In case you missed it because of the holidays, the Hall of Fame announced last month that Ken “The Hawk” Harrelson, the former major league ballplayer and professional golfer, was selected as the recipient of the 2020 Ford C. Frick Award. The Award is given out annually for excellence in broadcasting.
The flamboyant Harrleson started his broadcasting career with the Boston Red Sox back in 1975. He left the Boston booth after six years and joined the Chicago White Sox broadcasting team in 1981. He was a fixture in the White Sox booth for 33 years. However, those years were not continuous as he did a couple of short stints as the White Sox general manager (end of 1985 to 1986) and then a broadcaster for the Evil Empire (1987). He retired at the end of the 2018 season.
The announcement on December 11th brought back memories of my brief encounter with “The Hawk” back in the summer of 1968.
In August of 1967 a bidding war for the Hawk ensued after he was placed on irrevocable waivers by Charlie “Cheapskate” Finley for calling the impulsive A’s owner “a disgrace to baseball” after Charlie O fired Alvin Dark, the A’s manager. The boneheaded move by Finley turned Hawk into a free agent. After mulling over multiple offers, he agreed to join the Red Sox for $150,000 (he was making $12,000 at the time).
Harrelson, the first major leaguer to don a batting glove (it was actually a golf glove), officially joined the Red Sox “Impossible Dream” team on August 28, 1967. The Sox were in a very tight pennant race and needed a big bat and outfield help after the beloved Tony Conigliaro was almost killed by an errant Jack Hamilton fastball on August 18th.
Hawk Harrelson soared in Boston, and with the fans and media behind him, helped the 1967 team capture the AL flag in what has been called the greatest pennant race in the history of baseball.
In the summer of 1968, the Hawk was in full flight mode and having a spectacular year. One in which he socked a carrier high 35 home runs and led the league in RBIs with 109. The Fenway faithful cheered him on the field, and we dug his Nehru jackets and dune buggy.
The Card and the Story
I briefly met “The Hawk” after a game in the summer of 1968. I was a chartered member of the Hawk fan club and desperately wanted his autograph.
The best place to get autographs after a home game was on the Van Ness Street side of Fenway Park along the chain link fence that outlined the area where the players parked their cars. That summer day the area was jam packed with kids trying to get autographs.
Hawk came out, signed some autographs, got into his car, and left. Determined to come away with his autograph I decided to run after his car and hope that he would have to stop at an intersection. Luckily, he took a right on Jersey Street which meant he would have to stop when he came to Brookline Avenue. I was a pretty fast runner back in ’68 and caught up to the car at the intersection. I tapped on the passenger window which startled the Hawk. He smiled, leaned over and rolled down the window. I asked him to please sign my baseball card. I handed him my 1966 Topps card which featured him as player on the Kansas City A’s and a ballpoint pen. I was embarrassed that I did not have current Red Sox card of him and said – “I am sorry about the card, but it is the only one I have.” He said that was OK and signed my card. I thanked him and he drove off.
In this excellent post back in 2017, Tim runs down all of the Hawk’s cards and points out that that Topps NEVER issued a card of the “The Hawk” in a Red Sox uniform!
Two weeks into the 1969 season the Red Sox broke my heart and traded the Hawk to the Cleveland Indians. I am still not over it.
Something else you may have missed since it did not get the promotion it deserved is Ken’s very informative and entertaining autobiography titled –Hawk I Did It My Way that was published in 2018. I highly recommend it.
I first encountered Graig’s work when I ran across his painting “Henry” and just about died. The expression, the uniform, the color, the crowd, the musculature, the shadows, the…everything…was amazing to me. I had seen so many images of Hank Aaron in my life, but none had the hold on me that this one did.
I often wondered how amazing it would be if someday this image or others from Graig could be turned into baseball cards. Apparently I was not alone.
In late 2018 Topps contacted Graig and his agent about the concept of an “artist renditions” set to be released in limited print runs through the Topps website. By April 2019 the cards were a reality, with the first offering, Ty Cobb, selling 1549 copies.
“I had been aware of the business model they were working with, as I had followed their success with Topps Now and the Living Set. It was a little different than what I expected in terms of my first real baseball card project, but I was super excited to work with them in any sense – being a part of that lineage that goes back to my father’s childhood was super appealing to me.”
In case you missed it, Graig’s father was a card collector, but more on that much later.
“In a way, I liken it to comics where you have modern artists and writers handling these current issues of something like Batman, and them being in the same line with the Neal Adamses, Grant Morrisons, Frank Millers and even going as far back as Bob Kane and Bill Finger…it’s like a big family that you’re being asked to join.”
One question I had for Graig was who chose the players to be included in the set, Topps or Graig. This is something that interests me with nearly any baseball set…the hows and whos of arriving at a checklist.
“Topps was in charge of giving me the names of the players they wanted. They had the first 15 or so planned, both with the specific players and when they were to be released. For the last five, they did ask for a little input, but I don’t think that my suggestions were a huge influence in the decision making process. And I don’t mean that in a bad way, I just think that the players I might have wanted to paint may not have lined up with the players who they thought would be popular among their large fan base.”
While I would have loved to hear that Graig had total license over the project, I have to say Topps did a phenomenal job in selecting the players for Graig to paint. I can also imagine the good people at Topps being a bit irked had Graig decided to go with Lipman Pike or Hans Lobert over, say, Tom Seaver or Ted Williams.
The result is an almost obscenely stacked roster of top shelf baseball talent, so much so that you have to think hard to come up with who didn’t make the cut. (Two Yankees legends absent due to licensing issues were Mickey Mantle and Joe DiMaggio.)
Cards #19&20 in the @Topps 20-card @GraigKreindler mini-set. So cool that Graig’s #20 was my boyhood idol and favorite #20, Lou Brock! What a cool way to complete the set!Thanks for sharing your amazing talent, Graig! You’re a first-ballot Hall of Famer in my book! @baseballhallpic.twitter.com/iKtLiyubM1
While Graig did not develop the checklist, he did choose the photographs that the card images were based on, though Topps provided some input likely aimed at increasing marketability.
“They made it clear to me that each player should be depicted with the team he’s best known for, and preferably on the youngish side of the coin. Combining that with the pool of images that Topps has the license to use via Getty, I was able to find at least 7-8 photographs of each player that I thought would be worthy.”
If you read that last sentence and are thinking PARALLELS, you’re not alone! Graig? Topps? What do you say?
One question I had for Graig was whether choosing an image for a large painting was very different from choosing an image for a baseball card.
“The thought was that if I did an action shot or a stadium panoramic [as many of Graig’s paintings are], it was going to be shrunk down to card size, so a lot of detail would be lost. Rather than risking that, I felt that portraits would be the safest bet. Plus, since I’m sure a lot of the images of these guys are in black and white, having a color representation of their face (and some jersey stuff when applicable) was the most important aspect of the artist rendition in terms of ‘connecting’ with people.”
Time considerations were a factor for Graig also since the project called for Topps to issue a new card roughly every two weeks. This too pointed toward portraits.
Among the portraits I wondered if Graig had any favorites, whether as an artist, a collector, or a fan. Were there any paintings where Graig said, “Wow, I really did a great job with that one!”
“There are certain aspects of each portrait that I really think I nailed. I mean, obviously, I always want the next painting to be the best one, but sometimes there are little spots of each that can shine or stick out to me in some way. And those parts aren’t necessarily visible to others (or even tangible for that matter) but they’re there.”
“As an example, the last painting I did of Lou Brock, the relationship between the bright, warm red of his cap and the cool green and blue hues of the dugout wall was incredibly pleasing. It was something I tried to push a lot in the original painting, playing off of color complements and optical blending. I’m not even sure if that stuff made its way into the final card itself, as a lot of nuance can get lost in the reproduction process, but I was very pleased with how the painting itself came out.”
Look again at that Brock card now. There’s nothing lazy, nothing wasted. Even the parts that immediately hit our eye as “white jersey” or “red cap” aren’t. Anywhere you look on any of these cards there is a glow, texture, and even a personality that emerges.
I wanted to know where this all came from, not just the Artist Renditions set but everything. Did Graig collect cards as a kid? Who were his favorite players? What were his favorite sets? I tried to go light since I knew Graig was preparing for a major exhibition of over 200 of his paintings in Kansas City as part of the Centennial Celebration organized by the Negro Leagues Baseball Museum.
“I did indeed collect as a kid. With my father being a somewhat avid collector in the ’50s up until a bit after I was born (1980), I don’t think my brother or I had a choice NOT to have an interest in baseball cards.”
Okay, I know you’re thinking what I was thinking! Well, here’s the bad news…
“Like most of the people of his generation, his mother threw out the majority of his collection when she deemed him ‘too old’ for it.”
Shoot! But wait, the story’s not quite over…
“He was able to save some of his favorites. Included in that batch were mostly Yankees and a smattering of Giants and Dodgers. He managed to keep his ’51 Bowman Mantle, which always had a certain mystique about it, what with it being the rookie card of his favorite player and all. And let’s face it, it was expensive, which to me, as a kid, was extra cool. His example wasn’t even in decent shape or anything, but it still had quite an aura – so even then I was aware that it had some serious sentimental value.”
On one hand Graig’s father’s collection influenced Graig as a collector.
“Through my father’s stories, I came to ‘know’ Mantle and his teammates in a way that seemed more real to me than the feelings I had with the group of the then-current Yankees (Mattingly, Winfield, Randolph, etc). So while I was getting my first packs of baseball cards (’87 Topps – still LOVE that set), I was even more excited about picking up older cards when I could.”
“I remember being at one of the Gloria Rothstein Westchester shows in the late ’80s and my father paying $4 to get me a 1964 Topps Bobby Richardson. I held it in my hands and was truly amazed. My friends couldn’t understand why I had any interest in a guy they’d never heard of, but there I was, not being able to shut up about that ’61 Yankees infield.”
Interestingly, Graig’s father’s collection also influenced Graig as an artist.
“When I was younger, it’s fair to say that I was inspired to draw ballplayers because of my father’s baseball cards. Looking at it now, I’m sure that seeing those early Bowman and Topps issues with the illustrations must have had some kind of impact on my psyche – something along the lines of, ‘Hey, somebody actually drew and painted these things – they’re not photographs, they’re made by humans. Maybe that’s something I can do.’ I don’t remember actually having any epiphany like that, but I’ve gotta imagine that that is how what I do now all germinated.”
It was also around that time that Graig encountered the work of more contemporary baseball artists.
“In the late ’80s and early ’90s, I of course fell in love with the likes of Dick Perez and Christopher Paluso. And both for different reasons. I loved how painterly and expressive Perez was with his colors. And the sleak photorealism of Christopher’s work appealed to me on a craftsman’s level. To this day, I can still remember seeing their stuff for the first time.”
I worked with Graig to track down the first Christopher Paluso piece he remembers seeing, this lithograph of Joe Sewell. (Image source from Heritage Auctions.)
Tracking down Graig’s first recollections of Dick Perez’s work was a foggier matter. He vaguely recalled the 1986 Donruss Diamond Kings subset but was unsure of the player so I’ll just go with my three favorites!
Not wanting to leave anything out I ended my interview with Graig by asking him a question I was really happy I remembered to ask.
“What’s one question you wish I asked but didn’t? And what’s the answer?”
Graig’s answer was a long one that has little to do with baseball cards but is no less essential to the overall story of the cards that inspired this post.
“That’s a tough one! The question, ‘Who is your biggest art influence?’ is always one of my favorites. And that’s mainly because I like giving the man his due. I first met Peter Fiore in 1999 as an undergrad student at the School of Visual Arts in Manhattan. I had enrolled in his class – “Painting the Light” I think it was called – not quite knowing what to expect. The description mentioned something about learning how to paint your subjects in believable space by paying attention to light and color, or something to that effect. And the idea appealed to me greatly.”
“Little did I know that that fall, I made the acquaintance of the artist who would forever change the way I thought about painting. Up until then, I was strictly a renderer. I wanted whatever I painted to be realistic to the point where it blended between realism and photorealism. And to me, that meant being able to study edges, values and colors as they appear through photography.”
“Through Peter, I learned that photography was a starting off point, that the world around me had much more to show. I learned how to work with color, and to work with it purposefully. I learned how light shapes the world around me. And this didn’t happen in just that semester. I took a few classes with him while I was in school. After I graduated, we became good friends, and I still consider him one of my favorite people on this planet. I’m always learning from him, be it about painting or light or life, and I can’t think of any teacher or friend who’s influenced my artistic journey as much as he has. For anybody interested, you can see his beautiful landscapes at peterfiore.com.”
Look at Graig’s work again and you can see this. Every detail is there, but there is something more. The players he paints are at the same time lifelike and larger than life. There is a radiance that differs from how our eyes might have seen these men but perfectly matches how our minds see them.
Normally such images are confined to galleries or perhaps just our imaginations, but thanks to Graig and Topps they can also have a place in our collections.
Kids all over Seattle shouted “hot diggity dog” when they discovered that Seattle Rainiers wiener cards were back in 1963. Garbage can raiding and dumpster diving would once again be the norm in alleys across the city. Kids “dogged” their mothers to not “wienie out” and buy the cheap franks. Frankly, they would only settle for the “card-carrying” brand: “Milwaukee Sausage Company.”
For those of you who were able to “digest” my previous “all-meat” offerings, you remember that Hygrade and Henry House were the companies who included cards in wiener packages. If Seattle was the norm, minor league teams must have frequently changed official hot dog providers. Looking through Rainiers programs from the late 1940s to mid-1960s, I count six different companies who claimed top dog status at Sicks’ Seattle Stadium.
As a side note, I see an omen in the fact that “Milwaukee” was the name of the company. Of course, the Wisconsin city would soon play a part in dashing the Northwest’s claim of big-league status. I will now remove my tin foil hat made of discarded hot dog wrappers.
The Milwaukee Sausage cards measure 4-1/4” square, feature a larger photo, and have less biographical information than the previous two iterations. A total of 11 cards comprise the set. As with the other wiener brands’ cards, the black and white photos are the same as those issued on the popcorn cards for that season.
To illustrate the rarity of finding cards today, a Paul Smith card-in fair condition-is currently offered on eBay for $1,899. The seller does allow for installment payments-if you are salivating at prospect of owning one of these “puppies.”
In 1963, the Rainiers were affiliated with Boston. The eleven cards in the set include a few players who saw limited action in Boston. The biggest name-by far-is the manager, legendary Red Sox hurler Mel Parnell.
Pete Smith sipped some coffee at Fenway in 1962 and 1963. He started in his first game at Detroit on 9/13/62. He lasted 3 and 2/3 innings giving up 8 runs, all earned.
Although I couldn’t find Milwaukee Sausage cards for Pete Jernigan, Bill Spanswick and Archie Skeen, each made it onto a Topps Rookie Stars cards. Spanswick has the distinction of being the other guy on Tony Conigliaro’s rookie card. By the way, Skeen never played in a major league game.
Other featured players with big league experience with other organizations include coach Elmer Singleton, Billy Harrell (13 games with Sox), George Spencer, and the aforementioned Paul Smith.
Well, after force feeding you more hot dogs than Joey Chestnut eats on Independence Day, it’s time to put away the mustard and sauerkraut. Hopefully, you have come to realize that America is a better place for having had a photo of Mel Parnell enclosed in a package of wieners.
The most collected are the obvious “eight men out.” However, in this collector’s opinion the most captivating card within this genre belongs to former player, turned gambler, turned state’s star witness against the eventual eight men out, “Sleepy” Bill Burns.
Burns was a former major league pitcher whose major league career spanned 1908-1912, played for five teams, and finished with a bland 30-52 record. As a pitcher outside of the major leagues, mostly in the Pacific Coast League, Burns was only slightly better with only one real flash of potential early in his career. As a pitcher for the 1907 PCL champion Los Angeles Angels, Burns turned in his best professional season going 24-17. He ended his professional career at the age of 37 in 1917 pitching for the Oakland Oaks in the PCL collecting a 4-5 record with a 6.22 ERA in 19 appearances.
Burns however gained eternal infamy after his career by being one of the key figures behind the scenes of baseball’s darkest moment, the fixing of the 1919 World Series. Burns, who was a former teammate of some of the White Sox acted as a gambler and go-between for the players and other gamblers paying off the players involved. Later in 1921 he was the state’s star witness against the players in the trial that ended in their acquittal.
Bill Burns does not have a large checklist of baseball cards. He did make it into the famous T206 set, with a glove on the wrong hand, which is probably his most famous baseball card. He is also in the 1910-11 Turkey Red T3 and 1911 Pinkerton T5 sets. Often overlooked is the fact that Burns has two cards in the Zee-Nut catalog appearing in the 1915 and 1917 sets.
Zee-Nut baseball cards were a product of the Collins-McCarthy Candy Company based in San Francisco that featured PCL players and was the longest running baseball card company prior to Topps, producing cards from 1911-1938. There are Zee-Nut cards of four of the eight men out (Weaver, Risberg, Williams, McMullin) as well as Joe Gedeon the “ninth man out” who was also banned for knowing about the 1919 World Series fix from his friend Swede Risberg. All are amazing cards and will command a premium price when they come to market, especially Fred McMullin’s 1915 card which sells between $5,000-$10,000 as his only mass produced baseball card. However, Bill Burns’ two Zee-Nut cards are often overlooked by “black gold” collectors.
Of Bill Burn’s five baseball cards the one I think deserves a place at the table in the discussion of best “black gold” cards is his 1917 Zee-Nut card.
Looking at the card I have to imagine that the candy company photographer tasked with capturing the images of the Oakland Oaks players back in 1917 had to be disappointed with his picture of pitcher Bill Burns once it was developed. By some mistake through the combination of placement and position of the pitcher, posed at the peak of his windup, the positioning of the sun in the sky, and the set up of photographer and camera, the identity of the subject was rendered impossible to discern as the pitcher’s face was completely obscured in a dark shadow. If a photographer made such a mistake today the picture would be discarded instantly, another photo taken and ultimately used.
Nonetheless, the image of Bill Burns with his face hidden in a shadow was used, and the photographer, we can imagine, was probably disappointed in his careless error once the 1917 set of Zee-Nut cards was printed. He had no way of knowing just how much that image of a failed, washed up, former major league pitcher in 1917 would turn out to be a poetic depiction of one of the most shadowy figures in Baseball’s darkest hour just two years later.
It is this very reason why I consider it my favorite card within the realm of the Black Sox scandal. A photographer’s mistake that cast a shadow on the face of a man who would himself help cast a shadow on the national pastime.
Topps changed the face of baseball card collecting in the early 1950s and became the standard bearer for the hobby. By the early 1960s, they had expanded the size of the “base set” to more than 500 cards to include nearly all the players, and not just the stars.
Before the proliferation of baseball magazines in the later 1970s, cable television in the 1980s, and the internet explosion in the 1990s, these cards became the primary window for a young fan falling in love with the game to tie a player’s name to a recognizable face, and maybe even get a glimpse into their personality.
The reason it worked so well was in large part due the photography style. The photos looked so personal, so intimate, as though they were taken for your own family album. Each spring into summer, you got a fresh take (or maybe two or three, for stars and league leaders) on what a player looked like, adding dimension to your perception of that player. With time you got to see a player mature, from baby-faced rookie all the way to aging veteran.
My interest in cards was resurrected in 1985 as a re-capturing of my baseball fandom youth as it has done with countless others. For a whole new generation of players, even unrecognizable ones, I was provided with a recognizable face. I jumped back into the hobby with great enthusiasm. Four years earlier, Fleer and Donruss had broken up the Topps stranglehold, which ultimately led to a flood of manufacturer and set options that would follow for more than two decades. But I remained loyal to the Topps base set as the stable rock of the hobby, with its rich history and continuity.
Within a few years, something changed in the nature of the Topps base set, the cornerstone of the hobby. For many of the players, the intimate photo where I could see into a player’s eyes (and his soul?) was replaced by a photo of him turning a double play, or straining to throw a fastball. These “in game action” photos actually appeared on some cards as far back as the early 1970s, but they were the rare exception. During the 1980s they became commonplace. By the early 1990s they became the rule. In 2020, they’re essentially all you get in the Topps base set.
I did a little research to gain some insight into this evolution. I turned to my Red Sox card collection to get a sample of cards over several decades and classified the photos into a five different categories based on photo style:
Game Action: As described above, a photo taken during an actual game, usually with the player in motion swinging, pitching, fielding, etc., most often from a distance where the player’s entire body is in the photo
Candid Portrait: A photo of a player from the shoulders up that is not taken during a formal photo shoot, often taken when the player is in the dugout or on the field outside of actual game action.
Candid Action: A photo of a player “doing something”, but not in-game action. Maybe swinging a warmup bat or playing long toss. The photo is usually taken close enough to see expression in the player’s face.
Posed Portrait: A photo in the style of what you’d see in a high school yearbook, usually from the shoulders up, or just a “head shot”. You get the sense the player knows he’s being photographed, even if he’s not looking into the camera.
Posed Action: A posed photo of player “pretending” to be in action, in a batting stance, mid-swing, winding up to pitch, in a fielding stance, etc. The player knows his picture is being taken. It’s usually taken from close enough to see the player’s expression.
My collection starts in 1965, so I used a sample that ran from then until 1999. Binning it into five-year chunks, the distribution of cards falling into each of the five categories yields the distribution shown below. Even with this relatively small and not-so-random sample, the trend from posed shots to in-game action shots is unmistakable.
I realize many people like action cards. I understand it’s a matter of taste. Me? I get to see action when I watch the games. When it comes to cards, I’m looking for the personal charm.
Take another look at the three Don Sutton cards above, from 1967, to 1976, to 1985. You can see an actual person there. Now let’s take a look back to see how David Ortiz changed over a 10-year span of his illustrious career:
Ugh. David Ortiz is a beloved local hero in Red Sox Nation and loaded with charm. You certainly can’t see it here.
I often hear the retort that Topps provides all this in their Heritage and Archives products. For that, we’ll need a whole other discussion. For now, please Topps, put these classic photo styles back in your signature base set, so that the cards won’t get thrown away as mere nuisances in the lottery chase for rare inserts. Bring the base set back to its rightful prominence. It’s even okay if you include some action cards to keep everybody happy.
From the mid-80’s to the early ’90’s, Baseball Cards magazine had an early version of what we now know of as, and mostly love, “Custom Cards.” (Trading Card Database has them here).
I have a pretty solid run of the magazine, card inserts intact. (It would take some digging to pull them all out right now).
The question I have, for me, and for all of you, is what should I do with them? It would be a nice bit of weight loss to shed myself of the magazines and keep the cards.
Checking eBay on this helps, sort of. There are graded gems mints that go for hundreds. Then there are magazines themselves that go for less. Really, though, I’m not even sure I’m looking to sell, but, if I decide to, I’m unclear what’s the best move, cards alone, or cards still in magazines.
I read the post about Stouffer’s pop-up cards with a lot of interest because it’s always fun to find out about new sets and I love gimmicky things like pop-ups. However the assertion that those were the “best engineered baseball cards that have been issued to date” made me pause.
I have no argument with the best-engineered part since the pop-up mechanism is super nifty. It was the to-date that got me thinking. Why? Because there were a lot of similar pop-up cards in the mid-1990s.
Quickly referencing my collection and googling for images that show some of the different mechanisms in action turned up at least four other sets. There’s the 1994 Oscar Mayer Superstar Discs,* and each year from 1993to1995 Kraft issued a set of pop-up cards as well.
Unlike the 5-card Stouffers checklist, all four sets here involve 30-card checklists. Oscar Mayer is cool in that it includes one player per team. Kraft on the other hand is a more generic top-30 players approach. I much prefer the one-per-team checklists. Yes some big names end up missing but there’s so much more to a season than just the names. Plus as a team collector it’s always a downer when a cool-looking set doesn’t offer a logical entry point for my collection.
Anyway, the most-interesting thing for me to find out is that these sets all appear to use slightly different mechanisms for either the pop-up effect or the card manufacturing. Some are folded and glued from one sheet of cardboard. Others look like multiple sheets. The Discs are obviously more complicated than that. The 1995 Kraft set pops up from the end of the card rather than the middle.
Something was obviously going on so I wandered over to the patent library and did a quick search. There are a lot of patents for pop-up cards in the late 80s and early 90s. So many that I can’t figure out which ones correspond to what cards.
A quick sample. US patents 5259133, 5450680, and 5746689 all look superficially the same as the Stouffers, Oscar Mayer, and 1993 Kraft cards (I’ve been unable to find one that looks like the 1995 Kraft cards). They’re mainly just assembled differently. I wish the cards or packaging had a patent number listed.
What’s amazing to me is that many of the patents are explicitly for baseball cards. In two of the images I’ve chosen here the illustration clearly features a baseball player.
Patents are usually written somewhat broadly so that they can apply to multiple applications beyond the original intent of the application. But in the artwork here the inventor’s inspiration comes through. The mid-90s explosion of card-related technologies* resulted in multiple patents about baseball cards and in this case multiple patents to achieve the same effect.
Author’s note: Before “biting” into part two of the Seattle Rainiers wiener cards series, I have new information about the Hygrade wieners cards in part one. The Standard Catalog of Vintage Baseball Cards stated that only 11 of the 22 cards have ever been cataloged. However, Seattle area collector Charles Kapner informed me that he has 13 different cards and knows of two more. Thus, it is possible that—as the back of each card states—there are really 22 different cards.
Three years after Hygrade wieners were first put on the rotating warmer at the local bowling alley and the cards tossed in the dumpster with the discarded Desenex aerosol cans, Henry House meat products included a new set of Seattle Rainiers cards in their wiener packages.
The 1960 Henry House set is comprised of 18 cards and have several similarities to the Hygrade version from 1957. For instance, the cards are printed with red ink and include a small player photo accompanied by a short biography. This time, though, the cards are vertically oriented and feature a detachable mail in coupon. Kids could send in two coupons plus 25 cents and receive a nifty Rainiers uniform patch.
The cards are “skip numbered” using the players’ uniform numbers. As with the Hygrade cards, the Henry House photos are the same ones found on the popcorn cards.
The 1960 Rainiers were affiliated with the Cincinnati Reds and managed by Dick Sisler. The roster was comprised mostly of veterans with some major league experience. A few prospects were sprinkled in as well. Some of the familiar names include Gordy Coleman, Erv Palica, Dave Stenhouse, Jerry Zimmerman, Ray Ripplemeyer, Charlie Beamon, and Hal Bevan.
Another veteran is Seattle University basketball and baseball legend Johnny O’Brien. The former Pirate and Brave finished up his career with Seattle in 1960.
Don Rudolph, former White Sox pitcher and manager of his exotic dancer wife, shows up in the set as well.
Remember, there is still one more installment to come in this “dog” of a series. Until the next post, I am off to the West Seattle Lanes to eat a Hygrade or Henry House wiener that has been rotating on the warmer for the last 60 years.
We take a break from our usual baseball card storytelling this week to announce a new award approved by the SABR Board of Directors and coming out of our very own Baseball Cards Research Committee. The Jefferson Burdick Award for Contributions to the Hobby will be handed out for the very first time at #SABR50, our national conference taking place from July 15-19, 2020, in Baltimore.
At this time it is our pleasure to announce that SABR’s inaugural recipient of this prestigious honor will be…drum roll please…up to you!
Yes, we are looking for YOU to nominate a worthy recipient who has made significant contributions to the hobby in such areas as–
Baseball card research/scholarship
Baseball card creation/production/innovation
Developing/maintaining resources (e.g., publications, websites, communities, events) for collectors
Increasing access, knowledge, or enjoyment
In short, we are looking for the individuals who have made baseball card collecting a better hobby for the rest of us.
Have someone in mind? Here is what we’d like you to do.
No later than February 28, use the Contact form on this website to let us know your nominee(s) along with with a very brief description of their role or contributions. A few sentences is sufficient at this stage in the process.
Be available for follow-up in case more information is needed.
On our end, we (your committee co-chairs, Nick and Jason) will vet the nominees and hope to arrive at a short list of finalists. Once finalists are determined, we will work with nominees to turn each finalist nomination into a post here on the SABR Baseball Cards blog and then work with our Awards Subcommittee* to choose the award winner.
*Subject to availability, those committee members who contributed at least 12 posts to the SABR Baseball Cards blog in the preceding year.
A couple quick notes before closing this post and putting the ball in your court:
Nominees should be living at the time of nomination (and we’ll hope for their sake still alive by SABR 50!)
You must be a SABR member to participate in the nomination process. If you are not yet a member, please join!
In this edition of “Covering the Bases” we are discussing the 1989 Topps All-Star Rookie cup card dedicated to outfielder Dave Gallagher.
The chief reason I chose to cover Gallagher here is that he recently discussed his Topps All-Star Rookie Cup on Twitter – spoiler alert, I was a little bummed with his feedback.
1989 Topps #156
Lets open by discussing the card which is Gallagher’s Topps debut. A couple of observations:
1) This appears to be a Spring Training shot – note the chain link fence and treeline beyond Gallagher’s left shoulder.
2) In 1988 Chicago sported their uniform numbers on the front of the left pant leg, It is mostly obscured by the “White Sox” script on the card but you can still make out what is the top of Gallagher’s #17 here.
3) Gallagher is apparently holding some sort of BP bat. At first I thought Gallagher was using a bat sleeve – but 1988 seems sort of early historically. Looking closer I think what we are dealing with here is Bat Tape. I am guessing that the idea is to extend the life of a BP bat, perhaps the tape also acts as a visual cue to help a batter to target the sweet spot.
1988 Topps All-Star Rookie Cup
Of course the reason team Phungo took an interest in this card is that it falls under the umbrella of our obsession with Topps All-Star Rookie Cards. This past September SABR Member Brian Frank had posted via twitter a snapshot of the card on Gallagher’s 59th birthday. Gallagher acknowledged the posting noting the day is also his Wedding Anniversary. I later jumped on the thread posing the following question:
I wanted to hear that Dave Gallagher was a big fan of baseball cards, has a collection that he considers very special and that getting a Trophy from Topps Chewing Gum Co was the highlight of his playing career.
Well, that wasn’t the answer I received. Gallagher’s reply was sobering and quite prudent.
As a Topps All-Star Rookie Cup obsessive I was momentarily crushed. But it makes sense, I am sure there have been several dozen trophies that a player like Dave Gallagher has accumulated in a 20 year professional career. Keeping them all likely borders on hoarding. And his point of maintaining a separation of career and home also seems wise.
More Gallagher Cards
While researching Dave Gallagher cards I came across his 1989 Topps Big card
1989 Topps Big #310 Dave Gallagher
Which is a fine card but what really interested me was something on the back
1989 Topps Big #310 Dave Gallagher (b-side)
Check out the middle panel on the cartoon. It is not a Baseball Card Patent but Dave Gallagher does have a Baseball related Patent. His invention is known as the “Stride Tutor” or according to the Patent Office “Apparatus for improving the hitting technique of baseball players.” It is essentially a set of foot cuffs (with a longer plastic chain) that are designed to train a batter to make a consistent stride in their swing. The device was written up in a 1989 Sports Illustrated article.
Gallagher’s patent application is pretty interesting citing SIX Hall of Famers: Johnny Bench, Mel Ott, Joe DiMaggio, Reggie Jackson, Nolan Ryan, and Joe Torre plus Pete Rose and Hitting Guru Charlie Lau.
There you have it, Covering all the Bases on a single (well two) Topps card leads you to the US Patent Office and Joe DiMaggio.