{"product_id":"vintage-1950s-red-barn-crate-label-san-francisco-ca-treasures-gifts","title":"Vintage 1950s Red Barn 🍅 Crate Label — Orange County Pole Tomatoes, Heggblade-Marguleas Co., San Francisco, Lithograph","description":"\u003ch2\u003eWhen Did California's Farmland Disappear Into Suburbia — and Who Captured It Before It Did? 🏚️\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 13\" x 4\"\u003c\/p\u003e\n\u003cdiv style=\"max-width:315px;margin:0 auto 20px;\"\u003e\u003cdiv style=\"position:relative;padding-bottom:177.78%;height:0;overflow:hidden;\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/5jf31zMJWS4\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"accelerometer;autoplay;clipboard-write;encrypted-media;gyroscope;picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/div\u003e\u003c\/div\u003e\n\n\n\u003cp\u003eThere is a particular kind of American artifact that only exists because someone, somewhere, ordered it by the thousands and thought nothing of it — pasted it to a wooden crate, sent it down a rail line, and never imagined anyone would keep it. The \u003cstrong\u003eRed Barn brand Pole Tomatoes crate label\u003c\/strong\u003e, shipped by the Heggblade-Marguleas Company of San Francisco, is exactly that kind of piece. It is a small rectangle of commercial printing that was never meant to outlast its crate — and yet here it is, vivid and intact, a window into a California that no longer exists.\u003c\/p\u003e\n\n\u003cp\u003eThis is an original, New Old Stock (NOS) vintage produce crate label, never pasted, never used — exactly as it left the printer. The label reads, verbatim: \u003cem\u003eProduce of U.S.A. — Red Barn — Orange County Pole Tomatoes — Waxed — Precooled — Net Weight — Shipped by Heggblade-Marguleas Co, San Francisco, Calif.\u003c\/em\u003e It measures approximately \u003cstrong\u003e13 inches wide by 4 inches tall\u003c\/strong\u003e, the horizontal format standard for the end panel of a wooden vegetable shipping crate.\u003c\/p\u003e\u003cp\u003eIt was produced by the lithographic process — a craft that museum curators and print historians increasingly recognize as one of the most technically accomplished forms of commercial art America ever produced. The palette is bold and confident: a blazing red barn anchors the left, set against a cool light blue sky; navy blue serif lettering carries the brand name and product details; a plowed field recedes in warm rose and earth tones toward distant hills; a small cluster of green trees punctuates the horizon; and a hand-lettered wooden sign graphic in the lower right corner announces, with characteristic mid-century directness, \u003cstrong\u003ePRECOOLED\u003c\/strong\u003e.\u003c\/p\u003e\u003cp\u003eA rooster weathervane crowns the barn's cupola — a detail so small and so precisely drawn that you have to look for it, and then you can't stop seeing it.\u003c\/p\u003e\n\n\u003cp\u003eDealers who specialize in this medium consistently place this label in the \u003cstrong\u003e1940s–1950s era\u003c\/strong\u003e — a dating that aligns neatly with the well-documented history of the wooden produce crate itself. That date is well-supported rather than officially stamped, and I'll tell you why it matters: the colorful paper crate label had a lifespan of roughly four decades, from the early years of the twentieth century through the mid-1950s, when the industry's shift from wooden crates to cardboard cartons ended the tradition almost overnight. A label from the final chapter of that era carries the particular weight of something made just before a whole way of doing things vanished.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🎨 The Lithographer's Art — A Craft That Belongs in Museums (and Now Does)\u003c\/h2\u003e\n\n\u003cp\u003eThe produce crate label is not merely a piece of commercial printing. It is the surviving evidence of an entire industry of commercial artists — skilled craftsmen and women who worked anonymously for printing houses that specialized in agricultural advertising, producing designs of remarkable color complexity and visual sophistication for clients who would paste them to wooden boxes and ship them to grocery wholesalers across the continent.\u003c\/p\u003e\n\n\u003cp\u003eThe lithographic process used to make these labels required a separate stone or plate for every color. Look at the Red Barn label and count: the red of the barn, the navy of the lettering, the light blue of the sky, the soft green of the trees, the rose and earth tones of the field, the cream of the barn's trim lines — each required its own pass through the press, registered by hand to within fractions of an inch. No digital shortcut produced this. A human artist drew it, a craftsman transferred it, a pressman ran it, and the result is what you're looking at now.\u003c\/p\u003e\n\n\u003cp\u003eMuseums and art institutes have indeed recognized this. Major institutions hold collections of produce labels as examples of American graphic design and commercial art, and dedicated collector communities have formed around them — driven not just by nostalgia but by genuine aesthetic appreciation for what the labels represent. The commercial artists who made them were rarely credited and rarely well-paid, but their work has outlasted nearly everything else that was produced in its era.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🏢 Heggblade-Marguleas Co. — A San Francisco Produce Firm That Grew Into an Agribusiness Dynasty\u003c\/h2\u003e\n\n\u003cp\u003eThe name on this label — \u003cstrong\u003eHeggblade-Marguleas Co, San Francisco, Calif.\u003c\/strong\u003e — belongs to one of California's more consequential mid-century produce marketing firms, and its story is worth telling in full because it connects a humble tomato crate label to decades of California agricultural history.\u003c\/p\u003e\n\n\u003cp\u003eThe company was founded by \u003cstrong\u003eFrank W. Heggblade\u003c\/strong\u003e and \u003cstrong\u003eJoseph Marguleas\u003c\/strong\u003e, two men whose partnership gave rise to a broad-line produce marketing and distribution operation based in San Francisco. Sources differ on the precise founding year — most contemporary accounts and obituaries give \u003cstrong\u003e1935\u003c\/strong\u003e, while at least one regional agricultural history records \u003cstrong\u003e1934\u003c\/strong\u003e — but the substance is consistent: two men, a handshake-era partnership, and a San Francisco office that would grow into a nationally significant enterprise. The firm handled a wide range of commodities and operated under multiple brand names simultaneously; collector label archives record it under \u003cem\u003eH and M brand, King Oliver brand, Lodi King brand,\u003c\/em\u003e and \u003cem\u003eTasty Fruit brand\u003c\/em\u003e, across crops including asparagus and cherries in addition to tomatoes. Red Barn was simply one of several identities the firm deployed for different markets and products.\u003c\/p\u003e\n\n\u003cp\u003eThe son of Joseph Marguleas, \u003cstrong\u003eHoward Philip Marguleas (1934–2017)\u003c\/strong\u003e, became the most publicly documented figure connected to the firm. Born in San Francisco in the same year — or nearly the same year — as the company itself, he graduated from the University of California, Berkeley in the mid-1950s and joined Heggblade-Marguleas directly. He rose to lead the company while still in his thirties, after the deaths of both founding principals. Frank W. Heggblade is memorialized today at Claremont McKenna College, where Howard Marguleas endowed the \u003cstrong\u003eHeggblade Center\u003c\/strong\u003e in honor of his father's partner and mentor — a gesture that tells you something about the character of both men and the partnership they built.\u003c\/p\u003e\n\n\u003cp\u003eThe company had operated an export branch since 1939, originally incorporated as the Paramount Export Fruit Company — launched, with a certain American optimism, on April 1st of that year in San Francisco. That export arm expanded the firm's reach well beyond domestic distribution and reflects the ambition of a company that was never content to be merely regional.\u003c\/p\u003e\n\n\u003cp\u003eThe defining corporate moment came in \u003cstrong\u003e1970\u003c\/strong\u003e, when Heggblade-Marguleas was sold to \u003cstrong\u003eTenneco\u003c\/strong\u003e, the Houston-based oil and industrial conglomerate that was then aggressively acquiring agricultural operations. The merged entity — \u003cstrong\u003eHeggblade-Marguleas-Tenneco\u003c\/strong\u003e — relocated its California operations to Bakersfield, and Howard Marguleas served as its chief executive. Label collectors note the transition: the same brand names that appear under \"San Francisco\" in pre-1970 collections reappear under \"Bakersfield\" afterward, a small paper trail of a corporate transformation.\u003c\/p\u003e\n\n\u003cp\u003eHoward Marguleas left the merged firm approximately five years after the sale and went on to co-found \u003cstrong\u003eSun World International\u003c\/strong\u003e with Carl Sam Maggio and other partners — a company that became a leader in agricultural innovation, responsible for commercializing seedless watermelons, yellow and red peppers, vine-ripe tomatoes, and Superior Seedless table grapes for the American market. He was named \u003cstrong\u003eMan of the Year\u003c\/strong\u003e by \u003cem\u003eThe Packer\u003c\/em\u003e, the produce industry's leading publication, in 1989, and received the Distinguished California Agriculturalist Award in 1990. He served on the California State Board of Agriculture from 1964 to 1968, under Governors Edmund G. (Pat) Brown Sr. and Ronald Reagan — a span of California political history that itself tells you how central agriculture was to the state's identity in those years.\u003c\/p\u003e\n\n\u003cp\u003eThat is the lineage of the name on the bottom of this label. A tomato crate shipped by Heggblade-Marguleas is, in retrospect, a document from the early chapters of a company whose influence on American produce would be felt for generations.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🌾 Orange County Pole Tomatoes — A Farming Region Caught at the Moment of Its Own Disappearance\u003c\/h2\u003e\n\n\u003cp\u003eThe product named on this label — \u003cstrong\u003eOrange County Pole Tomatoes\u003c\/strong\u003e — is itself a small historical document, because Orange County's identity as a farming region was ending at precisely the moment labels like this one were being printed and used.\u003c\/p\u003e\n\n\u003cp\u003eIn the mid-twentieth century, Orange County was genuinely agricultural. Farmers grew oranges (obviously), but also walnuts, tomatoes, lima beans, asparagus, strawberries, and a range of other vegetable and horticultural crops. It was, in the language of the era, a rural community — and the tomato fields were a real part of it. One farming family's recorded history notes their move to Orange County in 1958, when it was still, as they described it, a very rural community with working farms across its landscape. Within a decade, most of those farms were gone, replaced by the tract housing that defines the county today.\u003c\/p\u003e\n\n\u003cp\u003eThe timing matters: the 1940s–1950s date range for this label places it squarely in that window of transition. Someone was growing pole tomatoes in Orange County, harvesting them, packing them into wooden crates, and shipping them through Heggblade-Marguleas to markets up and down the West Coast — and at the same moment, the land those tomatoes grew on was being surveyed for subdivisions. This label did not know it was documenting the end of something. That is what makes it poignant.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003ePole tomatoes\u003c\/strong\u003e themselves are worth understanding. Unlike bush varieties, pole tomatoes grow up wooden stakes — growers plant over a million poles across their acreage every spring, one per plant — lifting the fruit off the ground to improve airflow, reduce rot, and allow the tomatoes to ripen naturally on the vine. The result was a product that commanded premium positioning; the word \"Waxed\" on the label indicates a post-harvest coating applied to extend shelf life and improve appearance in the days before refrigerated display cases were universal. \u003cstrong\u003ePrecooled\u003c\/strong\u003e — that emphatic wooden-sign graphic in the corner — meant the crate had been brought down to a controlled temperature before shipping, a selling point significant enough to earn its own graphic element. Buyers and wholesalers in that era knew exactly what these words meant, and they meant quality.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🐓 The Label Itself — A Closer Look at What the Artist Made\u003c\/h2\u003e\n\n\u003cp\u003eThe Red Barn label rewards close looking. The barn illustration is rendered in a style that sits between folk art and commercial modernism — flat planes of red, outlined in cream, with just enough architectural detail (the louvered cupola windows, the hay door, the board-and-batten siding implied by line) to read as a specific place rather than a generic symbol. The rooster on the weathervane is tiny and perfect, a signature detail that collectors often cite as the mark of an artist who cared about the work even at the smallest scale.\u003c\/p\u003e\n\n\u003cp\u003eThe field behind and below the barn is handled with economy: rows of dark earth recede toward hills in soft rose and mauve, a color choice that suggests a California late afternoon in a way that a more literal rendering never could. The trees on the horizon — three small green forms — give the landscape its scale and depth. None of this was accidental. The artists who designed produce labels were working to a commercial brief, yes, but they were also competing for attention against dozens of other labels on the shelves of wholesale buyers, and the ones who could make a scene feel real in three colors on a four-inch strip of paper were the ones whose designs got reordered.\u003c\/p\u003e\n\n\u003cp\u003eOld-timers in the label-collecting community recall that the barn motif was a reliable performer in agricultural branding of this era — it signaled American farming heritage, honest production, and rural authenticity to urban buyers who had grown up closer to the land than their children would. The Red Barn design plays that register without sentimentality, which is why it still reads as confident rather than quaint.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🖼️ Display Ideas\u003c\/h2\u003e\n\n\u003cul\u003e\n \u003cli\u003e🪵 \u003cstrong\u003eFramed horizontal in a farmhouse kitchen\u003c\/strong\u003e — the red-and-blue palette pairs naturally with shiplap, open shelving, and vintage enamelware; at 13 × 4 inches it fits a standard panoramic frame without custom matting.\u003c\/li\u003e\n \u003cli\u003e🗓️ \u003cstrong\u003eGallery wall anchor in a California history collection\u003c\/strong\u003e — pair with other mid-century California produce labels, vintage road maps, or period agricultural photography to build a curated regional narrative.\u003c\/li\u003e\n \u003cli\u003e🏡 \u003cstrong\u003eMudroom or entryway vignette\u003c\/strong\u003e — mounted under glass alongside a vintage seed packet, a barn-find tool, or an antique scale weight; the barn illustration becomes a visual anchor for a working-farm aesthetic.\u003c\/li\u003e\n \u003cli\u003e🍅 \u003cstrong\u003eKitchen or dining room accent\u003c\/strong\u003e — the tomato subject matter makes this a natural fit above a plate rack, near open shelving with vintage Mason jars, or beside a collection of heirloom seed art.\u003c\/li\u003e\n \u003cli\u003e📚 \u003cstrong\u003eCollector's flat-file or archival display binder\u003c\/strong\u003e — stored in an archival sleeve and displayed in a collector's portfolio alongside other Heggblade-Marguleas labels (King Oliver asparagus, Lodi King, Tasty Fruit) for a brand-history grouping.\u003c\/li\u003e\n \u003cli\u003e🏛️ \u003cstrong\u003eLocal history or agricultural museum donation or loan\u003c\/strong\u003e — this label documents a specific chapter of Orange County agricultural history; regional historical societies and agricultural museums actively seek period ephemera of exactly this kind.\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e🎁 Who Collects These\u003c\/h2\u003e\n\n\u003cp\u003eProduce crate label collectors are among the most knowledgeable and purposeful collectors in American paper ephemera — and they come from several distinct directions. \u003cstrong\u003eCalifornia history enthusiasts\u003c\/strong\u003e seek labels that document specific counties, crops, and companies, building geographic collections that function as visual archives of a vanished agricultural landscape. \u003cstrong\u003eGraphic design and commercial art collectors\u003c\/strong\u003e prize the lithographic process itself — the layered color, the anonymous craftsmanship, the design vocabulary of mid-century American commercial art. \u003cstrong\u003eFarmhouse and Americana decorators\u003c\/strong\u003e are drawn to the visual warmth and authenticity of the imagery; a well-framed crate label carries a genuineness that reproduction art simply cannot replicate. \u003cstrong\u003eHeggblade-Marguleas and Sun World company historians\u003c\/strong\u003e — and there are some, given the firm's long shadow over California agribusiness — may seek this label as primary source material.\u003c\/p\u003e\u003cp\u003eAnd \u003cstrong\u003eSan Francisco history collectors\u003c\/strong\u003e appreciate the firm's Bay Area origins and its place in the city's commercial heritage. The supply of original, unused labels is genuinely finite; once these pieces enter collections and museum holdings, they do not return to the market.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003ch2\u003e❓ Frequently Asked Questions\u003c\/h2\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: Is this an original label or a reproduction?\u003c\/strong\u003e\u003cbr\u003e\nA: This is an original, New Old Stock (NOS) lithographed produce crate label — never pasted, never applied to a crate. It is not a copy, reprint, or reproduction. The lithographic printing process and paper stock are period-correct.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: What does \"pole tomatoes\" mean, and why does it appear on the label?\u003c\/strong\u003e\u003cbr\u003e\nA: Pole tomatoes are grown up individual wooden stakes rather than left to sprawl as bush varieties do. Growers staked each plant separately — a labor-intensive method that lifted the fruit off the ground, improved airflow, reduced disease, and allowed for vine ripening. It was a quality designation that wholesalers and buyers recognized immediately, and featuring it on the label was a deliberate marketing choice.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: What does \"precooled\" and \"waxed\" mean in this context?\u003c\/strong\u003e\u003cbr\u003e\nA: Both terms were significant selling points in the era before universal refrigerated transport and display. \"Waxed\" indicated a post-harvest coating applied to slow moisture loss and extend shelf life. \"Precooled\" meant the packed crates were brought to a controlled low temperature before being loaded for shipping — reducing field heat and extending the tomatoes' market life considerably. Both terms signaled to wholesale buyers that the product had been handled with care above the minimum standard.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: Who was Heggblade-Marguleas, and are they still in business?\u003c\/strong\u003e\u003cbr\u003e\nA: Heggblade-Marguleas Co. was a San Francisco produce marketing and distribution firm founded by Frank W. Heggblade and Joseph Marguleas (most sources give 1935 as the founding year; one regional history records 1934). The firm was sold to Tenneco in 1970 and became Heggblade-Marguleas-Tenneco, relocating operations to Bakersfield. The original entity no longer exists under that name, though its legacy continued through Howard Marguleas's subsequent founding of Sun World International.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: What size is this label, and will it fit a standard frame?\u003c\/strong\u003e\u003cbr\u003e\nA: The label measures approximately 13 inches wide by 4 inches tall — the horizontal format standard for the end panel of a wooden produce crate. This panoramic proportion fits standard 4 × 12 or 4 × 13 frames, or can be matted to a larger standard frame size. Many collectors use a simple mat to center it in a 5 × 14 or similar format.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: Is the \"Red Barn\" tomato seed variety related to this brand?\u003c\/strong\u003e\u003cbr\u003e\nA: No. The \"Red Barn\" heirloom tomato seed sold by modern seed companies is an entirely separate and unrelated product. This label predates the commercial heirloom seed movement by decades and has no connection to any seed variety of that name.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eQ: Was the lithographer or printing firm identified?\u003c\/strong\u003e\u003cbr\u003e\nA: The printer's imprint was not legible from available sources or reference collections. If you examine the physical label closely — particularly the lower margins and reverse — there may be a lithographer's mark or code that could help attribute the printing house and further narrow the date range. This is a worthwhile detail for any serious collector or cataloger to document.\u003c\/p\u003e\n\u003ch2\u003e📋 What Is Printed On This Label\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003ePRODUCE OF U.S.A.\u003c\/li\u003e\n\u003cli\u003eRED BARN\u003c\/li\u003e\n\u003cli\u003eORANGE COUNTY\u003c\/li\u003e\n\u003cli\u003ePOLE TOMATOES\u003c\/li\u003e\n\u003cli\u003eWAXED\u003c\/li\u003e\n\u003cli\u003ePRECOOLED\u003c\/li\u003e\n\u003cli\u003eNET WEIGHT\u003c\/li\u003e\n\u003cli\u003eSHIPPED BY HEGGBLADE-MARGULEAS CO., SAN FRANCISCO, CALIF.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eTwo different places are printed on this sheet.\u003c\/strong\u003e ORANGE COUNTY is the growing district. SAN FRANCISCO, CALIF. is the shipper's office address in the HEGGBLADE-MARGULEAS line. The tomatoes are Orange County tomatoes; San Francisco is where the paperwork lived.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe NET WEIGHT panel is blank.\u003c\/strong\u003e NET WEIGHT sits in the black footer band followed by an empty pale-yellow fill-in panel — no figure was ever printed in it. This label carries no weight, no grade, no size and no count of any kind, and the word BRAND is not printed on it either.\u003c\/p\u003e\n\u003cdiv class=\"relatedBlock\"\u003e\n\u003ch3\u003e🔎 More From The Vintage \u0026amp; Antique Gifts Archive\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/vintageantiquesgifts.com\/products\/vintage-lake-county-diamond-crate-label-san-francisco-ca-1940s\"\u003eVintage 1940s Lake County Diamond 💎 Crate Label\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/vintageantiquesgifts.com\/products\/vintage-fez-crate-label-cutler-ca-1960s-food-labels-bring\"\u003eVintage 1960s FEZ Brand Crate Label 🏷️ Tamouzian Bros. 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