A. Citrus Products Station, which was established in 1931 in Winter Haven, Florida, to establish standards on canned grapefruit. This cooperation would extend beyond the establishment of these standards as the FGCA financially supported and advocated for the laboratory. The Florida Citrus Commission (FCC), established in 1935, would also join FGCA in supporting the laboratory.","Florida Canners Association (1937-1978):","In 1937, FGCA changed its name to Florida Canners Association (FCA); the organization was chartered and incorporated on August 13. During the 1940s, FCA continued to support the USDA laboratory in Winter Haven alongside the FCC, including Dr. L.G. MacDowell's research into packing citrus products in glass. In 1950, under President C. Howard Sweatt, FCA reached 100% participation from all canning companies within the state of Florida. In 1951,\nFCA took over the Canners League of Florida, which had been established in 1948, as well as that organization's informational services. In 1956, FCA moved their headquarters to Winter Haven, Florida after the city had donated land to the Association. In 1961, the Food and Drug Administration (FDA) held hearings regarding the standards of orange juice. Director Marvin H. Walker (President, 1951-1952) provided testimony and Secretary C.C. Rathbun was also present for these hearings. In 1962, the long-serving C.C.\nRathbun retired as Executive Vice President after having served the organization since its beginning. He remained as a consultant to the organization and served as Chairman on the Board of Directors. Warren E. Savant succeeded Rathbun as the Executive Secretary for FCA and later became Executive Vice President himself.","Citrus Processors Association (1941-1964):","In 1941, the Citrus Processors Association (CPA) was formed, and by 1950, the organization was based out of Lakeland, Florida. However, while at first independent from FCA, the two organizations began working closely together in 1951 when FCA took over the reporting of statistics regarding citrus processing and citrus processing by-products. FCA Executive Secretary C.C. Rathbun also served as the Manager of CPA. By 1952, CPA had moved their\norganization over to Tampa, where FCA was based at the time. When FCA made the move to Winter Haven in 1956, CPA followed and was housed in the same building as FCA. On April 16, 1964, CPA and its activities were fully absorbed into the Florida Canners Association. At the same time as this merger, the Citrus By-Products Committee was formed out of the directors of CPA to continue serving the citrus pulp industry and its interests. ","Florida Citrus Processors Association (1978 – Present):","On May 25, 1978, the Florida Canners Association changed its name to Florida Citrus Processors Association in order to better reflect the members of the organization. In 1984, Executive Vice President Savant retired and Clifford C. Beasley, Jr. assumed the role. In 1999, Lisa Young Rath became the Executive Vice President following Beasley's resignation. Rath would hold the position until she resigned from the organization in 2006. In 2000, Florida Citrus Processors Association II (FCPA II) submitted its first state corporation\nfiling, and in 2001, FCPA merged with FCPA II. In 2006, FCPA II reverted to its original name of Florida Citrus Processors Association and Kristen Carlson became Executive Director of the newly merged organization. However, in the same year, FCPA lost most of its staff and its building due to spending cuts. In 2013, Ansley Watson, Jr., the son of former FCA President Ansley Watson, Sr. (1955-1956), took over as Executive Director. He served until 2018, when\nKristen Carlson resumed her role as Executive Director. As of 2021, the organization is currently housed in the Tampa offices of MacFarlane, Ferguson, \u0026 McMullen where Executive Director Carlson is an attorney.\nThroughout the years, FCPA has worked with various state and federal organizations, including, but not limited to, the Florida Citrus Commission (now the Florida Department of Citrus), Florida Citrus Mutual, the Citrus Experiment Station (now known as the Citrus Research Experiment Center) in Lake Alfred, the US Department of Agriculture, the Food and Drug Administration, and the National Canners Association. Also affiliated with FCPA was the now defunct Florida Citrus Processors for Good Government, Inc. campaign finance committee. As of 2021, FCPA works in collaboration with the Florida Citrus Hall of Fame each year to host the Florida Citrus Processors Association \"O.J. Meet and Greet\" at the Hall of Fame's annual induction ceremony luncheon hosted at Florida Southern College. ","\nAdditional Sources:\nBouffard, Kevin. \"High Prices for Orange Juice Send Sales Down.\" The Ledger (Lakeland, Florida), March 14,\n2006.\n\"Florida Canners Consolidate Trade Groups.\" The Orlando Sentinel (Orlando, Florida), December 16, 1951.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION, INC.\" Florida Department of State, Division of Corporations.\nhttp://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS ASSOCIATION II, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\n\"FLORIDA CITRUS PROCESSORS FOR GOOD GOVERNMENT, INC.\" Florida Department of State, Division of\nCorporations. http://search.sunbiz.org/Inquiry/CorporationSearch/ByName.\nPower, Paul, Jr. \"Rath Getting New Job; The Insider.\" The Ledger (Lakeland, Florida), February 10, 1999.\n\"Trade Group Gets New Chief; Citrus Agency Wins.\" The Ledger (Lakeland, Florida), May 19, 2006"],"odd_html_tesm":["\u003cp\u003eAs of April 2024, the canning and glass labels in this collection have not yet been digitized. Please see the following collections for further information on individuals who were affiliated with FCPA as well as on citrus processing in general:\u003c/p\u003e\n","\u003cp\u003eIndividuals Affiliated with FCPA:\n\u0026#x2022; C.C. Rathbun Papers: C.C. Rathbun was the Executive Secretary and later Executive Vice President of FCA.\n\u0026#x2022; C. Howard Sweatt Papers: C. Howard Sweatt was the President of FCA from 1949-1950.\u003c/p\u003e\n","\u003cp\u003eCitrus Processing:\n\u0026#x2022; Citrus Processors Meetings Records: The University of Florida's Citrus Research and Education Center hosted these meetings with the Florida Citrus Commission, and FCA, CPA, and FCPA attended the meetings some years. Please note, however, that while the organizations all collaborate with one another, FCPA is independent of both CREC and FDOC.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["As of April 2024, the canning and glass labels in this collection have not yet been digitized. Please see the following collections for further information on individuals who were affiliated with FCPA as well as on citrus processing in general:","Individuals Affiliated with FCPA:\n• C.C. Rathbun Papers: C.C. Rathbun was the Executive Secretary and later Executive Vice President of FCA.\n• C. Howard Sweatt Papers: C. Howard Sweatt was the President of FCA from 1949-1950.","Citrus Processing:\n• Citrus Processors Meetings Records: The University of Florida's Citrus Research and Education Center hosted these meetings with the Florida Citrus Commission, and FCA, CPA, and FCPA attended the meetings some years. Please note, however, that while the organizations all collaborate with one another, FCPA is independent of both CREC and FDOC."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the following materials from the Florida Citrus Processors Association:\u003c/p\u003e\n","\u003cp\u003eAnnual Statistical Reports:\u003c/p\u003e\n","\u003cp\u003eThis series contains the annual statistical reports produced by the Association as well as the bimonthly statistical reports produced by CPA from 1950-1952. In 2000, the Florida Department of Citrus (FDOC) began producing annual statistical reports, and in 2006, the Department officially took over the task of producing the annual statistical reports for citrus processing due to an organizational restructure of FCPA. This series is arranged chronologically.\u003c/p\u003e\n","\u003cp\u003eCorrespondence:\nThis series contains correspondence primarily between Emory Cocke of SuniCitrus Products and both the Citrus Processors Association and the Florida\nCanners Association. This series is arranged chronologically.\u003c/p\u003e\n","\u003cp\u003eDirectories:\nThis series consists of membership directories for both FCA and FCPA. These\ndirectories may also include statistical information for the year that is also\navailable in the Annual Reports. This series is arranged chronologically.\u003c/p\u003e\n","\u003cp\u003eLabels:\nCanning: The labels in this subseries are those for orange, grapefruit, tangerine,\nand citrus blend juice products as well as grapefruit segments and citrus fruit\nsalads. This sub-series is arranged alphabetically.\nGlass: The labels in this subseries are those for orange and grapefruit juice\nproducts. This sub-series is arranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eLegislation:\nThis series contains the entire 27 volumes of the Food and Drug Administration\nHearings in 1961 in regards to Orange Juice Standards. Also included are impact analysis reports as well as litigation in regards to federal and state legislation passed. This series is arranged chronologically within each sub-series.\u003c/p\u003e\n","\u003cp\u003eMeeting Programs:\nThis series contains programs for the 24th and the 43rd-45th Annual Meetings for FCA as well as the 50th and 52nd-57th Annual Meetings for FCPA. This series is arranged chronologically.\u003c/p\u003e\n","\u003cp\u003ePhotographs: This series includes photographs taken or used by FCPA. This series is arranged chronologically.\u003c/p\u003e\n","\u003cp\u003eMarketing:\nThis series contains ephemera from FCPA presumably used for marketing\npurposes including tie clips, brochures, and magazine articles. This series is\narranged chronologically\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains the following materials from the Florida Citrus Processors Association:","Annual Statistical Reports:","This series contains the annual statistical reports produced by the Association as well as the bimonthly statistical reports produced by CPA from 1950-1952. In 2000, the Florida Department of Citrus (FDOC) began producing annual statistical reports, and in 2006, the Department officially took over the task of producing the annual statistical reports for citrus processing due to an organizational restructure of FCPA. This series is arranged chronologically.","Correspondence:\nThis series contains correspondence primarily between Emory Cocke of SuniCitrus Products and both the Citrus Processors Association and the Florida\nCanners Association. This series is arranged chronologically.","Directories:\nThis series consists of membership directories for both FCA and FCPA. These\ndirectories may also include statistical information for the year that is also\navailable in the Annual Reports. This series is arranged chronologically.","Labels:\nCanning: The labels in this subseries are those for orange, grapefruit, tangerine,\nand citrus blend juice products as well as grapefruit segments and citrus fruit\nsalads. This sub-series is arranged alphabetically.\nGlass: The labels in this subseries are those for orange and grapefruit juice\nproducts. This sub-series is arranged alphabetically.","Legislation:\nThis series contains the entire 27 volumes of the Food and Drug Administration\nHearings in 1961 in regards to Orange Juice Standards. Also included are impact analysis reports as well as litigation in regards to federal and state legislation passed. This series is arranged chronologically within each sub-series.","Meeting Programs:\nThis series contains programs for the 24th and the 43rd-45th Annual Meetings for FCA as well as the 50th and 52nd-57th Annual Meetings for FCPA. This series is arranged chronologically.","Photographs: This series includes photographs taken or used by FCPA. This series is arranged chronologically.","Marketing:\nThis series contains ephemera from FCPA presumably used for marketing\npurposes including tie clips, brochures, and magazine articles. This series is\narranged chronologically"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from the Florida Citrus Processors Association Records must be obtained from Sarah D. and L. Kirk McKay, Jr. Archives Center or the appropriate copyright holder. Please inquire if you have questions at 863-680-4453.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish material from the Florida Citrus Processors Association Records must be obtained from Sarah D. and L. Kirk McKay, Jr. Archives Center or the appropriate copyright holder. Please inquire if you have questions at 863-680-4453."],"names_ssim":["Thomas B. Mack Florida Citrus Archives","Florida Citrus Processor's Association"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives","Florida Citrus Processor's Association"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":504,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852057850707968,"_root_":"a3c341768c547290e3a4757a","timestamp":"2026-07-16T06:32:37.362Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a3c341768c547290e3a4757a_aspace_d9d3e0ae1b9ad5f0f234a45baa278bff"}},{"id":"9b83f60114f461d46ead1fe9_aspace_b9911fc296cbdf2a31f9d1d238e4f609","type":"File","attributes":{"title":"White Rose (JE.0799)","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/9b83f60114f461d46ead1fe9_aspace_b9911fc296cbdf2a31f9d1d238e4f609#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b9911fc296cbdf2a31f9d1d238e4f609","ref_ssm":["aspace_b9911fc296cbdf2a31f9d1d238e4f609","aspace_b9911fc296cbdf2a31f9d1d238e4f609"],"id":"9b83f60114f461d46ead1fe9_aspace_b9911fc296cbdf2a31f9d1d238e4f609","title_filing_ssi":"White Rose (JE.0799)","title_ssm":["White Rose (JE.0799)"],"title_tesim":["White Rose (JE.0799)"],"normalized_title_ssm":["White Rose (JE.0799)"],"text":["White Rose (JE.0799)","Jim Ellis Citrus Crate Label Collection, n/a","/repositories/3/archival_objects/35157","box 8","folder 101"],"component_level_isim":[1],"parent_ids_ssim":["9b83f60114f461d46ead1fe9"],"parent_unittitles_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_unittitles_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/35157"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":802,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 8","folder 101"],"_nest_path_":"/components#801","_nest_parent_":"9b83f60114f461d46ead1fe9","_root_":"9b83f60114f461d46ead1fe9","_version_":1870852077888995328,"timestamp":"2026-07-16T06:32:56.465Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9b83f60114f461d46ead1fe9","title_ssm":["Jim Ellis Citrus Crate Label Collection"],"title_tesim":["Jim Ellis Citrus Crate Label Collection"],"ead_ssi":"9b83f60114f461d46ead1fe9","unitdate_ssm":["n/a"],"unitdate_other_ssim":["n/a"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT6085","/repositories/3/resources/136"],"text":["CIT6085","/repositories/3/resources/136","Jim Ellis Citrus Crate Label Collection, n/a","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","Labels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747).","The contents of this collection are made up of various citrus crate labels from different companies.","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT6085","/repositories/3/resources/136"],"normalized_date_ssm":["n/a"],"normalized_title_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_title_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"access_subjects_ssm":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"has_online_content_ssim":["false"],"extent_ssm":["5.4 Linear Feet"],"extent_tesim":["5.4 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website."],"odd_html_tesm":["\u003cp\u003eLabels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747).\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Labels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747)."],"scopecontent_html_tesm":["\u003cp\u003eThe contents of this collection are made up of various citrus crate labels from different companies.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The contents of this collection are made up of various citrus crate labels from different companies."],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852077888995328,"_root_":"9b83f60114f461d46ead1fe9","timestamp":"2026-07-16T06:32:56.465Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/9b83f60114f461d46ead1fe9_aspace_b9911fc296cbdf2a31f9d1d238e4f609"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Claude Pepper Papers, 1900-1989","value":"Claude Pepper Papers, 1900-1989","hits":38466},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Claude+Pepper+Papers%2C+1900-1989\u0026view=list"}},{"attributes":{"label":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","value":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","hits":8744},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Tom+Brokaw+collection%2C+1941-1997%2C+bulk+1998-2007\u0026view=list"}},{"attributes":{"label":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","value":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","hits":8167},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sam+Gibbons+collection%2C+1940-2000%2C+1996%2C+bulk+1960-1996\u0026view=list"}},{"attributes":{"label":"University Communications Collection, 1940-2013, bulk 1990-2013","value":"University Communications Collection, 1940-2013, bulk 1990-2013","hits":8132},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=University+Communications+Collection%2C+1940-2013%2C+bulk+1990-2013\u0026view=list"}},{"attributes":{"label":"Degen Playbill Collection, 1895-2023","value":"Degen Playbill Collection, 1895-2023","hits":7504},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Degen+Playbill+Collection%2C+1895-2023\u0026view=list"}},{"attributes":{"label":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","value":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","hits":6282},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Gandy+Commercial+and+Aerial+Photography+collection%2C+1950-2010%2C+Date+acquired%3A+12%2F01%2F2010\u0026view=list"}},{"attributes":{"label":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","value":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","hits":6121},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+Knight+Zewadski+Classical+movie+stills+collection%2C+1860-2007%2C+Date+acquired%3A+00%2F00%2F2018\u0026view=list"}},{"attributes":{"label":"Mark Wallheiser Photographic Collection, 1980-2024","value":"Mark Wallheiser Photographic Collection, 1980-2024","hits":5346},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Mark+Wallheiser+Photographic+Collection%2C+1980-2024\u0026view=list"}},{"attributes":{"label":"Harrison \"Buzz\" Price papers, 1948-2006","value":"Harrison \"Buzz\" Price papers, 1948-2006","hits":4992},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Harrison+%22Buzz%22+Price+papers%2C+1948-2006\u0026view=list"}},{"attributes":{"label":"Vertical files, 1900-2005","value":"Vertical files, 1900-2005","hits":4915},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Vertical+files%2C+1900-2005\u0026view=list"}},{"attributes":{"label":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","value":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","hits":4821},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Hampton+Dunn+collection%2C+1916-2002%2C+Date+acquired%3A+00%2F00%2F1981%2C+bulk+1960-2002\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?facet.sort=count\u0026view=list"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Henry Clay and Bock \u0026 Co., Ltd. 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